As many readers of this site can probably agree, one of the most annoying things you will hear people mutter and whine about is the lack of good music, or of good bands. Granted, the radio (if anybody listens to that any more), and areas where people might go to for what is popular these days, might have a lack of great bands for people who like guitar-based Rock and Roll, but to say there are no good bands is drastically misleading. In all reality, there is quite possibly more great music available to the world than ever before.
To prove that point one only has to look towards the newest release by Wyldlife, “The Year of the Snake.” We aren’t going to pull apart every song here, because in all honesty, this is an album made up of favorite songs. Every song on here will have somebody out there that says “Such and such is my favorite song!” Even on those certain songs that are merely “really good” in my opinion, I can still hear why somebody out there will freak out over said song. So, instead, I am going to cherry pick certain songs. I am not picking them because they are the best, but rather because they showcase something about this band that kind of sets them apart.
For the most part Wyldlife wavers between power-pop and straight-up punk. Not hardcore, but 70’s based snotty street punk. Right off the bat, if those styles interest you, I recommend checking them out. Brilliant riffs at every turn and vocals that rely on feelings more than technical skills. No two lines are ever sung the same way, not even in choruses half the time, as vocalist David Feldman lets the song take him where it is going to take him. Even watching the live footage, you will hear differences from time to time, it is all coming from the heart.
“Neon Nightmare” is an example of the ridiculously brilliant songwriting. The song builds one hook after another. The verse is catchy as hell, but then we break into the “Safe to say” chorus, and you think you have heard it all, then they ramp it up with the bridge of ‘Jackie said,” and the whole song has you drooling, just imaging the heights this band might be able to take you to.
70’s Punk time rolls in with “Kiss and Tell.” One of those songs that when you first hear it, you think “Yeah, OK.” But then they throw things in to make the song dig into your head. A song where they roll out killer lyrics and backing vocals that just fucking kill. “3-day weekend, 4-day bender,” with the backing vocals, this is why we are hear folks, a band who knows all the tricks and when to use them and when to kill with them.
I’m not a “ballad” or mellow song kind of guy. But Wyldlife rolls out “Automatic,” a slow down number, power-pop with some modern sensibilities that will probably connect with a lot of the younger people today, but will not lose us old guys. That’s kind of the skill of Wyldlife, they are truly genre-breaking and, more importantly, generation gap breaking. A song like “Automatic” will connect with a lot of people, but won’t leave anybody out.
Speaking of possibly leaving somebody out, however, let’s discuss album high point, and possibly point of offending some: “Sacre Bleu.” A song that was obviously written after a not-so wonderful trip to France, and the French areas of Canada (it would seem). I’m thinking vocalist Feldman was not too overly impressed with his time spent there. One can look at this as a possibly all out attack, or a loving ribbing, depending on your sense of humor.
The song is full-blown, all-out punk attitude and spit. An attack on rudeness and hairy armpits. “The language of love is getting in my way,” “Mon Cherie now you’re sick of me, the feeling goes both ways.” I have to give this a loving ribbing call, though, due to the “USA” chant thrown in, as for me that seems like a quick little poking of fun at the USA itself. If you’re from the USA you know that chant and “Murica” can be seen as mocking of ourselves.
The most unusual track on the album is “The Falcon.” This is new territory for the band. 70’s Arena Rock with the attitude of Punk. A brilliant song based around a killer guitar riff that is much heavier in feel than anything they have done before, more intense and serious sounding, and shows a growth I was not expecting from the band. Most of the time as a band starts getting further into their career a breakaway song such as this could bring about concerns, but this one brings about excitement. It shows that these guys are fearless and can go in almost any direction that they choose. This the type of song that if the audience member is unfamiliar with the band, is a show stopper. It is at this moment you say “Holy shit, these guys are for real!”
One thing about Wyldlife, they are a band that relies on every member. Yes, primary songwriters are Sam Allen, with every lyric written by David Feldman, but make no mistakes about it, this band runs like it does because of the four members all contributing crucial ingredients. From perfect drum fills, to insanely tasteful basslines that come in at the exact right moments, to the smartly well-placed backing vocals, every single member pulls his weight and adds to the overall effect of the band.
This is top-notch badass. Wyldlife isn’t trying to be the new Hanoi Rocks, Ramones, New York Dolls, Replacements, Thin Lizzy or any other band. They are just trying to be Wyldlife. They just happen to be coming from the same place as all of those other bands, and letting their influences take shape in the same way: as a new identity. Yes, there are still great bands being made today, and Wyldlife just happens to be standing at the top of those.
10 out of 10 – the album to beat this year
Standout track – every single one of these damn things!
10/10
TRACKLIST
Deathbed
Neon Nightmare
Get Well
Kiss and Tell
Automatic
Crime of the Scene
Sacré Bleu
Year of the Snake
Tulsa Superstar
Keeping up with C.T.
The Falcon
