"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 Resolver gives 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.