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The decision by Wu Lyf not to give interviews even under torture has evidently paid off, because the anticipation for the debut of the enigmatic band was palpable. It happens lately that some groups, to make themselves known, do not say anything about themselves. Several artists have decided, to become talked about, to make themselves ungooglable, perhaps with indecipherable names like (taking from a website) GL?SS †33†H or †‡†. Back to Wu, their page on Wikipedia has already been deleted multiple times. The group rejected every lucrative offer from labels and self-produced their debut. So people talk, chatter. What would they propose?
Some sparse information about the group: according to their own words they play Heavy Pop, a craft lexicon meaning psychedelic, post-rock, and hints of very melodic art-rock at times. They define themselves as nothing or four dumb kids, and other interesting things can be found on their official site, which from a self-referential and reticent sole page has become a complex reality of post-situationist posters and anthems. In fact, Wu Lyf is not properly (only) a group, but a real self-managed, non-profit company, consisting of several hundred musicians, designers, photographers, thinkers, and whatever you like. The name itself is pronounced Woo Life and stands for WORLD UNITE! LUCIFER YOUTH FOUNDATION.
As you can see, despite the silence of the artists, or perhaps precisely because of it, there's no lack of information about them; quite the contrary. But the risk is to talk only about the group and not about the music (which is also scarcely discussed online).
That said, indeed, what remains is nothing more (but nothing less) than a good album. They possess some peculiarities: first of all, the particular voice of the singer, very slurred and quite overdubbed, which feels very arena rock. Also, the drummer focuses on simple and effective rhythms that move the songs forward and support the choruses with the clear intent of making it easy for the audience to sing along with the singer, who often and willingly indulges in very hoarse, infectious choruses. The desire to involve the audience does not surprise me given the organizational nature of the group. The group rallies around the singer, who is the true heart of the songs. The organ, which envelops all the songs, deserves a special mention, and it almost feels like sacred music (look at the lyrics to understand what I mean). Another component I would like to emphasize is the tribal one (yes, tribal), which I believe can be felt in many tracks. There is something primal, perhaps even intentional, about them. Other than that, there are no particular compositional peaks, but L Y F, Spitting Blood, Heavy Pop, but especially Cave Song, stand out. Summas Bliss, Concrete Gold, and others are skippable.
As for influences, people are talking about Swans and Happy Mondays, but perhaps it's better to mention a blend of Explosions in the Sky, Wolf Parade, and Built to Spill. Ultimately, nothing striking, but they certainly did not disappoint and can soar high.
“To tell fire is to question, to bring fuel to the fires started by kids no longer blinded by spectacle glare.”
So go tell fire.
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