Review Summary: Sunny side up.
No matter how unimpressed I myself was with Wolfsbane’s first reunion album, “Wolfsbane Save the World” was largely accepted by the band’s core audience, gained some appreciation from the critics, and provided the old crew with a nice opportunity to embark on a tour, before going into yet another prolonged hibernation.
So, when the time came to revive the band, the songwriting duo of Edwards and Bayley saw no reason to introduce any major changes to the template of their 2011 effort. I guess, after releasing a heady concept trilogy and a focused “motivational” album, Blaze Bayley just wanted to channel his inner uncle Fester, as he often does in Facebook video announcements of his solo performances, and do a solid rock record one more time. “Genius” starts with an energetic opener, and proceeds to display a reasonably eclectic set of songs. It is unassuming and easygoing, with a distinctively vintage feel. All these characteristics apply to “Wolfsbane Save the World” just as well. On the surface, not much has changed since 2011.
Well, the difference between the older and the newer post-reunion LPs in terms of the emotional impact made on me personally is as striking as it is hard to pinpoint or, indeed, put in writing. Still, since I’m already here, let’s try to figure out why it works better than the last time.
For starters, there are some noticeable tweaks to the formula. Where “Save the World” was spread out across the whole retro palette without focusing on one particular sound, “Genius” has a decidedly punkish flair and attitude. Back in 2011, even on the more energetic tracks like “Blue Sky” the focus was on the melody, whereas here the emphasis is put on the actual speed and the riffs. That makes the heavier cuts like “Spit It Out” or “Rock The Boat” much more hard-hitting and impactful, while the poppier songs like “Things Are Getting Better” leave a welcome impression of freshness and brevity. In short, none of the tracks drags this time around. A song comes in, proves its point, reaches a satisfying conclusion, and goes on with its life, leaving the listener recharged and eager to get more.
The boys also seriously decided to bring in the hooks this time. Granted, they’ve tried to make their songs catchy on their first reunion record as well, but in my opinion, it didn’t work most of the time. Songs just ended up feeling tired and forced, while here tracks like “Zombies” or “Small Town Kisses” get stuck in your head in the most pleasant way possible. With that said, it makes sense that the album also leans heavily on AOR as the second pillar of its sound. Still, once again, the band delivers catchiness, brightness, and, indeed, cheesiness, taking care to avoid overwhelming the listener with saccharine sweetness. It also helps that even though the album is purposefully painted in lighter hues, it never really goes fully into happy-go-lucky mode. There is a darker undercurrent permeating even the most cheerful songs, like “Good Time,” with Bayley sternly repeating “Time is running out” in a counterpoint to the easygoing nature of the song in general.
Thus, it is clear that the songs here are just overall better, leaner, and more varied than the ones presented on “Save the World,” but that’s not even the main point. The key to enjoying music often lies in the emotions it conveys, in the way it makes you feel. That’s where Jase, Blaze, and the rest of the gang have achieved their most resounding success. The whole album just radiates with genuine warmth and kindness, even in places where its lyrics get witty and sarcastic. It feels like hugging an old friend after not seeing him in ages, or getting a piece of good advice from your grumpy but cool uncle just when you need it the most. When Blaze sings “Things are getting better, starting today!” – you feel that he means it. That genuine emotion helps even the weaker songs to stand up on their own. Take, for example, the closing track “I Was Born in ‘69.” Yes, the main piano melody is surely basic and not very exciting, but it is a very personal song for the band’s main songwriter Jase Edwards. He even chose to sing it himself, with Bayley taking the backseat for a while, before adding his voice to support Jase’s effort. Imperfect, yet sincere, the song perfectly conveys the feeling it was aiming for. Much like the rest of the album.
“Genius” was released in June of 2022, but I heard it for the first time in September of that year. It was probably the most appropriate time and setting for the album: catching the last rays of weakening yet still warm sun, desperately trying to figure out what to do next. At the time, I was facing severe financial problems due to prolonged unemployment and the ongoing war in Ukraine, grappling with loneliness and overwhelming feeling of my insignificance. “Genius” felt like a helping hand extended over the seas and the cities straight to my rented apartment. I suppose this review is my attempt to say “Thank you!” to Wolfsbane for being there for me in a peculiar way.
