Send "Peter Wolf Crier " Ringtones to your Cell 
| Avclub |
 On the 2009 debut album Inter-Be, Twin Cities duo Peter Wolf Crier put an appealing spin on indie-folk thanks to the orthogonal approaches of its two creative halves, with the downcast, Nick Drakean songwriting and high-pitched, haunting vocals of Peter Pisano sent off in unexpected directions by the refreshingly experimental production of percussionist/engineer Brian Moen. Since it worked so well the first time, it’s good to find the duo doubling down on its collaborative technique on Garden Of Arms. Moen deepens and expands on Inter-Be’s rich palette, building out Pisano’s meditative and even somber songs into complex, layered creations spiced with surprising fills, melodic touches, and glitchier elements that keep the mood from ever settling in one place. It’s clearly a more polished piece of work than its predecessor, but never slick or lacking in personality, and never dull. At the same time, the sometimes-confounding complexity also means the album lacks Inter-Be’s immediate charm. Sometimes the commendable desire to keep the sonic environment unpredictable and engaging gets in the way of a potentially great song, as on the lovely, lonely ballad “Having It Out,” whose abrupt finish undercuts the impact of its soaring, Arcade Fire-like emotion. But far more often, the constantly evolving layers of drum riffs and harmonies galvanize the material into something that practically demands repeated listens to savor its piquancy. “Right Away” and “Hard Heart” prove how compelling the band’s approach can be on more uptempo numbers, but the ethereal “Wheel” keeps the multi-faceted production in full spin without sacrificing its quiet and contemplative beauty....full text |
| Noripcord |
| I’m not exactly certain why heavily reverb-inflected vocals have become an indie rock staple, but it’s quite clearly become the case. Done well, it’s quite nice, but you won’t find much of that here. On Garden of Arms, Peter Wolf Crier seem to have replaced vocal melody with vocal reverb, and it leads to some moments that seem promising initially but quickly fade into that same boring funk (and I don’t mean funk in the literal sense of funk music.) There are certainly some interesting dynamics at play, but every good moment is tempered by one that just gets to be a bit much. We’re treated to overtly abusive use of stereo sound, repetitive use of bland effects and techniques, and vocals that are drowned out. Take the worst parts and the signature parts of Animal Collective and you’ll be left with Garden of Arms. To be fair, people generally seem to like that, and perhaps I’m showing some sort of true color by dismissing it so readily. It’s just all so damned noisy, and without any sonic room to absorb the music (strictly metaphorically speaking, mind), it becomes a messy, headache-inducing experience. It seems every instrument in a track is going at it the same time, and the moments intended to be more dynamic feature only louder instrumentation and perhaps a change in style. Really, if that bass line repeats for one more second, this thing may be tossed out a window. Effective repetition is fine and good, but that’s not what’s on display here. Perhaps it’s an unfair bias, but these little annoyances add up. Too much reverb? Check. Too much needless repetition? Check. Wholly unnecessary sounds of noise that come when you’ve not quite plugged something in all the way? Yes, a check there, too. Really, who thought that was a good idea? I had to check several times to make sure I wasn’t experiencing a problem with my sound. It’s absurd, really....full text |
| Pitchfork |
| For their 2010 debut Inter-Be, Peter Pisano and Brian Moen of Peter Wolf Crier sat down and, in one night, churned out a series of solid, vintage-sounding folk songs. Then, the Minneapolis duo played 100 shows in a six-month span and-- with "a new-found footing of confidence and experimentation," according to the press release-- sat down and recorded Garden of Arms. The confidence in their new record is clear, if only because their vocals sound more boisterous than ever, but for the most part, the experimentation is the problem. Keep in mind that "experimentation" for Peter Wolf Crier doesn't mean a Steve Reich or some dense soundscape. Instead, they needlessly streamlined their sound, creating the feel of a locationless, generic rock band. They've effectively replaced the old radio warmth of Inter-Be's "Crutch & Cane" with an emotionless electric guitar on "Beach" that brings to mind Audioslave-era Tom Morello. For percussion, they've opted for a militaristic snare that does little more than distract from every other layer. And while the vocals are more confident, the melodies are interchangeable. The opener, "Right Away", sets the tone with its repetitive, claustrophobic vocal treatment. The lyrics offer a collage of emotions that never seem to connect: Lines like "All the inches flow" and "Right away you are the one" hint at something meaningful, but never taking the time to provide actual meaning. Even when the emotions are clear, Pisano's melodramatic belting detracts from the weight of the heartbreak. High drama seems to be the aim of Garden of Arms, especially when you consider the majority of the lyrics are comprised of over-the-top emotional imagery like "Lonely gardener it is time you woke the knight/ Kiss divine and hold his lips to your own light." (Song titles like "Haunting You" don't help.)...full text |
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