Review Summary: Spencer Krug, why have you forsaken me?
Or maybe not. Just after hearing this I began working on a scathing review antagonizing the group for leaving their
Apologies to the Queen Mary ways and becoming Okkervil River, The Cure, and Paul McCartney and the Wings. My bumbling confusion spawned from the fact that I encountered no “I’ll Believe In Anything” or “Shine A Light”. What kept me listening for seven more listens was the fact that I could only find one negative review online and it lacked any justification whatsoever. I’m not surprised to find myself in the minority, but rarely am I so isolated as to be the sole possessor of my opinion. So what I did was after my sixth or so listen I put on
Apologies to the Queen Mary, the Canadian group’s critically acclaimed debut, for a fresh perspective; I wanted to really affirm my negative opinion. Well, after listening to
Apologies to the Queen Mary I went directly back to
At Mount Zoomer, and what do you know…
At Mount Zoomer works.
Formed on a whim back in 2003 by prolific indie rocker Spencer Krug, Wolf Parade now return in to the indie spotlight with their sophomore release,
At Mount Zoomer. Drawing its sobriquet from drummer Arlen Thompson's sound studio, the album features several key shifts in sound. Isaac Brock is no longer their producer, replaced by Thompson himself. A direct result is more restrained and less spastic vocals. It aids a bit in creating more structured textures, but the yelping ways of
Apologies to the Queen Mary are not totally forgotten.
The first track is “Soldier’s Grin”. An epic ballad, it contains mystifying lyrics and dynamic music, elements which mesh to create a strong opener. Beautiful and familiar, it is an exciting way to start the follow-up to
Apologies to the Queen Mary. Second, is “Call It a Ritual”. It is a dark, piano-driven song. Initially turned off to the track, repeated listens allowed the groove to really find a niche in the back of my mind. Dan Boeckner’s tone is thick and his lead lines hearken back to decades past, decades which I’ve never been too fond of but enjoy this small sample of. The pounding piano riff has that strange orchestral rock sound. The third track “Language City” has become one of my favorites. Initially frightened by its weighty alt-country feel, repeated listens have revealed the beauty of the song. I love the keyboards toward the end.
Probably the easiest track for me to swallow has been “Bang Your Drum”, with its synthesizers and flaccid melodies. The tonal modulation on the track nods back to Krug’s work in Sunset Rubdown, especially on
Random Spirit Lover. It is terrific and really recaptures that swaying drunken feel I love on
Apologies to the Queen Mary. “California Dreamer” is another of the highlights on the album. Tight keyboards propel the dark song to a bridge rife with tension. Sloppy lead guitar adds to the friction before the song ends with one last whirling refrain of
with all the other young lovers their mothers may have found / California dreamer. “The Grey Estates” carries the sentiment of an Arcade Fire track but still the quirky Wolf Parade ambiance we all love with the percussive keyboards. I found this song initially silly but now am in love with it. The refrain switches to a minor chord progression which is very satisfying. “Fine Young Cannibals” is another great track; ordinary but the ending packs some energy, and the track grooves really tightly. “An Animal In Your Care” is a softer track which shifts at the end into a more dynamic number, with Krug singing
you let me hang, hang, hang around / you put your ribbons in my hair. You can tell distinctly which tracks are Krug tracks and which are Boeckner’s, and lucky for the group both are satisfying. Then there is the closer, “Kissing The Beehive”; it is a glorious track, breathtakingly epic, and musically thick. On the rest of the album Krug and Boeckner sing only in separate songs, whereas on “Kissing The Beehive” they alternate within the same track, sharing composition duties as well. Driven by hi-hat clicks and powerful chord progressions, it’s ten minutes are gone before you know it.
At Mount Zoomer shows real musical development. Not necessarily that the group needed to grow much, but the sound is a bit more fine-tuned in an accessible sort of way. This by no means trumps
Apologies to the Queen Mary, but it serves as an admirable follow-up. Some of the eccentricities have been tailored off, but the group maintains most of their quirks, and I am happy they’ve stayed as similar as they have. With
At Mount Zoomer Wolf Parade have thrown their best into the picture, crafting a second record which feels more established then it does sophomoric. My initial disappointment and anger stemmed mostly from the lack of really danceable, drunken and toppled barstool tracks. I loved the yelping, grating, skipping; I loved Spencer Krug in the spotlight. What has really changed is that Dan Boeckner has become far more visible. He holds his end up admirably, but it’s the end I care less for. So while this record warrants a positive reaction, part of me is still disappointed. I’ll just wait for the next Sunset Rubdown album.
