Wolf Parade — At Mount Zoomer

“Strike up the band, we have survived,” sings lyricist and pianist Spencer Krug on the track “Bang Your Drum.” And as At Mount Zoomer aptly proves, he’s right.

The twangy guitars, persistent drums, whirling electronics, pummeling piano and rotating lyrical adventures that constitute the idiomatic sound of Wolf Parade have returned in as bold a way as expected.

After releasing one of the most relevant indie albums of the indie epoch, Apologies to the Queen Mary, back in 2005, group activity lulled as various other musical endeavors were pursued. While those projects satisfied the desire to hear Krug’s yelps or Dan Boeckner’s morose growls, nothing quite compares to the juggernaut that is Wolf Parade.

Named after drummer Arlen Thompson’s rehearsal space in Montreal where the album was recorded, At Mount Zoomer is the perfect continuation of the catchy and consequential sound that Apologies established. Themes of hatred toward modernity still abound, something that is fundamental in pushing the band beyond merely an enjoyable listen and affirming the artists’ status as having both intellect and pop sensibilities.

Krug and Boeckner’s lyricism vividly depicts the apathy raised by a world increasingly dominated by technology and urban environments.

On the standout track “Language City,” Boeckner demands the listener ignore the “ringing telephone” and lead a more purposeful existence.

The salient quality of the new album is less of an alternation between Spencer and Boeckner for each song and more of an emphasis on cooperation and allowing sounds to grow over the course of numerous songs.

Another noticeable characteristic is Hadji Baraka’s central role in sound manipulation. His contribution glues the album together by adding an underlying element to the craftsmanship of the songs.

The uptempo beats and rousing key progressions on “The Grey Estates” find the band delivering its unique perspective on punk tendencies with far too much concern for melody to be dismissed as anything less than original.

The following track, “Fine Young Cannibals” slows things down, but still rouses the same fist-pumping sentiments as the rest of the album with choppy guitar chords and steady drums.

The organic mixture of ideas and perspectives makes the CD pass all too quickly — even with the inclusion of the epic 11-minute-closer, “Kissing the Beehive,” that successfully gives both singers equal time in the spotlight.

At Mount Zoomer is immediately cohesive, but not instantly accessible. Its intent is artist expression and not catering to popular demand. When making the album, the band sent a message to locally based Sub Pop Records that read simply, “No Singles.” That’s not to say that this record isn’t as focused on melodious arrangements as its predecessor — only that the band is calling the shots and deciding what direction it travels.

If anything, this collection of songs is even more gratifying than its debut, because the guys of Wolf Parade are doing what they do best and doing it for themselves, first and foremost. Luckily for us, what the band happens to do best is make music that cements its position as one of our generation’s most influential bands.