Hello, hello. Welcome back to the blog, or if this is your first time, welcome to the bandwagon 😜

This review will cover the newest album from two-piece folky-punk-acoustic act Wolfe Sunday. This is a project led by Laurence Crow, a long-time fixture in the south coast and London punk scenes, having performed acoustic gigs and contributed plenty of artwork to other bands including Filthy Militia.

Wolfe’s third full-length – and first album since 2017 – brings in electric guitar and drums provided by Ewan Bennett, with recording having began in 2023.

Facilitated by Not My Dog Records, it explores topics including internal uncertainty and external downturns in prosperity. Overall, its sound and lyrics are reminiscent of the work of bands including Chewie and The Flatliners.

Alright, let’s get into it!

1. Hinterland

The short album opener ‘Hinterland’ sets the scene, portraying broken spirits in uncharted territory.

In under 30 seconds, the prologue takes us away from familiar shores, backed by slow, sorrowful guitar strums.

2. Twenty Thousand Leagues

From here, we go into ‘Twenty Thousand Leagues’, where the full force of the instrumental arsenal available is displayed.

Medium-high tempo drums back up clean, soaring electric guitar while Laurence recalls being metaphorically “locked in a chamber made of steel”.

Initially hope is being lost while in an abyss on a “broken vessel”. Despite being weighed down and held back, the protagonist vows to revisit loved ones “when I’m back on top”.

3. Paper Crowns

‘Paper Crowns’ switches between acoustic and electric guitar riffs. The track deplores the listener to believe in themselves and “never let them tell you are” – them being people who act nonsensically act superior.

Spelling a shift from predominant pessimism, the protagonist leads by example by dodging metaphorical (probably don’t need to clarify as such, but hey, I strive to be thorough) flames on a hill he thought he was over, vowing not to be complacent.

The tempo speeds up briefly during the final chorus, intensifying the portrayed middle finger towards judgement from those wearing those “paper crowns”.

4. Roving Blade

Speeding proceedings up further is fourth track ‘Roving Blade’, which discusses having no time to sustain one’s self and properly take stock in a world that remains stricken by austerity.

A brief musical breakdown appears to represent a brief moment of reprieve and decision to make the best of dire circumstances.

From here, while struggles with everyday live persist, there is comfort to be found in familiarity; “this path I know”.

5. Caustics

‘Caustics’ brings an interesting, minute-long interlude of synth, the main purpose of which is just to link us into the next song, I suppose. No lyrics to be found here.

In case it’s of interest, ‘caustic‘ as a noun either refers to a chemical agent that destroys organic tissue; a corrosive alkali; or an envelope of rays reflected or refracted by a curved surface. Lovely, haven’t done a dictionary thing here in a while.

6. Everything Is On Fire

‘Everything Is On Fire’ is the longest track on ‘Rover’ at three minutes and forty seconds, and was released prior to the album’s launch.

Depicting homesickness and a lack of belonging, current circumstances “don’t make a lot of sense”. While anxiety impacts the internal mindset, the powers that be that contribute to this “live like lemmings taking us over the edge”.

The track presents the notion of facing dreadful news cycles and personal setbacks face on, with “everything you bring”.

7. Hole In My Head

Back to acoustic we go with ‘Hole In My Head’, with the words in the title forming a chorus refrain throughout.

As time passes by without meaningful progress, the protagonist feels burnt out while driving down the same road.

Full of questions about where upturns in fortune could come from, the song depicts a perpetual cycle of doubt.

8. Digital Ghost

The penultimate track ‘Digital Ghost’ is another minute-long instrumental interlude, mixing keys with electronic effects and white noise.

With the track title, and common thread of overcoming internal battles impacted by global leadership in mind, it conjures another uphill battle against online algorithms. But that may just be me.

9. Down Low

Lastly we have ‘Down Low’, which transitions from that electronic interlude into a tale of protecting mental health against the pervasive news cycle, but risking losing friendships in the process.

While “building walls” to keep news out, those boundaries eventually close in, leading the protagonist (please let me know if the constant use of this term is annoying and pretentious, it sure feels like it could be, cheers) to question their self-worth.

Maintaining relatability here is the tendency many have to look through comments online and consider what is real, and what is made up of bad faith or wider, more explicit disinformation. Fittingly, this final song on ‘Rover’ completes a cycle of uncertainty in the face of internal conflicts and ulterior motives on the part of the 1%.

Closing Remarks

Having seen Laurence perform an acoustic set many years ago at Level Up Festival 2019, it was awesome to hear the evolution in sound and presence that has happened since, including a presentation of some songs on this album played earlier this year.

Beyond strong lyrics and mixing between acoustic and electric instrumentation, I particularly enjoyed the use of interlude tracks that were used as transitional elements (sometimes called skits), as it brought to mind a practice more common pre-streaming, that made me feel a tad nostalgic.

Overall, if you resonate with stripped-down, earnest songs about finding purpose in a world that commonly rewards overdriven selfishness, you’re sure to enjoy Wolfe Sunday’s latest album.

A massive thanks to Laurence for approaching me to give this a spin, and of course to you for reading. Up the Posh, and up the Punx 🤘