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Friday, October 31, 2008


192 KBPS

While the powerful sound may be referred to as "heavy metal" by some, a more accurate description would be "art rock." The songs are built on ideas, themes, many of which include a plethora of irony and sarcasm (which is why the seemingly "upbeat" or angry sound of some of the songs are misunderstood by taking them literally).
The lead singer Korey Clarke has always believed that the musician should be a "shaman" of sorts. "Warrior Soul" definitely embodied Clarke's professional persona because it is inseperable from his own beliefs. This music is not entertainment, it is meant to make you think, meant to provoke the listener; thus, I can imagine why, ten years ago when this album came out, I was dumbstruck with its sheer intensity, and, ten years later, none of the songs have lost any of their initial power. For the same reason, this is why the band, although successful among the rock scene, was so misunderstood.
I also find that Clarke's messages (the songs are meant to give the listeners a "mission" of sorts, very admirable), are applicable to both the past and present, although I can also add that his songs were prophetic in many ways; however, in this truly decadent day and age of Britney Spears et al, and gangsta rap, such messages will clearly be lost. (I think the generation he referred to is now grown-up; I am among this generation). As I mentioned, the songs are clearly prophetic, and Clarke was ahead of his time. The symbolic "ruins" around us, and the virtual "wasteland" he sang about ten years ago are all around us.
As for the musical part of Warrior Soul, I can only say that the songwriting, lyrics, and performance are nothing short of amazing. Listening to this album over and over again for ten years and not finding fault with it is proof that this is a true classic. Take in note that I am a classically trained musician. People like us don't normally "take" to mainstream or rock music too easily.

1. I See The Ruins
2. We Cry Out
3. The Losers
4. Downtown
5. Trippin' On Ecstasy
6. Four More Years
7. Superpower Dreamland
8. Charlie's Out Of Prison
9. Blown Away
10. Lullaby
11. In Conclusion


256 KBPS

Formed in 1998 in the north of France, Aeons gives us a peculiar mix of gothic and industrial metal. Something that will appeal to people enjoying Type O Negative, Fear Factory as well as Nine Inch Nails or their countrymates Gojira. Supergreen is full of amazing ambiances. This is a must try for anyone that's into modern metal!

1. Gift Of Dream
2. Alcyone 3
3. B.B.H.
4. Djihad 1
5. Natural
6. Northern Delights
7. Djihad 2
8. Supergreen


192 KBPS

Right here we have one of the most brutal and barbaric death/thrash releases from the "morrisound era" of the early 90s... This album is a lesson in absolute anger, hate, and maliciousness! The music here is simply ABRASIVE. From the first song through the last, the listener is repeatedly pummelled by an intense death/thrash assault that absolutely takes no prisoners!

1. Transmogrified
2. Cleansed of Impurity
3. Eternal Waking
4. Survival Reaction
5. S.M.D. (Carnivore cover)
6. Netherworld
7. Plastcized
8. Catalysmic Outburst
9. Aberration


224 KBPS

Dub War are one of the most original bands I have ever heard. Whereas most bands nowadays are doing the nu-metal thing, which is getting so boring, these guys are blending together rock, metal and hardcore with reggae, soul and dub to sublime effect. If you're an open minded music fan, you really have to give this a listen. You won't have anything like it.

1. Control
2. Armchair Thriller
3. Greedee
4. Baseball Bat
5. One Chill
6. Enemy Maker
7. Million Dollar Love
8. Silencer
9. Cry Dignity
10. Can't Stop
11. Prisoner
12. Love Is
13. Mission
14. Universal Jam
Rightside of Beautiful bonus remix disc
1. One Chill (Aphrodite mix)
2. Million Dollar Love (Dj Rap mix)
3. Armchair (Dub War version)
4. Nar Say A Ting (Rottsman dub mix)
5. Prisoner (Nico dub mix)
6. Million Dollar Love (Unguided Lights mix)


192 KBPS

One of the greatest ironies surrounding This Is Spinal Tap is that it's actually better than many of the recordings it parodies. Songs like "Tonight I'm Gonna Rock You Tonight," "Hell Hole," "Heavy Duty," and even "Stonehenge" are fun, '80s-style rockers that any closet hair-band fan will enjoy, and "Sex Farm" and "Big Bottom" are hilarious, especially to those same closet fans. There's also the hippie-drippy "Listen to the Flower People" (even funnier if you've seen Rob Reiner's film of the same title), although Michael McKean and Christopher Guest singing "Cry, Cry, Cry All the Way Home" is sadly absent. The CD does lose some of its entertainment value if you haven't seen the film, but its mix of comedy and unabashed pop metal makes it the perfect party album.

1. Hell Hole
2. Tonight I'm Gonna Rock You Tonight
3. Heavy Duty
4. Rock & Roll Creation
5. America
6. Cups and Cakes
7. Big Bottom
8. Sex Farm
9. Stonehenge
10. Gimme Some Money
11. (Listen to the) Flower People
12. Christmas With the Devil


ST (1989)
128 KBPS

Badlands' music is 70s metal with a 90s twist. Drawing equally from English rock such as Zeppelin, Humble Pie, Free, and Bad Company; Southern boogie such as ZZ Top, Skynyrd, Molly Hatchet, the Outlaws, the Winter Brothers, and Blackfoot; and American metal like Mountain, Montrose, and Grand Funk Railroad, Badlands stands apart from the typical "hair metal" crowd and makes music their way. It's such a shame that they only made one more album before disbanding (Ray Gillen, R.I.P.), but it was great while it lasted.

1. High Wire
2. Dreams in the Dark
3. Jade's Song
4. Winter's Call
5. Dancing on the Edge
6. Streets Cry Freedom
7. Hard Driver
8. Rumblin' Train
9. Devil's Stomp
10. Seasons
11. Ball and Chain


320 KBPS

Back in 1984 this band was a 3 piece. The singer had a raucous voice. They played high energy metallised rock'n'roll... Does this remind you of a famous late 70's punk metal band ? One still very much active lead by the ugliest singer/bassist there ever been ?
So Vulcain were hastily labeled the "french Motörhead"... which was kind of accurate but still on right on... First the lyrics were not rock'n'roll based as Motörhead's lyrics were. We have here a more social/political inclined choice (witht the major exception of the french traditional drinking song "La Digue du Cul" and the more fantastic based "Le Fils de Lucifer). So, lyrically, Vulcain always have been following the footsteps of Trust.
Musically now. There's more than just the Motörhead influence in here. First there's little (aka almost none) punk influences to be found... Once again the band follows the tradition of early 80's rockin' french metal such as Trust or Warning, and they do it good. Ranging from medium to fast paced songs, there's no loser track in here. So, basically, the comparison to Motörhead only stands for Mr Puzio's vocals (since he really sounds like a french Lemmy).
Anyone who like 80's rocking etal should check this bad boy out... the vocals are kind of an acquired taste and if the production has nothing spectacular to it, it's still 100X more listenable than any BM Kvlt act... (wink wink). Too bad that was their only true good album...

1. Ebony
2. Le King
3. Les Damnés
4. Pile Ou Face
5. Rock 'N' Roll Secours
6. La Digue Du Cul
7. Le Fils De Lucifer
8. Vulcain / L'enfer
9. Overdose
10. Bosser
Bonus tracks
La Dame De Fer EP
11. La Dame De Fer
12. Emmène-Le
13. Reprends Ta Place


ST (1999)
320 KBPS

The Big F is a rock trio born out of the split of Berlin and featuring guitarist Mark Christian, bassist/singer John Shreve (aka John Crawford) and drummer Rob Donin (aka Rob Brill)... Rock? Post grungeis more likely. Yeah, something like that... This is The Big F first album of only two, a band that never scored just because they were too weird for mainstream masses and never got the promotional support that would have allowed them to reach more underground circles... A shame really as this and their other albums are essential releases for whoever like his music to be borderline schizophrenic rock. Try it!

1. Killing Time
2. Kill The Cowboy
3. Why
4. Here's to the Good Life
5. Doctor Vine
6. Power Pig
7. Monkey Boy
8. Alpert Tango
9. Biz About Brains
10. Good God



192 KBPS

Ex-Lion members third release. this one has a more modern feel to it than the first two which sounded like an extension of their Lion releases. All that being said, you still can't go wrong with Aldrich on guitar and Swan on vox. Belligerent Stance, Godforsaken, and Rivers Run Red all kick major booty. This is classy hard rock/metal with a modern twist that makes it even more interesting. Another great album that didn't sell too well while deserving it. Here's your chance to catch up on this bad boy!

1. Belligerent Stance
2. Monkey
3. Moonchild
4. Underground
5. Into The Pit
6. Godforsaken
7. Union
8. Holy War
9. Rivers Run Red
10. Crown Of Roses
11. Summer Rain
12. Believe
13. T.B.O.M.D.


CRAWL (1992)
192 KBPS

If Rush had decided to tackle thrash metal, they may have sounded like The Beyond, whose incredibly well-executed debut Crawl showed enough promise for EMI to resurrect their legendary '70s progressive rock imprint Harvest especially for its release. Unfortunately, public opinion was not so kind. The bottom line is that despite the group's mind-boggling combination of brainiac lyrics, jagged guitar acrobatics, funky bass slapping and astounding poly-rhythms, the songs on Crawl leave almost no lasting impression. "No More Happy Ever Afters," "The Eve of My Release," and "Everybody Wins" feature occasional highlights, but the most memorable tunes ("Sick" and "Dominoes") stand out mostly because of their uncharacteristic simplicity and actual breathing room. And John Whitby's very indistinctive vocals certainly don't help. Still, for those keen on progressive explorations and detailed precision, the album will provide extended discovery.

1. Sacred Garden
2. Great Indifference
3. No More Happy Ever Afters
4. Everybody Wins
5. Nail
6. Day Before Tomorrow
7. One Step Too Far
8. The Eve Of My Release
9. Empire
10. Sick
11. Lead The Blind
12. Dominoes


BULL (1992)
192 KBPS

Bull was the beginning of the high point in Bootsauce' far too short existence. Like the Brown album before it, the sound was like nothing before it and like nothing since. The music is rock, funk, pop, or as I like to term it - indescribable. Bull is chock full of catchy lyrics that earn it a permanment spot in my favorite CD's. The music is great, with the high points being 'Rollercoaster's Child', 13th Psalm and Dogpound. Each song flows into the next as if part of the master plan. Bootsauce had the potential to get big, but never got lucky enough to explode. Overall a great CD that nobody else you know has. Try it out!!!

1. Love Monkey # 9
2. Touching Cloth
3. Whatcha' Need
4. Big, Bad & Groovy
5. Dog Pound
6. Outhouse Quake
7. The 13th Psalm
8. Misunderstood
9. Rollercoaster's Child
10. I Saw You There
11. The Whole of You
12. Bad Dinner
13. Hold Tight


192 KBPS

This is the album that spawned the stoner rock genre of the 90's. Monster Magnet have not been this perfect since! This album touches 3 eras of hard rock and metal. The opening track "Pill Shovel" starts off with a wacko drum solo, powered by a Stooges riff and then turning into a lazy riff-fest that exemplifies the Magnet sound. "Medicine" is the closest the band get to raising the Stooges from the dead. "Nod Scene" is a tune at once mellow and heavy. It's quiet parts define stoner rock and it's chugging riff at the chorus is..great. "Black Mastermind" is a nod to the mighty Sabbath with it's whirlwind jam at the end. "Zodiac Lung" is a study in versatility, the quietest moment on the album and the closest they get to Pink Floyd-style ambience. They evoke the ghost of Hawkwind in the classic "Spine of God" complete with a sitar solo! "Snake Dance" is another rave-up rocker, while the cover of Grand Funk's "Sin's a Good Man's Brother" is ten times blusier and sleazier. They top the original here. The album ends with "Ozium", a sprawling, murky sea of guitars and organs. Kinda like what Iron Butterfly would sound like today. This is Magnet's greatest album, a potpourri of hard-rock references that takes the best from the past, mixes & mashes, and hurls it towards the future. Magnet's other albums are great, but it'll be hard for them to the spirit they captures here. This is the truest amalgamation of Black Sabbath and the Stooges EVER!

1. Pill Shovel
2. Medicine
3. Nod Scene
4. Black Mastermind
5. Zodiac Lung
6. Spine of God
7. Snake Dance
8. Sin's a Good Man's Brother
9. Ozium


PUSH (1992)
192 KBPS

For people who like the driving guitar/bass lines and angst-ridden vocals of such bands as Soundgarden, Corrosion of Conformity, or (early) Alice in Chains, this album is a must. It's near impossible to keep yourself from head-banging to songs like "Tribe" and "Crazy Love". For a taste of the real Seattle music scene, get a hold of this!

1. Tribe
2. Machine Action
3. Racked
4. Crazy Love
5. Above Me
6. Gotta Believe
7. Break
8. Slow Scorch
9. Follow
10. Body Farm
11. Lose
12. Push


192 KBPS

I remember that at the time when Dragline came out, it was immediately labeled second-class grunge by many critics. This designation infuriated me since Paw didn't sound like Nirvana or Pearl Jam rip-offs to me. In fact, I thought these boys from Lawrence, Kansas were just as good as their more acclaimed contemporaries and that Dragline was one of the finest albums of the 90s. Okay, the follow-up Death to Traitors was a little soft and less inspired, but I'll put Dragline up against your favorite albums from the 90s, and I'm sure it will be every bit their equal.
What makes Dragline so great? Hard, melodic guitars and Mark Hennessey's gravelly voice and poignant lyrics. `Jessie' always makes me think of the beagle, Betsy, who was a great companion to me growing up - like `Jessie', Betsy was `a good dog' - she used to follow me and the Bishops to Terrace Grocery where she'd sit patiently under the pinball table while we played Tron and Dig Dug for hours. How can you not love a song like `Dragline' where the boy says to his dad, `Dairy Queen sounds good to me'? Mark Hennessy sounds like he or someone he knows has had some rather troubling relationships with women if `Lolita', `Veronica', or `One More Bottle' are any indication, but we are the beneficiaries of those tough times since he seems to have used them as inspiration for some great songs.
Paw is one of those bands you have mixed feelings about. You know they deserved a lot more success than they achieved, but would have been disappointed if mainstream popularity had spoiled them.

1. Gasoline
2. Sleeping Bag
3. Jessie
4. The Bridge
5. Couldn't Know
6. Pansy
7. Lolita
8. Dragline
9. Veronica
10. One More Bottle
11. Sugarcane
12. Hard Pig


192 KBPS

Shotgun Messiah started off as a hair metal band, and a pretty good one at that. But with VNB, we see the definitive paradigm of industrial heavy metal. The album itself gives new meaning to both sophistication and aggression, but what Shotgun Messiah has here that makes VNB so superior to everything before it. Shotgun Messiah rocked but nobody knew...

1. I'm a Gun
2. Come Down
3. Violent New Breed
4. Enemy in Me
5. Revolution
6. Monkey Needs
7. Rain
8. Jihad
9. Side F/X
10. Sex
11. Overkill
12. I Come in Peace


ST (1994)
320 KBPS

XC-NN began as simply "CNN" before the threat of legal action from the news channel forced the trio to alter their moniker. It hardly mattered as the act's self-titled 1994 release came and went, making nary a ripple. The lack of attention they received was a shame as the band's clever combinaison of light industrial rock and indie rock worked pretty well.
This album has been unavailable for years now so, it's your chance to discover a record that should have hit the charts by sadly didn't.

1. Biroland
2. 1000 Easy
3. Broadway
4. Wrong Thing
5. Monarch
6. Looking Forward
7. Early Days
8. Young, Stupid And White
9. Basta
10. Unnatural Passions
11. Logic Bomb
12. Find Out

1. Looking Forward
2. Gambit
3. Why Am I Still Dancing?
4. Untitled Track


160 KBPS

"Living On...Borrowed Time" is a recording by Diamond Head. This is Diamond Head's fourth recording, their second on the MCA label. The album was recorded in 1981 and released in 1982, reaching Number 24 on the UK album chart.
This was the band's first major label released after being signed to MCA Records in 1981. The cover featured a lavish Rodney Matthews illustrated gatefold sleeve, based on the album's Elric theme, which was the most expensive sleeve commissioned by MCA at the time. The investment paid off as it was very well received and it managed to get to #24 in the UK album charts, enabling the band to perform a full scale UK arena tour, performing large venues such as London's Hammersmith Apollo.
This album also saw the band move away from all out heavy riffs and towards softer and more progressive songs, such as In the Heat of the Night and Don't You Ever Leave Me, which was well received by fans, as the former has remained a regular in the live set list to this day.

1. In the Heat of the Night
2. To Heaven from Hell
3. Call Me
4. Lightning to the Nations
5. Borrowed Time
6. Don't You Ever Leave Me
7. Am I Evil?


320 KBPS

Bérurier noir is a French punk band formed in Paris in 1983 by Loran (guitar), François (vocals) and Dédé (drum machine). They called themselves "noir" (black) for the color of mourning (because their first concert was planned to be also their last) and for anarchy and "Bérurier" after the character from the novels of Frédéric Dard. Instead of being an end, the success of their first show inspired them to continue. A cult band, Bérurier Noir were loved by a generation of youth and feared by concert organisers for the riots that followed their shows.
On the one hand, Bérurier Noir's music was clearly derived from British punk rock as far as music and lyrics were concerned. Most of their songs were short, aggressive and usually based on a couple of basic power chords. Their lyrics reflected the typical concerns of punks such as the rejection of consumerism, politics and traditional social order and the anger felt by disaffected youth, tramps and outsiders in general. On the other, they added some interesting innovations. Their rhythm section consisted of a cheap drum machine, which became an essential and arguably endearing part of their sound. The frequent use of a saxophone as of the mid-eighties also set them apart from most other punk rock bands.
They would regularly appear on record sleeves and on stage wearing clown outfits, mock police uniforms or pig masks. Their shows were a unique and highly festive cross between a punk rock concert, a grotesque circus and an anarchist rally.

1. Tzigane, tzigane
2. Deux clowns
3. Noir les horreurs
4. Fils de...
5. Petit agité
6. Vive le feu
7. Il tua son petit frère
8. Macadam massacre
9. Nada 84
10. Commando pernad
11. Comme un bouddha
12. La mère Noël
13. Scarabée
14. La marche funèbre de la jeunesse suicidaire
15. L'empereur Tomato-ketchup
16. Viêtnam Laos Cambodge
17. Makhnovtchina
18. Casse-tête Chinois
19. La danseuse de L'Orient
20. Capitaine Kirk
21. Salut à toi


320 KBPS

This album is a joy to listen to from start to finish, hearing these cartoon like characters singing classic rock songs in their thick Russian accents is a hoot. Maybe not to everyone's taste but if your still capable of cranking out a smile then you are capable of enjoying this cd.

1. It's Only Rock & Roll
2. Let's Work Together
3. Gimme All Your Lovin'
4. Happy Together
5. Knockin' on Heaven's Door
6. Dancing in the Street
7. Just a Gigolo/I Ain't Got Nobody
8. California Girls
9. Yellow Submarine
10. Sweet Home Alabama
11. Delilah
12. Stairway to Heaven



320 KBPS

"Streetlight Serenade" is a fine album by pop music standards, though it warrants four stars since it's not quite up to the standards established by Joel and producer Phil Ramone who oversaw the recording of most of Joel's hit albums in the 1970's and 1980's. "The Entertainer", the hit single from this album is an adroit satirical look at the music business. I also greatly enjoy listening to the title track, "Root Beer Rag", and "Los Angelenos", Joel's acerbic look at the denizens of L. A. (It sounds better on his "Songs From The Attic" album as an uptempo rocker.). Joel has written some of his most introspective lyrics on this album; it's certainly a revealing look at what he faced as a struggling pop musician in Los Angeles.

1. Los Angelenos
2. Great Suburban Showdown
3. Root Beer Rag
4. Roberta
5. Entertainer
6. Last Of The Big Time Spenders
7. Street Life Serenade
8. Weekend Song
9. Souvenir
10. Mexican Connection

320 KBPS

On this 1976 classic, Billy Joel tempers his anger a bit, adding dashes of hope and even sentimentality. In fact, he seems to address this fresh outlook on the scathing "Angry Young Man" and defiant "Say Goodbye to Hollywood." Still, his ballads here mark some of his finest work, from the Ray Charles-influenced "New York State of Mind" to the introspective "Summer, Highland Falls" to the celebratory "I've Loved These Days." Lyrically, "Miami 2017" owes as much to folk as it does to rock. These eight songs seem as if they're therapeutic for Joel: they display a new comfort and satisfaction as he digs deeper within himself to find lyrical themes.

1. Say Goodbye to Hollywood
2. Summer, Highland Falls
3. All You Wanna Do Is Dance
4. New York State of Mind
5. James
6. Prelude/Angry Young Man
7. I've Loved These Days
8. Miami 2017 (Seen the Lights Go out on Broadway)


320 KBPS

Every song here is a rock gem, with loud guitars, a pounding rhythm section and strong vocals (like all great rock music). It's really a sign of how bad rock radio programming is that this CD was not a major AOR staple (most programming & music directors in radio have no music knowledge or sense, and only play what some consultant tells them is good).
The Sweet were unfairly typecast as a "galm rock" act, and unfortunately, this CD came out just as "glam rock" was being eclipsed by the rise of disco [a revolting development that was corrected only after several years of insufferably bad musical noise had almost ruined popular music].
Fans of David Bowie (Ziggy Stardust), the Ramones, the Rolling Stones (from the time of Sticky Fingers to It's Only Rock & Roll) and even early Aerosmith material will love this CD. While The Eagles sang about how nice it was to be rich and famous in Hollywood or take it easy some place, The Sweet sang about life among the not-so rich and not-so famous, and about how Real Life could hit--hard sometimes. California wasn't all paradise then [in 1974], just as it's not today. And Teenage Angst (a mainstay for rock material) has rarely found a voice for expression so clear as "Desolation Boulevard".
1. The Six Teens
2. Solid Gold Brass
3. Turn It Down
4. Medussa
5. Lady Starlight
6. Man With the Golden Arm
7. Fox On the Run
8. Breakdown
9. My Generation
10. I Wanna Be Commited
11. Teenage Rampage


CURED (1981)
320 KBPS

It's true that this is not a very proggy album, but as pop it sure beats most of what Genesis was doing around the same time. Technically, Hackett has a weak voice but it actually does suit some of the songs, especially "Funny Feeling" and "Hope I Don't Wake". There are certainly plenty of memorable melodies on Cured, including the aforementioned, and some of the lesser tunes drew me in after several listens, which is the mark of good music in certain genres, such as prog. These include Picture Postcard and Turn Back Time. Then several of the longer tracks actually show some development as well as great playing - Can't Let Go, Air Conditioned Nightmare, and the two-fer A Cradle of Swans/Overnight Sleeper. At the time it came out I did not see it as a step down from Defector, but more like a move in a slightly different direction, an accessible pop-rock album, with the techical prowess I had come to expect from Hackett. I still think it sounds good today, but I have a lot of nostalgia tied up with it. I think I would like it even if I heard it for the first time today... So, prog heavyweights stay away, the rest of you may consider what I have said and decide for yourselves.

1. Hope I Don't Wake
2. Picture Postcard
3. Can't Let Go
4. The Air Conditioned Nightmare
5. Funny Feeling
6. A Cradle Of Swans
7. Overnight Sleeper
8. Turn Back Time
Bonus tracks
9. Tales Of The Riverbank
10. Second Chance
11. The Air-Conditioned Nightmare (live)


320 KBPS

With a name like Soccer Team, a band invites certain connotations. You’d think, for instance, that they’re part of a collective, or they stage performances that are fiercely competitive. Maybe the music that they make is skilled and graceful. Part of the joke behind the Washington D.C. duo of Ryan Nelson and Melissa Quinley is that they pretty much have nothing to do with any of these things.
Instead, the group’s core elements seem to be droning male and female vocals, lo-fi instrumentation, and an eclectic and gritty rock sound. But, then again, much like soccer theirs is a music that takes time to sink in and be enjoyed: it’s the second and third listens of "Volunteered" Civility & Professionalism are greeted with more appreciation for their energy, meticulous production, chord and harmony arrangements, and subtle but loud songwriting.
Nelson writes and performs most of those songs—with spotty contributions coming from Quinley, who mostly sings and three other minor instrumental add-ons (piano/keyboard, handclaps, and violin). Nelson, who also plays with Dischord group the Routineers and used to be in Most Secret Method and Beauty Pill, is like a Swiss Army knife: He can sing on pitch and in harmony, and plays a multitude of instruments: great dirty rhythm and hook-y guitar (he doesn’t try to over-impress with "lead" solos), bass, succinct drum parts, and keyboard. Hell, he even recorded the album (on 4- and 8-tracks) and created the artwork for it, too.
Nelson’s multiple talents are on full display on the album’s first two tracks "So You Like It Vague, Huh?" and "Solid Ring Fighters": they’re dark forests full of vocal echoes, delicate harmonies, drippingly distorted guitars, and powerful drums. "We Closed a Record Store" is a Failure-esque tune, complete with aggressive acoustic guitar and heavy drums, tape effects, and Quinley’s unimpressive vocals. "Look At You!" is a funky, left-field, piano jam. Later on "Johnny Hart’s BC" is the second coming of Polvo.
Soccer Team’s debut isn’t going to flip the lids of most listeners with dynamic originality or exceptional technique. "Volunteered" Civility & Professionalism is a focused rock album that burns slow but still manages to leave some signature char marks.

1. So You Like It Vague, Huh?
2. Solid Ring Fighters
3. We Closed A Record Store
4. 'Volunteered' Civility and Professionalism
5. Lobster Season
6. Cavity Called Home
7. All The Walkers Home
8. Look At You!
9. Head Outside
10. Traffic Patterns
11. Platonic, Unrequited, Tragic
12. Johnny Hart's BC
13. Here's Why Dancers Smoke
14. Say Forever