The Third Eye

One of the things I’ve noticed lately about running this music blog is the incredibly fast-paced cycle of releases. It feels like the shelf life of a new release is very short these days because of streaming services, social media, and the sheer amount of new music thrown at us every day.

Of course, I’m also guilty of being a part of this. We’ve been publishing a ton of content on The Third Eye. What’s weird about it is that something from early May – like this new LP from Prairiewolf – already feels old by June.

Well, I’ll tell you what, readers – I’m traveling back to only a month ago and spending time with Prairiewolf’s album via Nashville’s Centripetal Force Records. I’ve had almost a full month to process this fascinating record, so this review may be late to the party, but c’est la vie!

About Prariewolf

Prairiewolf is a four-piece experimental psych act from Colorado that describes their music as “Rocky Mountain kosmische.” They’re comprised of Stefan Beck (guitars, lap steel), Tyler Wilcox (bass), Jeremy Erwin (keys, synthesizer), and the Ace Tone Rhythm Ace. The Ace is actually an instrument (I think), or this is an inside joke that’s flying over my head and making me look dumb.

This self-titled debut album was drawn from sessions recorded in the fall and winter of 2022 and is an “eclectic but cohesive collection.” These are ten original compositions that encompass many zones, as the band says, from lush and lovely to weird and woozy. “Prairiewolf is a welcome trip to sonic higher elevations,” and I feel they’re shooting for beyond the Rocky Mountains and blasting off into outer space.

The album was released on May 5, 2023, and a second pressing of the LP and compact disc is expected to be available by mid-summer.

The Songs

Before we dive into the songs, a quick note. When looking at the liner notes on Bandcamp, one of the cool things about the album is the vast array of instruments used. The list includes a maestro rhythm king, Roland TR-09, Rhodes piano, mellotron, Moog Sub 37, Fender Nashville Telecaster, Harmony Jubilee Lap Steel, shaker, kalimba, and – wait for it – sleigh bells. It’s like Christmas in July! Sleigh bells are on the record.

As a non-musician, I don’t fully understand or appreciate all the instruments listed here, but it gives me an inkling of how they created such a rich and varied sonic tapestry on the record.

“Eternal Master” is the first track, with a lovely synth sound starting over a drum machine. It’s a mellow song, going along softly and slowly with occasional thrusts of energy. “Lunar Deluxe” is next, the longest track at more than seven minutes. The spacey theme is evident in the song, and I could detect the lap steel whining from the far reaches of the universe.

“Sage Thrasher” brings a flourish of interesting synth sounds in the beginning before settling into the record’s familiar groove. The drum machine sounds like something you’d hear while on hold with a customer service rep from a different solar system.

“Calcedonia” has a smooth electronic beat that sounds almost tropical, and it provides the backbone to a track filled with wonderful keyboard and synth sounds. This is one of the songs with the most “new age” vibe and may go well at your nearest spa. “Labwerk” is a low-key banger that feels like an undiscovered electronic track from the Eighties. While listening, I could picture the boxy desktop computers and retro screensavers.

“Roadside Bandit Type” is a slower electro-jam that should be primo-chill music for those who buy the album. “Technicolor Dream Hearse” closes the album in a blaze of glory, bringing to mind many of the same themes of the record, like spiritual jazz, funky librarians, and avant-garde square dancing in an abandoned bowling alley (if that makes sense, which it doesn’t).

Final Thoughts

I’ve seen other reviewers describe this Prairiewolf album as like “lounge music from Mars,” and I agree with that. It’s eclectic, strange, and sometimes bewildering, but overall, it goes down smoothly. It often sounds like elevator music that may have been played in the classic sci-fi film The Fifth Element. It would also go well on the soundtrack to a Cohen Brothers movie.

Not everyone will enjoy it, but after all, Centripetal Force Records releases albums that cater to “disparate sounds for disparate people.” Prairiewolf is just about as disparate as they come, and this record belongs in every hipster’s collection. I’m unsure if Prairiewolf will follow this up with new music, but I hope they do. In the meantime, stay tuned to Centripetal Force’s releases, where you can hear more fun, weird music like this.

Support Prariewolf by finding them on Bandcamp or social media (Instagram).

Support Centripetal Force Records by finding them on Bandcamp, their official site, or social media (Facebook, Twitter, Instagram).

Check out more Third Eye content on Patreon!