One of Washington, DC’s finest ever bands, Unrest also blazed a trail out of the 1980s underground scene, smack dab into the middle of the indie era without ever making a bad record. In fact, their final album, Perfect Teeth is arguably their best. Originally co-released by 4AD and Teen-Beat Records, that last statement turns 30 years old this year and has been reissued for the occasion by Teen-Beat with a bonus LP of material on vinyl (that appears to be sold out), a single LP (plus an accompanying download with all the extras that’s still available), 2CD, and digital. Impeccable as an unintentional missive of finality, Perfect Teeth has lost none of its allure. The extras add value.
Formed in 1983 by guitarist-vocalist Mark Robinson (who also runs the Teen-Beat label) and drummer-occasional vocalist Phil Krauth, Unrest started out with the intention to never play the same song twice. By the time they recorded Malcolm X Park with third member Dave Park in 1988, the mission had shifted to encompassing an insanely wide stylistic range that against all odds maintained a continuity of personality.
Released by the Caroline label, Malcolm X Park is also a logical conclusion to Unrest’s early days, which began with a pair of homemade cassette albums and the vinyl set Tink of S.E. (among numerous other names), all issued by Teen-Beat in the lead up. However, Malcolm X Park and the next record, Kustom Karnal Blackxploitation, released in 1990, can also be considered as Unrest’s Caroline era.
The culminating stretch with Bridget Cross effectively begins in 1992 with the release of Imperial F.F.R.R. by the No. 6 label. It’s an exquisite record that refines the Unrest sound toward its decidedly Anglo-centric late phase, but with the band’s experimental side intact as Cross settles into the bass position and adds occasional vocal standouts.
Unrest debuted on 4AD with the CDEP “Isabel Bishop” in 1993, tracks from which comprise part of the bonus Extra Teeth portion of this Perfect Teeth edition. The title track to the EP in particular provided a gorgeous serving of preparation for what was to come on their final album, which opens with the gradual pacing of “Angel, I’ll Walk You Home,” Cross singing lead with Robinson in support, simultaneously tranquil and moody a la Young Marble Giants.
It’s a prelude to the boisterous, soaring indie pop of “Cath Carroll,” the song named after Perfect Teeth’s cover star, formerly of the Factory Records band Miaow. “Cath Carroll” is a heavier strain of indie pop, delivered with dynamic instrumental fortitude. It pairs well with side two’s opener “Make Out Club,” an album highlight where Unrest attempt to out-jangle The Wedding Present.
Tracks like “So Sick” and the Krauth-sung gem “West Coast Love Affair” are indie pop in a more classic mode, but “Food and Drink Synthesizer” underscores that Unrest’s penchant for experimentation thrived to the very end. Heard at the time, Perfect Teeth felt like the trio’s comfort level was high and they were settling in for a long, productive stretch.
That wasn’t to be, but Perfect Teeth is something almost as excellent; a brilliant final statement. Followed quickly by Robinson and Cross’ work in Air Miami and Krauth’s two terribly slept on solo records, there wasn’t much time to mourn the outfit’s dissolution. Heard today with a fresh perspective, it’s clear Unrest was one of the best bands in indie rock’s labyrinthine history.
GRADED ON A CURVE:
A
