‘Wolf’s Law’ is the second offering from the noise-pop band The Joy Formidable. 2011’s ‘A Big Roar’ was received well, and the two singles already released from the new album have also received a positive response. ‘A Big Roar’ was an assured debut, but left plenty of room for the band’s sound to develop and grow.
The album kicks off with the two songs that have already been released. This Ladder Is Ours and Cholla are brilliant tunes, but it does seem unusual to place the two songs people will already be familiar with right at the start of the album. Both are catchy and accessible with the fuzzy guitars, powerful basslines and aggressive drums contrasting with Ritzy Bryan’s sweet voice. Tendons follows in the same style and is equally impressive as the previous two tracks. Little Blimp and Bats follow, and are grungier with less of the catchy hooks that characterised the first three tracks. Neither is a bad song, but both fall short of the standard set by the opening tracks.
The first half of the album is very similar in style to the band’s debut with the poppy choruses and constant background of distorted guitars. With the album slowing up a little after five tracks, there is a sense that the songs might just be inferior rehashes of the powerful singles. But Silent Treatment marks an abrupt change in the middle of the album. The acoustic track serves as a break from the band’s usually intense sound. By itself it is merely a decent track, but in the context of the rest of the album, it sounds wonderful. The track also marks a turning point in the record with the band experimenting with new sounds to a greater extent on the second half of the album.
Maw Maw Song is an absolute belter of a track, with a brilliant riff that dominates the song. A harp and piano add an exotic texture, and the guitar solo that enters half way through is thrilling. This is a song that demands to be played at full volume. Despite having to follow up the rock masterpiece of Maw Maw Song, Forest Serenade somehow manages to match the brilliance of the previous track. Prominent roles for the strings and bass generate a glorious, majestic atmosphere and Bryan’s vocals are particularly impressive and uplifting. The Leopard and the Lung centres around a soaring piano riff, but the gritty guitars and dirty basslines that are the band’s trademark are still very much present. A large vocal part for bassist Rhydian Dafydd adds some variety, and there is a real epic quality to these tunes. The Hurdle is yet another massive song that starts slowly but builds up to become every bit as powerful as the earlier songs with a strong string presence and intense, emotional vocals. The Turnaround is a fine concluding track with the strings generating a grand and proud atmosphere, and acts as a convincing full-stop.
Wolf’s Law is an absolute stunner of an album, from the striking cover art right through to the hidden final track. The Joy Formidable retain the elements that made them popular on their debut while showing they have progressed in their song-writing abilities. The first half of the album is excellent, but the second half is on a whole different level. The songs sound delicate, soothing and tender, yet at the same time are intense, rocky and passionate. The grand and majestic qualities that are prevalent throughout draw loose comparisons with Muse, but with Bryan’s voice, the heavily distorted guitars, and the heavy rock drumbeats, The Joy Formidable have a sound that is completely their own.
If you liked this, you may like My Bloody Valentine or September Girls. The Joy Formidable play The Academy on January 26th. Win tickets to the show.