This is the self-titled debut album by this LA-based trio consisting of Karolina Wallace: Vocals, Guitar; Adam Wallace: Guitar; and Jason Miller: Bass, Synth, Beats, Sequences. The album is seven tracks of minimal electro/synthpunk with Karolina often singing in her native Polish, but her voice is somewhat obscured and buried in the music so you might not notice that right away. First track, "Hi Vis" has a hypnotic quality about it as it tools along at a medium pace. Following that, "Struck" has defined but minimal guitar riffs with bass synth and a more obvious but minimal drum machine track. Karolina plays her voice against an echo effect and you are likely to recall early Xmal Deutschland and Suicide but perhaps with less energy and panache. I did, however, like the squiggly lead synth in it. Most of what Karolina does vocally is speak-singing with a hint of melody, which is fine for this type of music and it is fairly evident on "Oscillopsia," with its incessant bass sequence. There is a tension of this track that is likely better experienced live than on record, but I bet people probably said that about certain songs by the Doors when they were active nearly 60 years ago. "Floor It" is the barely intelligible psychodrama that haunts your nightmares. Every bit of the musical atmosphere is starkly fantastic and Karolina's mumbled and crooned vocals are the icing on this strange piece of cake. The curiously titled "Casket Casino" has a near Wall of Voodoo rhythm but coupled with Karolina's abstract vocalizing, it becomes something else entirely; something far more modern, menacing and relevant. "Old Mill" is one of those songs that undoubtedly work better live than on record as its monotonous repetition keeps you hoping for changes that never come. Yes, it has a bit of ritualistic attitude, but there is not much of a payoff. Finally, Chalk Teeth goes out with the spritely "Paskuda!" (not a very complimentary term in Polish for women) and here Karolina's vocals are quite different, sort of new wavy Dale Bozzio. I can't help but think of the obscure New York City No Wave project, Kongress, led by the enigmatic Otto Von Ruggins, and how they could have ended up sounding like Chalk Teeth if Marilyn and Robert Crash had stayed with the group. Unfortunately, Kongress never "stayed the course" in most things they ever did, although they did a lot of interesting stuff. As for Chalk Teeth< I wouldn't call this an extraordinary album but it has merit, especially for those who dig minimal synth electro. That the group chose to release the album on (limited edition) vinyl shows commitment, and I have a strong feeling that their next release will have more depth and gusto.