Wolf Manhattan – Wolf Manhattan Review

Alter egos in genre-blurring showcases appear resolutely out of date. David Bowie took it to the grave with him. It is hard to figure which artists out there can successfully continue that tradition of character, rather than conscious changes of pace. Fiery red hair and a suit with stitching of barbed wire-like ripples is the first image that comes to mind for Wolf Manhattan. More because it is at the top of the email for the screener than anything else, but because it shows an intrigue and colourful, decrepit flair surrounding an intense, interesting figure. Imagery is the disguise for other intentions. Never judge a book by its cover. Never judge a musician by their barbs.  

João Vieira charts his debut solo record as an alter-ego. For the newcomer, this will mean little. Wolf Manhattan provides collections of higher octaves than expected, of catchy, short beats. Certainly influenced by the likes of The Velvet Underground, the maintenance and influence of an alter-ego presents is not lost on Vieria. Pleasing tones of folk-punk and well-intentioned, rising structures make themselves clear on Back To Her. A real highlight more for the simplicity and striking nature of those lyrics. Wolf Manhattan has no need or desire to say who its titular ego is headed to or from, but it is enough to extract meaning, reason and feeling. But it, like many of the tracks here that rely on the guitar work and sudden injection of electronic keys, is over before its time.  

Lou Reed’s tone is a constant rip found on Wolf Manhattan here. Those pauses that come between lyricist and instrumentalist, the gap provided as references to favourite shows and Billy Jean are made on Little Girl do much to show Vieira understands the influence of his character. They do not show that character as striving through with anything new to say on those notes. Perhaps that is the point of an alter-ego though, to provide or profile works of another that have influenced in the past. Space age soundings on Sometimes do enough to move Wolf Manhattan away from that. As a whole, it does move away from its influences sometimes. Wailing, indie-like guitar work on Tornado is enough to give Wolf Manhattan its high point. Short and sweet moments soon follow.  

Wolf Manhattan knows not to overstay its welcome. Coming in at just under a half hour does more than enough to cement the alter-ego of Vieria as an attempt at marking something outside of the X-Wife sphere of influence. Five Years has an annoying twinge to its vocals but the rest of the tracks that follow, those experimental shorts, are a scattershot and fine collection of tracks. Nothing strong comes through, nothing weakens the album to the point of horror show. Wolf Manhattan is a piece that has one high balanced out by its one low. Everything else is a white noise experience. In one ear, and out the other. Alter-egos are rare beasts, but Wolf Manhattan’s image is far more interesting in the stills that come from this release than anything on the harmless album.