Heave Media

Indie-Opera or Bust?

Wolf Parade switch structure, but don't sacrifice sound.

Wolf Parade

At Mount Zoomer

Released on Jun 17, 2008

Wolf Parade smashed into most of our eardrums in 2005 with their first full-length, Apologies to Queen Mary. For collegiate and indie-rock radio, it seemed like the equivalent of a 1960s Beatles release, one chart-topper after another with clever hooks and unequalled mastery by each member, not to mention the clever play between the two leading members, Dan Boeckner and Spencer Krug.

At Mount Zoomer is a stretch, to say the least, from the smart blueprint of Apologies. While lyrics surrounding insomnia and choruses that make the stressful 21st century life still abound, musically, the record simply doesn't bounce along like Apologies. The first track, "Soldier's Grin", carries its staccato cadence and lyrical, almost hymnal, breakdown through more tempo changes in a single song than anything previously heard from the Toronto quintet.

This sort of drift in song structure (though the band maintains the sound of Apologies throughout Zoomer) seems indicative of both Boeckner and Krug giving up their leading roles. Both were fully immersed in personal side projects (Handsome Furs and Sunset Rubdown). They've both commented that, in being able to be in complete control of these projects, along with the limited time the band can find to record with each other, they looked much more to other members for input. They've also commented that they simply didn't want to do the same record over again.

This becomes blatantly apparent when you get to track three, "Language City", a rousing call to abandonment of a boring home. While, thematically, we've seen this idea before from Wolf Parade, the theatrics of the song explode midway through. With various bridges, breakdowns and a chanting chorus to end things off that would impress Broadway fans along with the most cynical black-rimmed bespectacled listeners. "Oh, the ringing telephone, there's no one around/we are not at home/hang up the telephone" becomes as much a joyous cry of postmodern revolution as a moment that Andrew Lloyd Webber would have trouble matching.

Though filled with great songs, the second half of the album drags in a manner that one can't help but contrast with Apologies. Even the final track, "Kissing the Beehive," lacks the sort of 1-2 punch that one would think Wolf Parade knew how to end any sort of statement with. Instead, it drags through dimly lit sonic decadence for eleven minutes, ending with a steady musical implosion.

If Apologies to the Queen Mary was a vibrant rainbow of an album, At Mount Zoomer acts as the silver-lined clouds of rain surrounding it on either end. While enigmatically still of the Wolf Parade sound, the ingredients are so much more apocalyptic and mashed together that one can't help but see the narrative beginning and end throughout. Surely, this was as much a result of the new writing method as the writing and recording venue, the church that is owned by fellow Canadian rock heroes, The Arcade Fire. Zoomer doesn't satisfy the quick-punching hits that one inherently hopes will be delivered after such a great breakout album. However, the album maintains the sound and style that we all fell in love with and takes experimentation in songwriting and cohesion throughout the album as a whole to a new level for the band. Give this one time, just like the first time you heard The Wall and "didn't get it" Zoomer is at once charming and confusing. For those looking for the same as before, you'll be disappointed. If you want to hear honest progression in a wonderfully talented band, At Mount Zoomer is as interesting and of as high a quality as you'll find.

Posted by Mark Steffen on Jun 23, 2008 @ 12:30 am

wolf parade, at mount zoomer, kissing the beehive