The Sounds of Summer

Courtesy Amazon

by Lindsey Maddox
September 10, 2008

Shearwater, “Rook”
4 out of 5 stars
Jonathan Meiberg’s first Shearwater release since leaving parent band Okkervil River is a brilliant, intimate album with a rich atmosphere. Rook evokes an alienating journey at sea, confronting both personal demons and the trials of nature. “On the Death of the Waters” opens the album with quiet piano. Meiberg’s fragile voice carries the lines until, out of nowhere, a squall of noise breaks through. The excellent “Lost Boys” begins softly with dulcet strings and simple guitar picks, then swells to battle-like gusto, a marching drum cadence and swirling trumpets echoing the vocal passion. “Century Eyes” immediately confronts with Brit-rock intensity, guitars in the foreground with faint piano spiraling down as Meiberg spits his lyrics out with a vengeance. But the stark introspection of Shearwater’s acoustic tracks are the most unsettling. Meiberg’s voice reaches for high notes with the ghostly fear of a young boy, while his earthy tenor seeks to fight his demons off with pure emotive strength. It’s easy to see how this remarkable intimacy, while housed in a distinct and unusual aesthetic, can also alienate many listeners. But for those with a strong heart and courage, it is a journey well worth taking.

Wolf Parade, “At Mount Zoomer”
3.5 out of 5 stars
Wolf Parade’s second album, “At Mount Zoomer,”continues the band’s rhythmically charged, baroque rock, but deviates from their hit debut album “Apologies to the Queen Mary” with a more mellow approach. Though the album lacks the excitement that ushered in their debut, with several good tracks, “At Mount Zoomer” is still a formidable sophomore effort. “ Call it a Ritual” has the same menacing pace and rhythmic tension of debut track, “I am a Runner, and I am My Father’s Son,” with slightly less complexity. The constantly moving “Language City” is a joyous pop medley of shuffling drums, bouncy piano lines, airy synth flourishes and majestic guitar riffs. “California Dreamer” brings to mind a sinister rock opera. The wild and flighty song surging into choruses of crashing drums, chaotically flying synth lines, and violent guitar. The epic “Kissing the Beehive” closes the album with a focus and momentum that reins in the band’s manic tendencies. But the song’s dark, thorny approach also crystallizes the band’s evolution toward moodier and more complex territory. “At Mount Zoomer” tells fans it’s not going to be easy. Wolf Parade, we hear you loud and clear, and it’s just fine with us.

Dr. Dog, “Fate”
2.5 out of 5 stars
Dr. Dog’s latest offering, “Fate,” mostly moves away from the anthemic and theatrical stylings of the Philadelphia-based band to explore more earthen aesthetics and a looser delivery. Along with a few traditional offerings, the album ventures into honky-tonk, progressive rock, 70s’ power pop, and Steely Dan-style 70s’ rock. Highlights include “100 years,” “Army of Angels” and “Hang On.” The first presents “hunky dory”-era Bowie pop with a rickety, honky-tonk piano. “Army of Angels” offers a convincing take on classic soul. “Hang On” finds a marriage of all the album’s components in a surprisingly catchy way, merging rural, rugged jams with dramatic vocal conviction and light-hearted pop mentality. Unfortunately many songs trade clever pop riffs for the obliviously cloying approach of 70s’ powerpop and feel-good hippie jams. The worst offender is perhaps “The Rabbit, the Bat, and the Remainder,” which combines jaunty derivative piano with vocal coos and inane lyrics like “Should we pretend that it’s the end?/Are you my curse, or are you my friend?” Overall, “Fate” shows promise for the Philadelphia band, but the group must learn to keep its delightful buoyancy without sacrificing substance.

 
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