What does Merwulf sound like?

Punky new wave rock without the guitar.

The review of ‘In The Golden Age’ by Merwulf

Eighteen months after their debut record, ‘In The Golden Age’ felt like an immediate reaction to the shifting sands of planet Earth. Merwulf are a rock trio without the guitar, but that doesn’t stop them from rocking out. Taking on self-production, the bass, keys, and drums trio honed their sound to sound post-punkish, with the bass and keys sounding blown out and angular. It’s a clever exercise in making less sound wide and guttural. It reflects the mental state Merwulf are in, following personal loss, political unrest, and the daily grind.

Whilst the themes of Merwulf’s sophomore album are heavy, the lyrics and tone sometimes bring a self-aware comedic streak. The opening track, ‘NT2BC’, is a blast of poppy dance synths, raucous basslines, and punchy drums. It channels new wave sass with gothic grottiness and a darker cabaret tone. If Amanda Palmer embraced dance-punk, this track would appear on that album. The fun, catchy chorus pokes fun at impostor syndrome and the feeling when you’ve lucked into success. In stark contrast, the tense organ-heavy follow-up ‘The Mountain Lion’ feels taut, recoiling, and depressed. This track was my introduction to Merwulf, and I adore its rustic organs, wallowing basslines, and emotive lyrics.”I don’t want to live in a world without my mother in it” bleeds the bridge, as the song speaks of a lion cub considering becoming prey now that their mother is dying. The song oozes lethargy and hopelessness in a way that truly speaks to me upon every listen.

Politics takes centre stage for ‘Gulf of America’, which features a synth-flute as the lead melodic instrument. Often duelling with the bass guitar, it creates a 70s psych-rock meets 90s grunge sound that is oddly hypnotic and propulsive. Helping push the song along are the wild, unhinged cries of Merri Garcia, the bassist and vocalist of the group. “Don’t you want to go to the Golden Age of America?” she screams after reeling off different parts of the world America has threatened. It is a riot anthem that embraces a seaside punk edge. That dusty seaside punk explodes in the ramshackle ‘Snowflake’ that follows. By far the longest track on the album, it attacks the cognitive dissonance of modern-day life making it inconvenient to stop funding genocide and societal collapse. Between thick pipe organ solos, bass sizzles, and visceral changes in pace, the track bubbles over with its angst and disdain for the general populace sleepwalking into their shackles. Rounding out a political triplet is ‘Tech Bros’. This sassy, slinky track strips things back to a bassy electric piano, plodding bassline, and a side-eyed delivery. The lyrics are simple, but direct:

Your problems
Aren’t real problems
Give me your problems
And I’ll solve ‘em

Tech Bros

After the sweaty night heat and grizzly rage of the political section of the album, ‘Francois’ brings in a lighthearted change of pace. The retro vocal sample “ooh” used throughout is perfectly fake to match the song’s humorous angle. The lyrics speak of an American who is obsessed with being as French as possible. The playful side of Merwulf gives way to its jamming rock side for ‘Larry Likes to Fight’. Production and delivery-wise, I’m reminded of Nirvana’s Incesticide album, with added keyboards. The track is all about the unleashing of the energy it creates. ‘Genetic’ is Merwulf’s attempt at a punk ballad. Whilst musing about depression origins, the song brings a sunny demeanour with every instrument and note. The song acts like it is trying to forcefully cheer someone up. It’s the musical equivalent of something telling you to cheer up, as it could always be worse!

Capitalism is next under the spotlight with the incredibly catchy ‘Strike Gold’. I’ve described the album as slinky earlier, but the way the keyboards and bass interact often creates a sassy take on dance-punk that has a sensual element to it. The songs themselves are not sensual in nature, but the lo-fi approach to the punk is messy and muddy in a “rub-yourself-in-it-like-a-freak” kind of way. ‘Want The Laugh’ is a bittersweet number with a very wiry, phasing synth that slightly hurts my ears when played loudly. It does contain the lyric “Brillo the place where the shame sits so heavy”, which is my favourite product placement in a song this year by a country mile. Officially, the album ends here, but there is a final hidden track entitled ‘Grief Song #2’. This is an in-room recording of Merri singing a tender track on the piano. The raw, intimate nature of the demo-like recording is vulnerable and devastating. She sings about letting someone go, but the piano chords feel so uneasy that it questions whether Merri truly believes that she has. It’s a great bonus, and I’m glad it is included. It also rounds off the grief narrative, too.

Whilst occasionally the lo-fi production may cause some unintentional sharp noises, the DIY approach is a boon for Merwulf. The trio have learnt how to make their sound hit and suck all the air out of the room, or make you dance in a frenzy. Its politics are pointed and uncompromising, and so is their exploration of personal accountability and self-discovery in difficult times. If you are looking for a rustic punk band that goes about things differently, Merwulf is a strong recommendation. Is surf punk a thing? I feel like Merwulf gets close to what it’d sound like…

Recommended track: The Mountain Lion

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