Send "THE REPUBLIC OF WOLVES " Ringtones to your Cell 
| Absolutepunk |
 It's one thing to burst onto the music scene and make a mark, it's even harder to keep the momentum - especially these days. Some people are just meant to keep writing with or without an industry. The Republic of Wolves wrote so much material after their debut EP, that they ended up making an album and another EP with it. The primary difference in the division of the songs is that Mason Maggio wrote most of Varuna while Gregg DellaRocca wrote most of The Cartographer EP. Thus, they are truly two different journeys dealing with similar issues.One thing is clear then, both men have different, yet similar lyrical prowess. DellaRocca's writing style is very straightforward and confronting, whereas Maggio's style is a bit more poetic. Still, the band as a whole is quite solid in their delivery of whichever story they are crier-ing throughout their music. The Cartographer EP delivers just a little quicker than its lengthy sibling. The Republic of Wolves are very well rounded in crafting easy flowing songs. "Calm Down" delivers an airy background and held back rhythmic presence - just enough. The keys and duel vocals carry this one beautifully along. The story's mid-album of "Widow's Walk" and "India" is where the band combines their brute force with their best tendencies to layer every single one of their harmonies: vocals, guitars, and keys. This is where the band really shines, in their use of dark epic swirl and gentle moments of clarity fighting each other. Once again the production is stellar in mixing the two sides, and really drives the album home....full text |
| Punknews |
| Part of the Republic of Wolves' lure is their prolificness, but within that is serious internal pressure just to be that way. The band's newest effort, The Cartographer EP, was planned for several months and plotted to be released this past New Year's Day, just a month and change after their first full-length, Varuna. But come December 31, 2010, the Long Island natives were still putting the finishing touches on The Cartographer, barely making their self-imposed deadline in the process. From listening to the EP in question, it's clear these guys work best under pressure—even if it's placed upon themselves. While this EP was recorded practically in succession with Varuna, it works completely as its own stand-alone project—it's a concept album about a mapmaker's son in search of his father he believes is lost at sea—and has certain stylistic deviations from that album. Sure, Brand New probably remains a handy comparison—the guitar-picking and drum fill of "Home" seems to allude to that of "The Archers' Bows Have Broken"'s, albeit more minor key, and the habit of breaking seething tension after fussy, bustling buildups is a commonality. But one can hear the band continue to grow into their own skin as they concoct a dynamic, melodic and brooding alternative/indie rock broth with astoundingly lush, beautiful and haunting production values they've honed themselves. The three-minute "Home" is concise considering the band's usual approach, but it's outright jaunty and loaded with surprising changes, from its half-time build early to the waltzy chorus and suddenly sparse, banjo-accompanied finish. "India" harkens to the vicious crescendo of Varuna's "Greek Fire" a bit heavily at points, but mostly carries its own mesmerizing build with a bridge that comes across as brilliantly anxious on every listen. Closer "The Dead Men Stood Together" opens with an aggressive fit that sounds like a completely different band—maybe Thrice circa Fire—but they make the stop-start work, and the song itself culminates in an engaging, group-shouted emphasis of the EP's central theme ("We are all lost"). Vocally, guitarist Gregg Andrew Dellarocca takes the reigns on most tracks, where in the past fellow guitarist Mason Maggio had essentially led the band. The two complement each other well; it's easiest to call Dellarocca the Andy Hull to Maggio's Jesse Lacey. Meanwhile, the scathing scream wielded by keyboardist/auxiliary percussionist Billy Duprey is also used more effectively; it's quality over quantity in "India" and the creaky "Widow's Walk"....full text |
| Sputnikmusic |
| For those of you that have done everything in your power to forget seventh grade social studies, let this be a brief mini-lesson: a cartographer is someone who produces maps, including the construction of projections, design, compilation, drafting, and reproduction (dictionary.com). The impact of cartography is far-reaching, influencing the discovery of nations, mediaeval trade routes, and our current society’s vast knowledge of the globe. It is truly one of the most underappreciated art forms in our world’s history. The Republic of Wolves’ 2011 EP is slightly less impressive…but The Cartographer is still appropriately titled. The Republic of Wolves are in the process of establishing a signature sound, experimenting with new styles, and in essence, mapping out where they are and where they want to go as artists in the twenty-first century music scene. The Cartographer is the band’s way of reaching out beyond what they already know, and exploring the boundaries within themselves and within a genre. Varuna was an outstanding debut, but there were still a few obvious shortcomings. The Cartographer rectifies many of those issues, while staying true to the approach that fans of His Old Branches and Varuna found so alluring. The Republic of Wolves appear to be letting loose a little bit, stepping outside of the rigidly dark alt-rock atmospheres of their earlier works and incorporating more melodic qualities. “Widow’s Walk”, for instance, features a huge sing along chorus, the likes of which can’t be found anywhere else in the band’s discography, save “The Oarsman.” There is a lighter tone throughout the EP that suggests that the band isn’t taking themselves so seriously this time around; and the fact that their efforts still result in something completely unique and this dynamic just make the evolution even more beautiful. “Home” follows up a peculiar but compelling instrumental introduction (“The Pilot and the Pilot’s Boy”) with twangy electric guitars and a surprisingly unrestrained vocal performance by Gregg Andrew, who belts out So I’ll stay with you in my mind, and I won’t let myself believe you’re mine! in a balls-out, nearly Led Zeppelin like fashion. Then there are refreshingly forward moments like “Calm Down”, which, after the tremendously energetic and upbeat “Home”, does just that to the listener. With slow acoustic strumming, dreamy sound effects, and echoing vocals, the song lulls you back into a sense of safety....full text |
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