Wolf Parade "At Mount Zoomer" (Sub Pop) Sounds Like: A promising antidote to the tragically virulent "more-of-the-same-itis." Grade: A-
Before Wolf Parade's latest full-length hit the fiber optic streets, the band's label issued a warning statement to urban grizzly men-hipsters everywhere: "The legion of bearded, sweater-vested critics will want to file this album under 'Prog Rock' because it doesn't offer up sugary cast-offs for the short-attention-span set..."
Undoubtedly, there is a sweet, singsong thread running through Wolf Parade's compositions. But the Canadian indie-pop quartet manages to thwart the tasteless "twee" tag by steeping their otherwise dulcet tunes and traditional pop melodies in the deep, fuzzy guitar and electronic atonalities that swim beneath vocalist/guitarist Dan Boeckner's and vocalist/keyboardist Spencer Krug's elegiac harmonizing. However, compared to their debut LP, "Apologies to the Queen Mary," "At Mount Zoomer" packs a bit more pop than offbeat punch fans have come to expect.
Still, the band has managed to deliver a predictably good album of unpredictable indie-pop. From album opener "Soldier's Grin" to the stunningly endurable and enjoyable "Kissing The Beehive," the nearly 11-minute album-clincher, it's clear Wolf Parade is now in the business of pumping out lithe and refreshingly original pop. The terrifyingly titled - terrifying not for an allusion to snacking on one's kind, but for its reference to the ridiculous band of the same name - "Fine Young Cannibals" is a surprisingly enjoyable '80s-esque slow jam, steady drum machine-inspired percussion and all. The percussives induce the visual of a ridiculously emotive lounge singer serenading a brace-faced prom-night hopeful fidgeting in her bubblegum pink taffeta puffball selected for the occasion.
The album tiptoes on the territory of repetitiveness with the comparably uninteresting "Language City" and "Call It A Ritual," where the band, seemingly impressed with themselves, locks into autopilot. The rest of Wolf Parade's valiant sophomore effort, though, provides an antidote of ample vocal syncopation and drum-induced arrhythmia that evinces that the band is well within reach of their sonic summit.
-HILARY CROWE
Coldplay "Viva la Vida or Death and All His Friends" (Capitol) Sounds Like: A band traveling the world for musical inspiration. Grade: B+
In the British pop/rock band's fourth studio release, Coldplay mostly ditches their formula of piano-based pop paired with drawn out, breathy vocals. Instead, the band creates a sonically intriguing record that proves Coldplay can create fresh music. Inspired by a visit to Frida Kahlo's home, the band used the artist's colorful home to create an album equally lush in sound.
The first track, "Life In Technicolor," sets the tone for the album by making instrumentation top priority. The band layers new sounds and harmonies as the song builds, preparing the listener for an album that continually grows. Coldplay also experiment with the form of their songs, creating movements as opposed to verses and choruses. "42" begins as typical Coldplay-piano-ballad fare, but changes key and tempo about halfway through the song. On perhaps one of the best tracks of the album, "Lovers In Japan/Reign Of Love," the piece opens with bright synthesizers and a pulsing beat. The second part of the song again falls back into the ballad routine, but the melodic piano is worth the triteness.
Elsewhere, Coldplay brings in bongos, Middle Eastern guitar licks and thick strings to keep the listener's ear involved in the journey. A few tracks do fail to impress; "Yes!" never seems to end, and "Cemeteries of London," for all its hand claps and "la la's," never quite achieves the caliber of creation found elsewhere in the record.
Overall, Coldplay found a surprisingly innovative take on their sound in "Viva la Vida." While it may not be enough of a catalyst to change the heart of a musical cynic, Coldplay's newest album is sure to be a hit with everyone else.
-TRACI J. BROOKS
The Hold Steady "Stay Positive" (Vagrant) Sounds Like: runner up for rock album of the year. Grade: B
The Hold Steady's fourth studio album, "Stay Positive," set to release July 14, offers more of their lauded storytelling lyrics and catchy classic rock vibe. Musically, the album branches out with the addition of original instrumentals, but singer Craig Finn occasionally holds the record back with his uninspired vocals.
The start is energetic, forceful and catchy. "We're going to build something this summer," promises Finn in the opening track, "Collective Summer." Crunchy guitars open the track, complemented by piano glissandos and fervent drums. The CD rolls straight into "Sequestered in Memphis," an equally hook-heavy tune complete with group sing-a-long vocals, also featured in the title track. Familiar themes of religion and the rock 'n' roll life surface in many tracks.
The album does lose a bit of its momentum with several tracks that, though interesting, lack the punch of the opening songs. One of the major disappointments of the album is its lack of vocal pizazz. Though Finn spent time with a vocal coach to work on the melodiousness of his voice, it is rare to actually hear a melody. Finn's heavy, gruff vocals often sound more spoken than sung, which discourages any emotional investment by the listener. In the more upbeat songs, this is less of a problem. However, in the instrumentally thin tracks, his voice is rarely enough to carry the song's emotion forward.
With sitar effects in "One For the Cutters" and synthesizers in "Navy Sheets," "Stay Positive" does not rest in one area for too long before moving on to new territory. Listen to the album repeatedly to discover more of The Hold Steady's artful songwriting and to reap the benefits of this musically and lyrically dense album.
-T.B.
