Album Review: Wild
Streets of Laredo
Dine Alone Records (2016)
The New Zealand folk group, based in Brooklyn’s Bushwick neighbourhood, have released their awe-inspiring and groove-packed second studio album, Wild.
Founded in 2012 by brothers David and Daniel Gibson, Streets of Laredo has been rising steadily in success after releasing their critically embraced album, Volume I & II.
Wild is an album that showcases a perfect balance between complex melodies and solid grooves.
This balance between the rhythm and melodic sections of the album are especially apparent on songs such as “Wild,” “Hammer And The Nail” and “Tunnel Visions.”
Although the arrangements of these songs are all fairly similar and rudimentary, Streets of Laredo create a more complex sound within these simple arrangements.
The songs that captivate and envelope the listener the most feature upbeat melodies of saxophones, seemingly out-of-place banjos, reverb-drenched guitar licks and sludgy, distorted bass lines.
With that being said, songs on Wild fall victim to a common trope of modern day folk music: the overuse of “oooh” and “la la la.”
Although these common ad-libs are present on a good portion of Wild, they may not be that irritating for those who dislike this type of stereotypical improvisation.
This album has a lot more going for it than what a few “ooohs” can bring down in terms of quality.
Wild also makes use of two different vocalists: the Stevie Nicks and Kim Gordon-esque Sarahjane Gibson, and the very much monotonous voice of Daniel Gibson.
The first five tracks of the album, which feature Sarahjane, are much more interesting and lively, and are sung with much more conviction than the last six songs, which mostly feature Daniel and sparingly include Sarahjane.
Wild has very minor setbacks that only the highly critical would most likely care about, and is ultimately an exciting album that is well worth giving the time of day to by anybody even remotely fond of the sounds of Arcade Fire and Of Monsters And Men.