Veruca Salt

Resolver's best cut, "Yeah Man," finds Louise Post informing her submissive male that "I'd know you in the dark/By the way your hands pull me apart/I'd know you in the day/By the way you're miles away/I know you're in the mood not to be attached or be misused." Great, now do we all rally 'round the dominatrix Post on bended knee and worship?

Mary Jane Rosen

Veruca Salt's Louise Post (far left): Nice rack, bad record.

Related Content

• Foo Fighters @ US Airways Center
  October 13, 2011
• Watch Foo Fight The Westboro Baptist Church, Plus Four More Awesome Foo Fighters and Dave Grohl Moments
  September 21, 2011
• Torche @ Martini Ranch
  August 4, 2011
• This Week in Music History: June 27 through July 3
  June 27, 2011
• Happy Birthday, MTV: 30 Videos to Celebrate 30 Years
  August 1, 2011

More About

• Louise Post
• Veruca Salt (Musical Group)
• Nina Gordon
• Jim Morrison
• Dave Grohl

Like this Story?

Sign up for the Music Newsletter: Keep your thumb on the local music scene with music features, additional online music listings and show picks. We'll also send special ticket offers and music promotions available only to our Music Newsletter subscribers.

Privacy Policy Cancel Continue

Nah.

"Yeah Man" illustrates that Veruca Salt -- and Post specifically -- stinks of choral sensationalism, the unenviable ability to palm off song personas that are rooted in some counterfeit badassness and an underlying sense of rage and fury that isn't justifiable. It affects a cheapness and completes a total unbelievability. Resolver is bereft of the urgency that Salt was going for; that adolescent haste and cheeky irony that makes early Ramones, Runaways or Cherry Vanilla such a blast. What Resolvergives you is a sense of dread (not despair) that's frosted with linear melodies and a guitar tone that sounds annoyingly fuzzy without the distorted tonal attitude. Worse is Post's galling habit of swallowing consonants; her R's are insufferable, particularly on a word like "dark," which you can use to amuse yourself by picturing her mouth stuffed with an armadillo or some such object. And considering the breathy/shriek affectation of Post's delivery, lines like "Can I help it if I am high-strung/If I was born with a sharp tongue" become hurl inducing.

That is not to say all is merely unforgivable; some stuff is just downright lynch-worthy: "Used to Know Her" finds Post bidding an odd farewell to departed co-founder Nina Gordon (who came to her senses in early 1998) with "I used to know her/I used to stick up for her/Something in her smile was so bitchin'," then turns around to reminisce about someone who we can only assume is former beau/Foo Fighter infidel Dave Grohl: "I used to fuck him/I used to simplify him/Something in his walk was like Jim Morrison." Fuckin' A.

Empty of any real sentiment, empathy, sincere rage, or all-around rock 'n' roll verve, Resolver revolves like some endless pity party in which Post is Queen Pee. But hey, at least the sleeve photos look great. Post is at her pouty best, lips worthy of a good pigeon roosting. Bring on the dancing nooses.