Wolf Parade has announced their upcoming album Cry Cry Cry and has shared the first single “Valley Boy” today. You can listen to “Valley Boy” above and what’s unique is that it completely sounds like Wolf Parade. There aren’t any new directions to be found here and for once that are refreshing. There are too many bands that reunite and go off the rails that they end up isolating their core fan base. That’s my rant; I’m stepping off my soapbox now. Thank you for your time and consideration. Cry Cry Cry will be released by Sub Pop on October 6th BTW.
2017 tour dates include Capitol Hill Block Party (July 21st) and direct support for Arcade Fire this September (select dates)
Cry Cry Cry available on CD / 2xLP / DL / CS
worldwide from Sub Pop and in Canada via
Wolf Parade will release the thunderous Cry Cry Cry, the band’s first new album in seven years (and fourth full-length overall), on CD / 2xLP / DL / CS worldwide from Sub Pop on Friday, October 6th, 2017. The album will be available in Canada from Universal Music.
The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are proudly on display over the course of Cry Cry Cry. These elements are captured on the album’s anthemic lead single “Valley Boy” [listen here] and additional standouts “You’re Dreaming,” “Artificial Life” and “King of Piss and Paper. ” Cry Cry Cry was produced by John Goodmanson at Robert Lang Studios in Seattle and mastered by Greg Calbi at Sterling Sound in New York.
Wolf Parade announced its return to the live stage in early 2016, after a five-year hiatus, scheduling multi-night residencies that May in New York, London, and Toronto to support of Apologies to the Queen Mary, the reissue of its classic, Sub Pop debut. Tickets sold out within a matter of hours. As the May shows neared, Wolf Parade surprised fans again, with a self-titled-and-released EP’s-worth of new material. The excitement surrounding the band’s return led to marquee festival appearances and late night TV performances on The Late Show with Stephen Colbert, Conan and Last Call with Carson Daly.
Wolf Parade’s previously announced tour schedule for 2017 resumes later this week, with a performance at Seattle’s Capitol Hill Block Party on Friday, July 21st. In August, the band will also appear at Ponderosa Music & Arts Festival in Rock Creek, BC on August 18th-20th. Then from September 5th through September 28th, Wolf Parade will act as direct support for The Arcade Fire (select dates). There will be additional live dates announced soon.
Jul. 21 – Seattle, WA – Capitol Hill Block Party
Aug. 18-20 – Rock Creek, BC – Ponderosa Music & Arts Festival
Sep. 05 – Quebec City, QC – Videotron Center*
Sep. 06 – Montreal, QC – Bell Centre*
Sep. 09 – Ottawa, ON – Canadian Tire Center*
Sep. 21 – Duluth, GA – Infinite Energy Arena*
Sep. 22 – Tampa, FL – USF Sun Dome*
Sep. 23 – Coral Gables, FL – Watsco Center*
Sep. 24 – St. Augustine, FL – St. Augustine, FL Amphitheatre*
Sep. 26 – New Orleans, LA – UNO Lakefront Arena*
Sep. 27 – Austin, TX – Frank Erwin Center*
Sep. 28 – Dallas, TX – American Airlines Center*
*w/ Arcade Fire
About Wolf Parade’s Cry Cry Cry:
The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry, the band’s thunderous first album in seven years.
Wolf Parade’s unique combination of sounds and influences, spearheaded by electric co-frontmen Spencer Krug and Dan Boeckner—is a complex yet relatable, energetic brew of glam, prog, synth-rock, and satisfying discomfort—helped define 2000s indie rock with three critically celebrated albums, and propelled a growing Wolf Parade fandom even after the band went on a then-indefinite hiatus in 2010.
Cry Cry Cry is their first album to be produced by Pacific Northwest legend John Goodmanson (Bikini Kill, Sleater-Kinney, Unwound) at Robert Lang Studios outside of Seattle, and is accompanied by a renewed focus and the creativity of a band that took their time getting exactly where they needed to be. It’s also a homecoming to Sub Pop, which released all three of the band’s previous albums.
“The band itself is almost a fifth member of the band, something more or at least different than the sum of its parts,” says Spencer Krug. “We don’t know who or what is responsible for our sound, it’s just something that naturally and consistently comes from this particular combo of musicians.”
“Once we got back together, I was playing guitar, writing and singing in a way that I only do while I’m in Wolf Parade,” says Dan Boeckner, who shares primary lyrical and singing duties with Spencer. “It’s just something that I can’t access without the other three people in the room.”
In the time apart, the band scattered geographically and focused on family and other work–Spencer on his solo project Moonface, Dan on his bands Handsome Furs, Operators, and Divine Fits (with Spoon’s Britt Daniel), and Dante De Caro on records with Carey Mercer’s Frog Eyes and Blackout Beach. And that time allowed for an even stronger, tighter band to emerge.
Eventually, Spencer, Dante, and Arlen found themselves all back living on remote Vancouver Island, accompanied by a population density less than that of Alaska, and the tranquility that leads to creative emanations like a government-sponsored bathtub race. With Dan on the same coast in Northern California, discussions began about picking things up where they left off.
“All of our albums are always a reaction to our last one,” says Arlen. “Expo 86 (2010) was about as sparse as we get, which is usually still pretty dense, and this time we wanted to make the palette a little larger.” Adds Dante, “Expo was a real rock record. We just sort of banged it out, which was kind of the point.” Cry Cry Cry, on the other hand, is more deliberate in its arrangements and embrace of the studio process. “If a part was going on for too long it would get lopped, you know?” says Dan. “That being said, there are two very long songs on the record and I don’t think it would be a Wolf Parade record if it didn’t have some kind of prog epic.”
“I think we’re actually a better band than we were when we stopped playing music together,” says Arlen. “A little bit more life experience for everybody, and people having made a bunch of records on their own.”
The result of this new consciousness is songs like “Valley Boy,” a Bowie-inflected anthem for which Spencer wrote lyrics after Leonard Cohen died the day before the 2016 election (“The radio’s been playing all your songs, talking about the way you slipped away up the stairs, did you know that it was all gonna go wrong?”). “You’re Dreaming,” also influenced by the election and the spinning shock that followed, is driving, urgent power pop that draws from artists like Tom Petty and what Dan calls one of his “default languages” for writing music. The swirly, synth-heavy crescendo of “Artificial Life” takes on the struggle of artists and at-risk communities (“If the flood should ever come, we’ll be last in the lifeboat”).
The album carries a sense of uprising that is not unrelated to Wolf Parade’s renewed determination to drive the band forward in uncertain times. Welcome to Cry Cry Cry.