by Corey KahnIf any band could have been rightfully expected to deliver on the promise of a debut as stellar as Apologies to the Queen Mary, Wolf Parade are that band. As a whole slew of groups of their era turned in less than great sophomore records (Clap Your Hands Say Yeah, Tapes 'n Tapes, even Arcade Fire), At Mount Zoomer proves Wolf Parade to be much more than the one-trick pony of their peers. And it's no surprise -- both of the band's primary songwriters have established themselves as two of the most exciting and consistent songwriters in indie rock, coming off of great records in their own right: Spencer Krug's Random Spirit Lover with Sunset Rubdown (not to mention the Swan Lake record), and Dan Boeckner's Plague Park with his Handsome Furs project. But even after three years away from the Parade, they come to Mount Zoomer with a fresh reel of tape, and are back with a more mature and confident approach. Where Apologies showcased a young, energetic band still searching for its sound (with the production help of Modest Mouse's Isaac Brock), Mount Zoomer features that same band harnessing all the things that made its debut so appealing, but with a conscious effort to avoid rewriting the same record. The overall feel is less exuberant, and they are much more patient with the songwriting this time around, with drummer Arlen Thompson handling production duties (Mount Zoomer is the name of his studio). The arrangements seem to be better thought out as well; the guitars function more as melodies or leads than the driving rhythms of the songs, with the keyboards generally higher (or at least equal) in the mix, and the result is much more efficient. And while this album may not contain as many immediately gratifying hits (you won't find any "Shine a Light" or "I'll Believe in Anything" here), it does succeed as an album more cohesively. Leadoff single "Call It a Ritual" rides a stuttering piano figure, and recalls indie rock mainstays Spoon -- in fact, so does "Fine Young Cannibals," and clean keys factor much more prominently in Mount Zoomer than the treated synths of Queen Mary. The synths do still buzz occasionally -- albeit less frantically -- but the textures are more varied, like on "Language City" or the swirls in the snare-happy waltz-like opener, "Soldier's Grin." The pacing of the album is also impeccable, not only in the sequencing, but in the individual tracks as well. Centerpiece "California Dreamer" breathes and swells with almost prog dynamics until it builds to its stomping, singalong chorus of "I thought I might have heard you on the radio, but the radio waves are like snow," and 11-minute album closer "Kissing the Beehive" (the original title of the record) all but gives out completely before bringing it all back for a quick encore. All in all, At Mount Zoomer is a remarkable achievement, and another soon-to-be classic from Wolf Parade.