Awash in melodic hooks and quirky ingenuity, the album is perhaps best described as the unlikely merger of AT THE DRIVE-IN's post-punk angst and SOUNDGARDEN's artful, fuzzed-out riffage, with a pinch of PAVEMENT's endearing unpredictability thrown in for good measure. Perhaps David Urbanic, whose Ship King Media company released a 2007 documentary film on ZELAZOWA, portraying them as the quintessential DIY touring band, framed the quartet's music best: "Theirs is an incomparable combination of timeless melody and maniacal bedlam." If the Polymorph EP was able to land the indie band international recognition, there seems to be no capping Elephants on a Mousehunt's potential. Why, then, would a band that's traveled the world and infiltrated the music industry not grab at one of the label offers dangling in its face? For the same reason it opted for the DIY approach in the first place: "Credibility, distrust in the competence of others, and impatience," Weber laughs. "There was no way that we were gonna sit around and wait for the man to show up on our doorstep with a label deal and a golden pen. We made the decision at an early age to do it ourselves, the way we wanted to do it, regardless of what others thought." Considering what ZELAZOWA's achieved on its own so far, it's hard to argue against that mentality.
But the band members will be the first to admit that the last few years haven't been all milkshakes and lollipops; life rarely is for a band comprised of two brothers (just ask the Gallaghers), not to mention a pair of cousins as well. However, Weber maintains that ZELAZOWA's family ties are ultimately part of what helps the band persevere. "There is an intrinsic understanding and comparable drive between the four of us that I've never seen before in any professional relationship ... That's exactly why we're able to push each other to the brink of our abilities without breaking down and killing someone," Weber grins. Elephants on a Mousehunt's title itself, taken from the lyrics of the second track, "Numbers," is a metaphor railing against the circus that our last president's time in office so often resembled. That makes it all the more fitting that the album is seeing the light of day in the first moments of a new president's term, an historic time when, even with an economy in recession and two wars to fight, all problems seem solvable. It just might take a little of that old "steel will." Read more on Last.fm.
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