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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Look Deeper, June 17, 2008
When I first heard At Mount Zoomer, I was a little disappointed. It didn't seem to have the instant POP of Wolf Parade's first album, Apologies To The Queen Mary. That album broke onto the scene with gritty, electronically tinged rock songs that contained enough pop sensibility to appease any ear. At Mount Zoomer sounded like they were trying to repeat that effort, but with less success.
And then I listened again. And again. And again.
It became apparent that the album is more complicated than that.
Language City is gem. It opens with an excellent guitar riff and then enters the drums, the piano, and once a furious rhythm is established familiar synth buzzes through the air. They then break it down into a transcendent, hope-filled finish echoing, "We are not at home."
Exactly, the band is somewhere else now. Wolf Parade seems more concerned with the timing and progression of their songs.
"California Dreamer" starts strange with hopping bass and synth like a hypnopompic hallucination. The song then jumps into a psychedelic jam and finally ends leaving little of that initial strangeness resolved.
This oddity is followed by the cheery "The Grey Estates" wiping away the cobwebs of "California Dreamer."
"Fine Young Cannibals" follows with brooding guitar parts. Again the flow established in the previous song is interrupted. The song evolves into another dreamlike jam and the result is superb.
I could go on but I think I made my point. There is a surreal character in the album created by the shifting moods. Wolf Parade seamlessly moves between otherworldly jams and hallucitory peaks and valleys. The result epic in scope, though not as immediately accessible as Apologies. However, Zoomer is a much more interesting listen. Fans of Apologies who give the album a close and scrutinizing listen will discover a new world here. And it's a fun and mesmerizing place.
I can't finish this review without noting that album ends fantastically with Kissing the Beehive Pt 1 and 2.
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4 of 4 people found the following review helpful:
3.0 out of 5 stars
Wolf Parade - At Mount Zoomer 6/10, August 1, 2008
Wolf Parade's combustible, frantic first album, Apologies To The Queen Mary, was one of the most creative and undeniably fresh debuts by an indie rock band in 2005 or since, and their members' haven't been lacking for any new ideas; vocalists/guitarists Dan Boeckner and Spencer Krug have been involved in countless side projects, with Wolf Parade only the most well known. It would be quite a task to match up to the unique indie-rock of Apologies, and Wolf Parade doesn't try. Instead, they set back the metronomes, tone down the yelps, and take to At Mount Zoomer like a wizened painter slowly fine-tuning his latest piece to work out every last kink.
The results are, predictably, mixed. Much of Apologies charm came from its "screw-the-torpedoes-full-speed-ahead" mentality and the way Wolf Parade's grab-bag of rock styles and influences combined to create a whole that always seemed like it was about to fall apart but somehow managed to stay strong to the end. At Mount Zoomer is slower and more calculated; Wolf Parade knows what they want to do, and, for the most part, they do it. "Soldier's Grin" is vintage Wolf Parade, rolling drums, hypnotic keyboards, and Boeckner and Krug's peculiar vocals framing their characteristically dense lyrics.
"Call It A Ritual" is even more tightly focused, built around a foreboding piano line and squalling guitar, but the song never really develops beyond its origins. The following "Language City" is the best song on the record, a tune about the pointlessness of talking just to talk that has a better beat than anything else on the album and a cathartic synth-based ending.
The songs tend to switch between shorter 3-minute pop experiments and 6-minute-plus musical expeditions. At Mount Zoomer thus has only nine tracks, but due to the often-bloated track lengths, Boeckner and Krug's idea well tends to run dry along the second half of the album. "Fine Young Cannibals" loses steam early and turns into an instrumental that is interesting only the first time one listens to it. Closer "Kissing The Beehive" is about as prog as Wolf Parade could ever reasonably be expected to go, and consists of about five minutes worth of excellent melodies and ideas and another six minutes of so-so noodling and half-brained ventures. It's a conscious attempt to sound epic, one that they can do just as easily with half the space.
Overall, the tracks on At Mount Zoomer tend to stand up individually on close inspection, but when the album is taken as a whole, its parts seem a little less distinctive. No song here grabs you immediately like Apologies opener "You Are A Runner And I Am My Father's Son" or the heartfelt honesty and catchiness of "Dear Sons And Daughters of Holy Ghosts." Apologies succeeded in never staying in the same place for too long; At Mount Zoomer succeeds in once again sounding unique, and Wolf Parade have once again defined a sound that is unequivocally theirs, but as a whole the songs tend to sound too similar too one another over the long haul to match up to Apologies' breakneck pace and innovative rapid-fire changes.
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1 of 1 people found the following review helpful:
4.0 out of 5 stars
Wolf Parade - At Mount Zoomer, September 5, 2008
At Mount Zoomer (2008, Sub Pop) Wolf Parade's second studio album. ****
Certainly Arcade Fire's church studio didn't work the wonders for Wolf Parade's sophomore album as it did for them, but that doesn't mean the duo don't know how to make good music. At Mount Zoomer is strangely dense; in a way, it avoids the overly-layered approach that come to plague indie rock and alternative rock bands that want to veer further away than what is considered the all-too-obvious quirkiness. At the same time, they don't come off as too bouncy or weird. It's a delicate balance of a wide array of influences, but in the end, Wolf Parade are easily a staple band of the indie rock community. "Language City" has a whirlwind of synths, marking its independence from a run-of-the-mill studio single. "California Dreamer" sounds like a lost Doors take, featuring heavy electric keyboards and brooding vocals, mixing in some very progressive sounds. One waits to hear Morrison chime in on the chorus, "I thought I might have heard you on the radio/But the radio waves were like snow." The only snag may be "The Grey Estates," which sounds all too much like an Arcade Fire song. And while that in itself may not be bad, the idea that Arcade Fire could have done it so much better makes you wince. "Fine Young Cannibals" features a very orderly procession, with sparse bass, keyboards, and guitar. It sometimes meanders, but never does it stray too far, and Boeckner and Krug's vocals always bring it back. The album finishes with "An Animal In Your Care," a Simon and Garfunkel would-be complete with "La-la-lies" just like "The Boxer." At the end of the day, artists will be forced to look at At Mount Zoomer as a new twist with the same ingredients, because while there is no message or theme like there was on Neon Bible, the music itself is far more complex than it appears, revealing more intricacies with each listen. A very decent sophomore effort. (Soldier's Grin, Fine Young Cannibals)
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