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Track List
01) This Ladder Is Ours
02) Cholla
03) Tendons
04) Little Blimp
05) Bats
06) Silent Treatment
07) Maw Maw Song
08) Forest Serenade
09) The Leopard and the Lung
10) The Hurdle
11) Wolf's Law
01) This Ladder Is Ours
02) Cholla
03) Tendons
04) Little Blimp
05) Bats
06) Silent Treatment
07) Maw Maw Song
08) Forest Serenade
09) The Leopard and the Lung
10) The Hurdle
11) Wolf's Law
5:12
3:23
4:19
2:52
3:48
3:39
6:47
4:22
6:00
3:59
9:34
Data Complete
70%
Total Rating
70%Total Rating
(2 users)
Back Cover
CD Art
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3D Thumb
3D Flat
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First Released
2013
Alternative Rock
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Rock/Pop
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Medium
Album
0 copies
Album Description
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Wolf's Law is the second full length studio album from Welsh alternative rock band The Joy Formidable. The album was released on January 21, 2013 in the UK and on January 22, 2013 in the US through Atlantic Records. Writing for Wolf's Law was primarily done on the road during the twelve-month period the band toured in support of their previous record, The Big Roar. Commenting on the writing process for the album, band guitarist and lead vocalist Ritzy Bryan explained that the songs for the album were approached with vocals and one accompaniment (either guitar or piano) before being built upon, stating "It's all about the lyrics, the voice and the melody". In regards to the writing process the band operate on, guitarist Rhydian Dafydd explained to Chris PJ Martin of The Underclassed, "We always write what's close to our hearts. Every lyric on this album means something - the same as the last record." The vocals and guitars were recorded in January 2012 in Maine, while drums and additional orchestral and choir pieces for the record were scored and recorded by the band in February 2012 in London. Mixing duties for the record were handled by Andy Wallace while the records production was completed by the band. Thirteen songs were recorded during these sessions. The album title is a reference to Wolff's law, a scientific theory by Julius Wolff which posits that bones may become stronger in response to stress as a form of adaptation. According to Bryan, this relates to one of the major themes of the album which is "relationships on the mend and feeling reinvigorated", continuing that the album feels like the band reconnecting with themselves emotionally and spiritually. The album was also said to have been partially influenced by nature, social issues, and Native American mythology. "The Leopard and the Lung" was said to have been inspired by activist Wangari Maathai.
User Album Review
Wolf’s Law suggests that, however hefty a burden is placed upon our bones, they’ll adjust accordingly to support the load.
And it’s unsurprising that The Joy Formidable have become keen enough believers in the theorem to appropriate it for the title of their second album. If 2011 debut The Big Roar had them pegged as promotion-pushers to rock’s big leagues, patronage from Dave Grohl and support slots with Muse last year must have placed a stadium-sized weight on their skeletons.
Little wonder, then, that Wolf’s Law often finds frontwoman Ritzy Bryan in the midst of existential crisis or bouts of introspective soul-searching.
“Let’s sit and talk and slow things down / Just be our old selves again finally,” she pleads on opener This Ladder Is Ours.
But for all the talk of hankering for safer past climes, there’s scant nervousness to be found in the orchestration: gorgeously classy strings take on the slightest of nightmarish hues, before a whiplash of riffs comes crashing down.
It’s this tightrope between bruised self-doubt and fun blasts of noise that gives Wolf’s Law its emotional heft; a seesaw of seeking salvation and receiving it courtesy of cathartic anthems.
Cholla sees Bryan ask, “What are we doing? Where are we going?” But the boisterous thwack ’n’ thrash turns the chorus into something euphoric rather than moribund.
On Bats, her fretting of “I had a reason, but the reason went away” is given a shot of adrenaline by the bonkers, snot-nosed backing. And while Tendons postures as a love song, it’s as sleazy as it is starry-eyed due to its scuzzy, positively filthy bassline.
Odd spots see them descend into tedium, such as the anaemic balladry of Silent Treatment.
But the genuinely bonkers Maw Maw Song is so brilliant that other dreary transgressions can be forgiven. It’s a meandering beast that encompasses Led Zeppelin-shaped wig-outs, prog-rock detours and a gloriously dumb chorus while Bryan shrieks like a rock priestess over the course of seven minutes.
That track’s a testament to The Joy Formidable’s conviction that having stadium-sized ambitions doesn’t have to neuter your originality. Whatever’s thrown at them next, their bones are unlikely to buckle under the pressure.
External Album Reviews
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User Comments
Available in:
Wolf's Law is the second full length studio album from Welsh alternative rock band The Joy Formidable. The album was released on January 21, 2013 in the UK and on January 22, 2013 in the US through Atlantic Records. Writing for Wolf's Law was primarily done on the road during the twelve-month period the band toured in support of their previous record, The Big Roar. Commenting on the writing process for the album, band guitarist and lead vocalist Ritzy Bryan explained that the songs for the album were approached with vocals and one accompaniment (either guitar or piano) before being built upon, stating "It's all about the lyrics, the voice and the melody". In regards to the writing process the band operate on, guitarist Rhydian Dafydd explained to Chris PJ Martin of The Underclassed, "We always write what's close to our hearts. Every lyric on this album means something - the same as the last record." The vocals and guitars were recorded in January 2012 in Maine, while drums and additional orchestral and choir pieces for the record were scored and recorded by the band in February 2012 in London. Mixing duties for the record were handled by Andy Wallace while the records production was completed by the band. Thirteen songs were recorded during these sessions. The album title is a reference to Wolff's law, a scientific theory by Julius Wolff which posits that bones may become stronger in response to stress as a form of adaptation. According to Bryan, this relates to one of the major themes of the album which is "relationships on the mend and feeling reinvigorated", continuing that the album feels like the band reconnecting with themselves emotionally and spiritually. The album was also said to have been partially influenced by nature, social issues, and Native American mythology. "The Leopard and the Lung" was said to have been inspired by activist Wangari Maathai.
User Album Review
Wolf’s Law suggests that, however hefty a burden is placed upon our bones, they’ll adjust accordingly to support the load.
And it’s unsurprising that The Joy Formidable have become keen enough believers in the theorem to appropriate it for the title of their second album. If 2011 debut The Big Roar had them pegged as promotion-pushers to rock’s big leagues, patronage from Dave Grohl and support slots with Muse last year must have placed a stadium-sized weight on their skeletons.
Little wonder, then, that Wolf’s Law often finds frontwoman Ritzy Bryan in the midst of existential crisis or bouts of introspective soul-searching.
“Let’s sit and talk and slow things down / Just be our old selves again finally,” she pleads on opener This Ladder Is Ours.
But for all the talk of hankering for safer past climes, there’s scant nervousness to be found in the orchestration: gorgeously classy strings take on the slightest of nightmarish hues, before a whiplash of riffs comes crashing down.
It’s this tightrope between bruised self-doubt and fun blasts of noise that gives Wolf’s Law its emotional heft; a seesaw of seeking salvation and receiving it courtesy of cathartic anthems.
Cholla sees Bryan ask, “What are we doing? Where are we going?” But the boisterous thwack ’n’ thrash turns the chorus into something euphoric rather than moribund.
On Bats, her fretting of “I had a reason, but the reason went away” is given a shot of adrenaline by the bonkers, snot-nosed backing. And while Tendons postures as a love song, it’s as sleazy as it is starry-eyed due to its scuzzy, positively filthy bassline.
Odd spots see them descend into tedium, such as the anaemic balladry of Silent Treatment.
But the genuinely bonkers Maw Maw Song is so brilliant that other dreary transgressions can be forgiven. It’s a meandering beast that encompasses Led Zeppelin-shaped wig-outs, prog-rock detours and a gloriously dumb chorus while Bryan shrieks like a rock priestess over the course of seven minutes.
That track’s a testament to The Joy Formidable’s conviction that having stadium-sized ambitions doesn’t have to neuter your originality. Whatever’s thrown at them next, their bones are unlikely to buckle under the pressure.
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