Wolfmother | Paper Tiger Pitchfork praised the songs for striking “a
balance between meaty vintage metal and crisp, stoner-rock
melodies.” NME said it ticked “the requisite boxes for all great
rock & roll” and called it “utterly, utterly thrilling,” and Q
Magazine called it “immense fun.” When it was released in 2005,
Wolfmother’s eponymous debut was exactly what rock & roll needed: a
meaty, beaty, big and bouncy genre resuscitator that not only broke
through to the mainstream, but broke big. Wolfmother was certified
Gold in the States and Triple-Platinum in the band’s Australian
homeland. Lead single “Woman” hit top ten on the Hot Modern Rock
Tracks Chart and won a Grammy for “Best Hard Rock Performance.”
Their songs became ubiquitous, appearing in films (Shrek, Jackass, The
Hangover), video games (Need For Speed, MLB: The Show, Saints Row) and
television commercials (Apple, Mitsubishi). No wonder Rolling Stone
named it one of the best albums of the year. Led by vocalist/guitarist
Andrew Stockdale, Wolfmother have amassed a global fanbase, played to
packed-house crowds around the world, delivered show-stealing sets at
star-studded festivals like Coachella, Lollapalooza and Reading and
Leeds, and have been invited to share stages with rock icons Aerosmith
and AC/DC. For their induction into the UK Music Hall of Fame, Led
Zeppelin personally invited Wolfmother as their guests (the band
showed their appreciation by delivering an electrifying cover of
“Communication Breakdown”). For most artists, such accomplishments
usually mark the culmination of a career – if they’re lucky. But
ten years after their arrival, Wolfmother have returned with what
could arguably be called their best work to date. With Victorious,
Stockdale once again arrives right on time: in an era dominated by
single-song downloads, this is an album worthy of repeat listens from
top to bottom. Following 2009’s Cosmic Egg and 2014’s New Crown,
the much-anticipated Victorious (Universal Music Enterprises) is an
electrifying testament to the range and depth of Stockdale’s
artistry. Recorded at Henson Studios in Los Angeles with two-time
Grammy winning producer Brendan O’Brien (Pearl Jam, Soundgarden,
Bruce Springsteen), the songs are edgy, inventive and uncompromising
and rank among the band’s best ever. Stockdale began working on the
record this past January at his Byron Bay studio in New South Wales,
writing on every instrument and embracing the same creative approach
he used on the band’s debut album a decade ago. “Back in the early
days, I’d play guitar, bass, and drums and then present the ideas to
the band and we’d work on the arrangement together,” he says. “I
thought it would be cool to get back to demoing ideas by myself and
playing everything. It’s a good way to do things because it can make
the style more cohesive.” In addition to vocals, Stockdale played
guitar and bass and brought in Josh Freese (Nine Inch Nails, Bruce
Springsteen, A Perfect Circle) and Joey Waronker (Beck, Gnarls
Barkley, REM) to split drum duties. About working with O’Brien,
Stockdale says, “I did the last record by myself, so it was good to
get back to working with a producer who could help with arrangements
and have a responsibility to maintain the sound. Brendan’s a very
musical producer, and he had a great understanding of the songs.”
The first single “Victorious” swings from a propulsive riff and
pronounced drum stomp into a gargantuan, triumphant vocal hook. “I
bought this weird-looking eighties metal guitar,” he recalls. “It
just looks hilarious and I was playing all of these riffs for 20
minutes, pairing them with drums. The lyrics came out of nowhere. It
felt so natural. The words had a certain ring to them.” The album
announces itself with “Love That You Give,” tempering a rousing
and raucous riff with a soulful vocal refrain and vibrant lyricism.
“I had a couple of drinks and started writing,” he says. “By the
end of the day, it was done. Nothing changed from the demo. The
lyrical theme is, ‘How do you react to adversity or difficulties in
life?’ You try to be proactive and put something positive back into
the world instead of buying into other people’s aggression,
negativity, or hatred. You’re counteracting emotions that get thrown
at you.” For the cinematic “Pretty Peggy,” he strips everything
down to an acoustic guitar and delicate beat, then illuminates his
dynamic range over the sixties-style strut and handclap of “Best of
a Bad Situation.” He recalls how the latter came together: “There
was a huge storm approaching Byron Bay. All the streets were flooded,
and they were telling everyone to stay home, but I drove through it,
went to the studio, and started listening to all these Small Faces
songs with Rod Stewart. I wanted to do something upbeat like that.”
About the thick-grooved “Gypsy Caravan,” Stockdale says, “the
title references the transient lifestyle. When people finish high
school, they want to backpack around the world. When people retire,
it’s the same thing; they want to get an RV and ride around. Things
are constantly moving. There’s a romantic notion of the musical
life, but wanderlust truly unites all of us.” Ultimately, Victorious
is meant for the road - that’s where Wolfmother roars to life. “We
wanted to get back to that big sound,” says Stockdale. “It’s
this balance of garage-y energy and big production. It’s wilder and
more energetic—and perfect for a festival main stage.”
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29/05/2020 Last update