georgetown radio

Riding on a wave of anticipation, Wolf Parade present us with their first proper album. It is, overall, a solid record, though this is also its biggest weakness. Wolf Parade has an obvious sound/formula which runs through the entire record. There is a churning/ringing guitar, a keyboard adding texture in the background, and warbling, tense vocals up front. The guitar is fuzzy, the keyboards are thick, and the drums are crisp. While this gives it good continuity, it can also blur the line between songs if you don’t pay enough attention. They are good songs, though, and many would be fine singles. If you don’t agree, give this album some time. Melody comes out from the cracks and builds through the hard rocking. It is loose and unpolished, but still manages to maintain a high level of tight, interesting tension. There are some obvious comparisons to Modest Mouse, whose Isaac Brock helped with production. Wolf Parade, however, is no rip-off. It is not as ADD or manic-depressive as Modest Mouse, bringing more form and danceablility to the mix. The lyrics are more obscure, but still have meaning, if that’s the kind of thing you go for. According to the liner notes, the vocals are split between two band members, essentially trading off song to song. The difference between them, though, is nearly imperceptible. In fact, the quality of the vocals remains pretty much constant across the disc, though this may only be apparent due to the novelty of the voice. If there is any noticeable variation in the voice, it is in tempo.

It’s a little difficult to pick standout songs (this album will certainly generate different favorites among different people), but after some time certain ones stick in the head better than others. “You Are A Runner And I Am My Fathers Son” and “This Hearts On Fire” bookend the album with doses of energy. The first few songs are strong in general. “Modern World” features an acoustic guitar but steers away from down-tempo balladeering and “Grounds for Divorce” is catchy and good to move to. The central pair of “Shine A Light” and “Dear Sons And Daughters Of Holy Ghosts” keep the album strong with some good solid rocking. “Dinner Bells” is a good cathartic slow-burner preceding the ending climax of the album, plus it even reminds me of good ol’ Australia as it sprawls on. The good stuff feels like it has staying power, and the rest isn’t bad either.
– Steven Reilly