Montreal band We Are Wolves show their affinity for synthesizers and fuzzy guitars on “Non-Stop,” their debut album for Fat Possum Records.
“Non-Stop” is eleven tracks of electronic madness. Keyboardist Vincent weaves cyclical analog synth lines, guitarist/bassist Alex plays some of the fuzziest guitar and bass to be laid on wax in recent music, and Antonin holds it all together on percussion. Each member contributes vocals, which alternate between singing, shouting, and the occasional spoken-word section – which are then appropriately distorted or run through a plethora of effects including delays and echoes.
We are Wolves have created a solid debut with “Non-Stop.” Alternately exciting and introspective, their music is weird enough to maintain their indie credibility while remaining catchy enough to be listenable. Synthesizers dominate on “Non-Stop.” Nearly every track begins with some sort of old-school Sci-Fi noise, and Vincent wastes little time, bombarding the listener with an array of bleeps, clicks, whirring, and churning noises that add a lot of texture to songs with otherwise simple arrangements.
The production on “Non-Stop” is remarkably consistent despite being recorded with three different producers. Nothing seems to be lost in the mix, and the mess that this album could have become never materializes, which can mainly be credited to Harris Newman’s effective mastering job.
Opener “Little Birds” begins with ascending and descending synthesizers and quickly develops into an upbeat, dance hall-worthy anthem that is reminiscent of an acid-soaked “My Sharona”. “Snare Me” and “T.R.O.U.B.L.E” run in a similar vein, with driving bass lines and catchy shouted choruses which recall the best of 80’s pop. Instrumental “Vosotros, Monstruos” effectively bridges the gap between punk and industrial, with synth lines on top of distorted guitars and a rock-steady beat that shows shades of Ministry.
“L.L. Romeo” features percolating keyboards, funky riffs and competent drumming. All of the elements of We Are Wolves’ sound are on display here, and it is probably the best track on “Non-Stop.”
Slower tracks, like the somber “La Nature” with its fuzzy bass, whining keyboards, and echo-chamber vocals, make for an intriguing listen and give the album much more depth and variety, begging for repeat listens. “Non-Stop” also includes several brooding instrumentals, such as “Namai-Taila-Cambodge” (go-tabla-go) and album-closer “Glaze, Blaze”, which give “Non-Stop” a sense of dynamics for a much more interesting listen, especially since they handle both styles with equal ease.
We Are Wolves are energetic, delivering their performance with a raw immediacy that is hard to ignore. Every track exudes the energy of a punk band on Ritalin yet avoids the cold and sterile nature of most electronic acts. This is most definitely music made by people for people, remaining remarkably organic despite their heavy use of keyboards and effects.
The keyboards may sound like toy lasers from time to time and everything can become so overdriven that it borders on chaotic, but “Non-Stop” never completely dissolves into pure noise and the distortion actually gives the album its distinction. Overall, it is a fun listen that should be especially fun in a live setting, which is probably exactly where We Are Wolves want it to be.
