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The Band
Wool’s history can be traced back to legendary DC punk label Dischord, whose recording artists SCREAM issued a few proper
records before troubled bassist Skeeter Thompson went AWOL and
drummer Dave Grohl defected midway through a US tour to a then
insignificant band named NIRVANA. Soon after, the Stahl
brothers; Peter and Franz (vocals/guitars and guitars/vocals
respectively) were joined by ex-GOVERNMENT ISSUE drummer Peter
Moffett (later of BURNING AIRLINES) and ex-CONCRETE BLONDE
bassist Al Bloch and WOOL is formed. In 1992 the band
independently releases an EP by the name of Budspawn (External
Records). Featuring straight ahead rockers with a garage/punk
edge, the release provides for a humble introduction to a band
with an unrefined sound. Let’s keep in mind that that year
marked the end of cock rock and the beginning of grunge; a
musical style that leaned much more towards disheveled punk than
the L.A. androgynous fad that preceded it. Budspawn’s sounds was
far removed from either genre and hinted at the dimmed
brilliancy of Box Set. Tracks like “Clear My Head” and “Wait”
fare much better than lesser songs (“SOS” and “Slightly Under”);
but the EP still sounds remarkably fresh when compared to most
of the rock releases of that year. A look at the EP’s
incomprehensible cover and the band’s absurd logo could elicit
dozens of ‘what the fuck’s?’ and itching heads. Exit Peter
Moffett, enter former DRIVE LIKE JEHU drummer Chris Bratton,
whose drumming in Box Set could have done for air drums what the
playing of pre-hip-replacement Eddie Van Halen did for air
guitar. WOOL then signed to London Records and issued Box Set;
the record receives mixed reviews and the freezing shoulder of
the general public.
The Record
Following a cocksure Box Set review in Rip Magazine, I proceeded
to order this record through BMG Music Service, which by the way
I never got around to pay. Less depressing than grunge but way
dirtier than your average hard rock; Box Set starts off with
“Eden” a mid-tempo blaring with open chords, airy drumming and
hanging basslines. It’s not the sort of track that kicks off
with a bang but for those aware of Budspawn it re-introduces the
band as a more solid unit. Up next is “Kill the Crow”, with its
one-to-two chord stop-starts is all a garage rocker could aspire
to be; incredibly energetic and contagious it reveals the Stahl
brothers’ guitar ringing. “Eat Some Ziti” is pure jazz fuckery;
free-form drumming and audience applause included, it represents
no more than a break/intro to the pummeling vigor of “Superman
is Dead”,
 which with its ridiculous lyrics ‘now that Superman is
dead/who will kick ass?’ mirrors the joking liner notes which
declare that these songs were recorded during the years of 1960
and 1968. The momentarily passive “B-350” follows; it’s a
driving tune with giant drums, jumpy basslines, resonating
God-like vocals, and awakening guitars. This is perhaps the best
song of the record; brimming with possibility and sunny
psychedelia it extends for over 6 minutes and slowly creeps up
to a chaotic plateau. “Chances Are” is another mid-tempo that
midway through does a 180, and gradually gets heavier. The
guitars have a sitar-like ring to them and the pure vocals of
Pete Stahl, like in every other track here, possess amazing
clarity.
Seven tracks into the record straight-up punk number “Coalinga”
shows up. If we analyzed the guitar playing with a magnifying
earpiece we could hear that there is a degree of noise rock in
them, by chorus time the track standardizes itself. “Speak” is
another gem; opening with drums and echoing bass, clear guitar
playing follows before Pete Stahl starts wondering about the
world. It is quite impressive how Stahl’s transparent voice is
able to proudly stand next to the huge sound of his band. A
whole separate paragraph should be dedicated to producer Rob
Rothrock (BECK), whose attention to volume made of this record a
mammoth size son of a bitch. “God Rest His Soul” is STEVE
ALAIMO’S tribute to Martin Luther King, and it also is the first
misstep of the record. But 9 tracks into Box Set it can hardly
weaken the album’s potency. “Blackeye”, like its title, is a
bruiser; with relentless pace, it picks the record back up while
last track “Take a Look” is an acid-drenched ballad that serves
as nothing else but a closing curtain.
The vinyl version of Box Set includes a few extra tracks, but I
couldn’t tell you what they are like because I don’t own a copy.
The After
Following the disinterest of the general public WOOL disbanded
in 1995. Guitarist Franz Stahl would then join former bandmate
Dave Grohl in the FOO FIGHTERS, while his brother Peter Stahl
would go onto play with THE EARTHLINGS? and the super heavy
GOATSNAKE. Peter would also contribute to some of the early
(JOSH HOMME’S) DESSERT SESSIONS releases, one album by
SUNNO)))’S and ORQUESTA DEL DESIERTO. According to Wikipedia,
Stahl would later become a tour manager for CAVE IN, FOO
FIGHTERS and RAMMSTEIN. Drummer Chris Bratton has also played
with INSIDE OUT, JUSTICE LEAGUE, and CHAIN OF STRENGTH. Bassist
Al Bloch is the brother of THE FASTBACKS’ Kurt Bloch and has
played with THE BOMBARDIERS, THE CHEATERS, THE MOBERLYS and
WENIS.
Why should
you care?
Because Box Set is one of the most underrated rock records of
1994. All the songs have aged remarkably well, and if we were to
classify it under garage rock (which kind of fits) then the ‘way
ahead of its time’ tag could fit the record well. But beyond
tags and genres, this record proved that WOOL was a blossoming
promise. With seasoned musicians in its ranks; it comes to rely
on craftsmanship and passion instead of technicality and
dexterity. It stands out because for the time it was released it
failed to fall under all the popular classifications of the
time.
If you are interested in purchasing a copy of this Box Set, you
won’t have to break your piggy bank. You can find dozens of
copies at half.com for less than $1. So do yourself a favor and
give this record a spin.
Lost & Found 2 -
STIFFS, INC.
Nix Nought Nothing |
