Starting off with thick vibrations compliments of “Alligator”, Wooly Mammoth’s first shreds hard with tight percussion and enigmatic vocals à la Keith Greiman. In a less abrasive take in the spirit of acts like The Blood Brothers (i.e. “Cecilia and the Silhouette Saloon” – nix all the screaming), the intro to “Alligator” builds piece by piece, each component easing flawlessly into the other throughout the song’s progression. “Automagically” is lyrically advantageous beside electro chords and funky riffs. Lines like “I do what I want to, I’m out to get you” casts Prowler as audible predators, ready to strike track after track. “Doo Doo Get Down” sizzles with handclaps while “Nighty Nightlife” plays out as a clever snapshot of Philly’s local nightlife through the eyes of the lurking band members and hip hop heavy-hitter Reef the Lost Cauze. Needless to say, sick beats ensue. “Saturnalian” is fabulously spacey with synth and staccato shakes, allowing the musical outfit to make the most of a nearly instrumental track amped up via vocals mid-song. “Kiss My Face” and “Shatter the Moon” make comparable quirk smiths like Rafter seem lacking due to Prowler’s knack for crafting aural treats. “More Spooky Pussy” feels like a club jam. The meshing of Plastic Little’s verses and Greiman’s vocals with fantabulous beats makes this electro hip hop track a standout on the album. “Sweet Tooth” is sparse in terms of instrumentation, yet eerily moves. Topping off Wooly Mammoth with OdinSmith’s remix of the album’s opener “Alligator”, the album ties up loose ends and leaves all with a sense of Prowler’s potential to create tunes that can simultaneously assault and seduce its listeners. – Dianca Potts