The Fluid - Glue (2024 Remaster) (2024) Hi-Res

The Fluid's final studio release for Sub Pop was a six-song EP that kicked off with a cover. And while that may sound like a recipe for a phoned-in bit of contract fulfillment, in reality, the Butch Vig-produced Glue is probably the band's best release, as it presents the purest distillation of the Fluid's incredible blend of punk fire and muscular riffage. As always, drummer Garrett Shavlik sets the tone with his ferocious and relentless percussion, which somehow manages to swing and thrash at the same time. From the first notes of the record—a thudding, riff-heavy reinterpretation of the Troggs' "Our Love Will Still Be There"—Shavlik's playing mirrors the twin guitar attack of Rick Kulwicki and James Clower, while vocalist John Robinson turns in his most refined performance to date, providing a bit of soulful counterpoint to the otherwise forceful take on this highly melodic number. But it’s on the second song, "Black Glove," that the band is positively unleashed. Shavlik's nonstop rolling fills are a perfect foundation for the stew of anthemic gang vocals and squealing solos that sound both unhinged and methodically effective. Likewise, "Candy" is epic in its assault: all riff-drumming and huge, chanting vocals, so it's no great surprise that the band selected a live version of it to represent them on a split single with then-rising labelmates Nirvana. "Closet Case" is "classic" Fluid, evoking the grungy punk of their earlier records, but here, Vig's production is a huge differentiator, providing a balance of full-bodied tastefulness and dynamic aggression that aligns it with the rest of the EP. "Pretty Mouse" swings a little slower, and is somehow sweeter and more sinister than anything else on the record, while the sludgy and slightly grim "Wasted Time" (which closed out the original EP's tracklisting) is probably the closest the band ever got to making an actual "grunge" song. Filling out this expanded edition are two outtakes from the recording sessions, previously only released on an import single: another cover (MC5's "Kick Out the Jams," which probably seemed on the nose, but is, once again, a great showcase for Shavlik's irrepressible drum style) and "Hey 13," a wild-eyed and gruff bit of Soundgarden-esque chunk-rock. Having these two cuts available alongside the other material makes this excellent EP even more impressive.