Formed in 1983 while the band’s members were still in high school, Unrest made half a dozen or so eclectic full-length records before calling it a day after releasing Perfect Teeth in 1993. At the time of its dissolution, the band consisted of founding members Phil Krauth and Mark Robinson, who released many of the band’s records on his TeenBeat label, as well as Bridget Cross, previously of Velocity Girl. Initially released as a 7-inch boxset, it is considered by many to Unrest’s creative peak. Fittingly, the album has been given the deluxe reissue treatment by 4AD, the label originally responsible for its release on traditional 12-inch wax, as well as CD and cassette. For this limited edition, they’ve added a second record, Extra Teeth, consisting mostly of songs from 7-inches and the Isabel Bishop EP, as well as several unreleased tracks.

Like much of the Unrest’s output, Perfect Teeth swerves between low-key reveries and C86 pop jangle, but more astutely than heretofore, especially when it comes to the latter. The one-two-three-punch of “Cath Carroll,” “So Sick” and “Light Command” show The Wedding Present’s undeniable influence, while “Make Out Club,” though featuring the kind of manic strumming the Weddos made their calling card, is more distinct, with a quirky chord progression and shuffling drums setting it apart. Slower moments like “Soon It Is Going to Rain” and “West Coast Love Affair” are airy and wistful, lending the album room to breathe and showing

Unrest was obviously not short on ideas, and Extra Teeth shows their cup runneth over. Hidden gems include “Where Are All Those Puerto Rican Boys?” a cacophonous instrumental track from a split 7-inch with Stereolab, “Capezio Bowler,“ which sounds like it could have been a blueprint for everything Vampire Weekend has done, and “Teenage Suicide¯” an infectious song with a jagged riff and a Heathers-recalling refrains.

Released at a point when the indie underground was thriving, Perfect Teeth remains emblematic of the creativity running rampant at the time. Listening now, it still sounds amazingly unique, with its pastiche of sonic aesthetics more galvanizing than incohesive. This is a record worthy of the royal treatment.