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Alternative PressWe Are Wolves', third album, Invisible Violence, features a bevy of captivating numbers and is a triumphant display of the Montreal trio's versatility. [Mar 2010, p.98]
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No matter which of their sonic dimensions the band happens to be bolstering, the resulting blast is always creative, energetic and memorable. In short, they make you want to fight and dance at the same time.
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It's as thrilling an opening as all 2009 clattered, and Invisible Violence rarely lets up.
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The record could stand to be a little harder and freer. But the band does paint a vivid picture in songs like the opener, “Paloma,” which combines an insistent rhythm and shards of jagged sound, like a go-go dancer’s nightmare.
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There's nothing wrong with tempering one's stance or mellowing out--and to We Are Wolves' credit, the slowest, spaciest numbers here are the most unexpected and most satisfying--but the driving momentum and risky harshness of past efforts are missed.
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It’s a great formula, and We Are Wolves come close to pulling off an indie heavyweight record. The thing is, much like this renaissance of wolves as a popular symbol, we’re never too sure exactly where We Are Wolves came from and what they’re after.
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Throughout Invisible Violence, Ortiz traffics in the kind of sea-and-eye-centric imagery and bloated abstractions that might cause an adult listener to strain whatever muscle is associated with rolling ones eyes.