As Weil puts it, Oozing Wound is defined by, “loud fucking guitars and screaming and shit. We don’t sing, and we don’t write big choruses. Anything like that gets checked by the wayside because, fuck it, it’s not us.” The songs on Retrash use humor to defend against and explore the anger, paranoia, and destruction that characterize life in the modern era. The line between hysterical and histrionic is tread with little regard for anything at all.
“See you later, alligator” Weil howls in “Welcome to the Spaceship, Motherfucker,” as he channels a fever dream of the Biblical Joseph after discovering Mary’s pregnancy. “No more faker, doppelganger/No more false child of mine.” At the core of every song is a riff, or collection of riffs: from the ur-thrash of the gut-punching opener “Everyone I Hate Should Be Killed” to the sludgy noise of “New York Bands,” Retrash is a blast of pure energy put forth with simplicity and fury. Retrash was recorded at Electrical Audio and Studio Chicago in two 12-hour sessions by their friend Matt Russell, and follows the Vape and Pillage cassette on Reynolds’ own Rotted Tooth Recordings. These recordings were not made for laptop speakers or ear buds, and are meant to be played as loud as possible.
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