If the David Lee Roth version of Van Halen had sprung into existence now, rather than [mumble] years ago, and were made up of good-looking (in the Red Hot Chili Peppers style) pierced alterna-types who had an eye to getting on MTV as quickly as possible, then this is the noise they'd make. I'm guessing it must be something about the LA metal/industrial scene, because there are unfortunate parallels with a band by the name of 'Rakit(1)' who seemed to be following a broadly similar path.
In fact, were I a lazy sort of a bastard, I'd consider taking that review and performing a quick cut & paste job. It would be funny (for small values thereof), an interesting exercise (to see who'd notice) and an appropriately post-modern comment on the essential similarity and disposability of the modern popular music form.
It's worth a small diversion at this point to examine where the various popular musical forms position themselves on a conceptual relationship arc. For instance, works such as Hey Hey We Want Some Pussy (Two Live Crew) or Motley Crue's Girls Girls Girls would obviously be located at what we may call the zero-point: Singles in search of a mutually-beneficial relationship. The greater part of Mariah Cary's back catalogue seems to be concerned with the first half of the curve - I posit here that the 'relationship arc' is more than likely bell-shaped - while the various 'emo' bands take up various stations from the top of the curve down to its lower trailing edge, plotting the gradual, yet clearly regretted, disintegration of the relationship, but seemingly unable to affect the course of history. Angst-core bands, of which W!ck is one, are to be found firmly at the relationship end-point where things once again return to zero. It may be found that if the relationship arc is projected onto a non-flat surface, that there's little, conceptually, to separate W!ck and Two Live Crew.
It sounds like...more or less straight-ahead alternarock with odd grindy noises and 'bitch done me wrong, she'll pay - you see!' lyrics. It's just so carefully polished that there's nothing to get your teeth into. Or more properly your ears, but trying to get a good grip on something with those appendages is usually an exercise in futility. It would be entertaining and very welcome to find some really nasty noise or a bizarrely unhinged guitar solo - anything, really, to make one sit up and understand that this really was something out of the ordinary.
That said, the track called Had Enough contains a corking downhill chord sequence played with a fine Hammond sample and a set of Moog-ish Numanoid monosynth screeches. Even if the lyrics seem to be more of the same grim determination to have a terrible time. The track that follows it, Falling Over, is equally not-bad-at-all. It's up to you if that's enough to make it worth your while...
(1) Rakit's self-titled album was reviewed in Legends #116 by Hirez. They hate us now.
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