Wolfmother have certainly experienced a tumultuous few years since they first burst on to the scene. The Australian trio’s blend of Black Sabbath-meets-Led Zeppelin worship blasted the band into the mainstream with a level success that surprised many. They say imitation is the highest form of flattery, and Wolfmother have taken that to heart, as fans of modern rock radio responded with overwhelming approval. Granted the band may not be terribly original, but their “new” old sound was refreshing to current state of commercial radio, bringing enormous stoney riffs into your homes like the hazy bong-toking days of the early 70s never left. Apparently the success wasn’t enough for everyone in the band, as 2/3 of the band exited due to irreconcilable differences at their height of popularity. Frontman Andrew Stockdale continues onward with a new line-up, now a quartet comprised of himself (vocals/guitar), Ian Peres (bass/keys), Aidan Nemeth (guitar), and Dave Atkins (Drums). While a massive overhaul of the founding members may lead some to expect a significant change to the band’s sound, Cosmic Egg is very much what you would expect from Wolfmother, for better or worse. The riffs still bleed with the same blatant influences, the hooks are still catchy, and the psychedelic lyrical nonsense still vivid.
With lyrics about “homemade hydroponics” and a slow sludgy mid song crawl, Wolfmother start things off with a stoner rock cloud of smoke on “California Queen”. The riffs surge against a deep hypnotic bass line, and Nemeth wastes no time showing the new line-ups improvement, with wild energy and eager soloing. The first single “New Moon Rising,” is example of the Aussies’ at their catchiest. A stuttering drum beat and wavering vocals ascend to anthemic levels for the songs punchy and simple hook. The 70s are alive in Stockdale’s mind, and the infectious riffs that come with it are regaining popularity in today’s “Guitar Hero” culture. The Led Zeppelin adoration reaches new levels bordering on tasteless repetition on “White Leather”. The other major contributing factor of Wolfmother’s sound, Black Sabbath, gets its just dues with an enormous derivative riff on “Sundial”. The rhythm section pounds simplistic stomps around the circling fret work, and the Sabbath lads should feel honored by the clear-cut imitation. As for those looking for something new and inventive, Cosmic Egg won’t be breaking down any barriers.
“In the Morning” delivers the albums first ballad, and is driven by layered guitars that wail with bends, as the bass thumps into overdrive. The lyrics are fairly ridiculous, including lines like “everywhere you look when you look into the book,” but are saved by the woozy guitar solos that swirl with grace John Frusciante could be proud of. The evil chug of “10,000 Feet” sets a great tone for anyone who enjoys fuzz so thick you could choke. Even the cymbals’ crash sounds muted through the fog, and the unrelenting attack strives with the apocalyptic moan of Stockdale’s vocals for one of the better songs on the album. The title track is an ode to rock n’ roll, with a riding vibe that conjures up images of “I did a bad bad thing…”. The riff has been used, slightly shifted, and re-imagined countless times, but allows first time listeners to sense a great deal of familiarity. Vacuum processed solo licks bounce through in stereo, as Atkins gets to shine with doubled bass and heavy tribal drums. “Far Away,” is another slow paced ballad with keys and acoustic guitars providing the easy going atmosphere for Stockdale’s dreamy croon, “I believe that love is gonna last forever, and it’s all within my mind”. With a big solo riff plowing over everything and a steady piano stroke, the epic rising ballad certainly has some redeeming Guns N’ Roses qualities to it.
“Pilgrim” focuses an upbeat groove on “gypsy wisdom” and desert atmosphere, for an entire psychedelic nuance helped by the warped “wahs” of the guitar riff. The break down is deeply entrancing with the song slowing to half the time and an explosion of one singular fuzz riff. When the speed picks back up, the fury of Stockdale’s solo rises right along like with it, soaring like a majestic stoned eagle. A scratchy guitar lick runs rampant in circles with the bass line on “In The Castle,” a track sounding as though lifted directly from their self titled debut album. The band has certainly “still got it,” but haven’t shown much growth with what it is they possess. “Phoenix” showcases a semi-restrained vocal approach from Stockdale, until a warm wash or 70’s prog influenced organs signify the chorus and his reemerging howl. The song whips and feeds into a dazzling garage rock wrath as the band expands their horizons ever so slightly. “Violence of the Sun” wraps up Cosmic Egg with a slow tempo courtesy of twinkling pianos, sparse sludge eruptions, and a wailing call to the heavens from Stockdale’s vocals.
If you enjoyed the band’s debut album then rest assured, very little has changed with the second go ‘round. Chances are if you were already a fan, you still will be. For those hoping Wolfmother would develop into their own, further expanding their sonic template, well… better luck with album three. If the big memorable guitar riffs, mythological lyricism, and expansive hooks of the hard rock 70s provided the soundtrack for many years of weed scented entertainment, Wolfmother are eager to supply the new noise so another generation may hazily bang their heads. Many have claimed their music “passionless,” but it’s clear where their passion lies, in continuing the legacy of the great bands before them by re-crafting and praising their influences further cementing their sounds into the future of rock music.
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