Pavlov’s Dog – Wonderlust
RUF Records – 2025
11 tracks; 50 minutes
Pavlov’s Dog has always existed at the intersection of rock, classical, and folk reflection. On Wonderlust (2025) — their first album of original material in years and their most stable lineup yet, anchored by David and Sara Surkamp alongside Abbie and Rick Steiling and Mark Maher — that blend is on full display. Listeners expecting blues, however, will find an album rooted first and foremost in progressive and classic rock, where violin and synthesizer flourish and atmosphere often takes precedence over grit.
While Wonderlust sacrifices some of the immediacy and raw emotional power of traditional blues, it gains a layered, expansive prog-rock sound, full of intricate arrangements, lush instrumentation, and adventurous sonic textures – a testament to a band that has been evolving since the 70s.
The album’s back half is its strongest, as the band leans fully into familiar prog-rock territory, producing ethereal, spacey rock with polished execution.
A solid electric guitar shuffle opens “Collingwood Hotel” before Abbie Steiling’s violin weaves in. David Surkamp sings, “Crushed by more disasters than you ever could survive. Checking out of the photographs, someone knock on wood. I’m lost on my way to the Collingwood hotel.” Several voices of varying pitch call out, creating gorgeous overlapping harmonies with striking resonance.
“Solid Water, Liquid Sky” continues the multi-layered approach. Soft acoustic guitar and delicate violin brushes provide texture, while Steve Bunck’s steady drums anchor the track.
On “Canadian Rain,” wailing yet subdued electric guitar introduces a prog-rock sensibility. Surkamp’s high-pitched, Bowie-inspired vocals carry lines like, “Just another way to say it never had to be that way. Most time love is lost wondering why… Leave my heart to the cold Canadian rain,” matched by well-paced piano from Maher and an impressive, gaudy guitar solo brimming with distortion. Another verse finds Surkamp crooning, “I was blinded by the light. With every on on you, fear isn’t a part of you, as you blow them all away.”
“Can’t Stop the Hurt” kicks off with powerful electric guitar and prominent synthesizer, propelled by a unique rhythm. Surkamp’s high-flying vocals soar before he drops into a lower register, while a shrieking, sliding synthesizer solo serves as the track’s centerpiece.
Heavy splashes of guitar, synth, and drums mark “I Told You So,” which moves into a funky, prog-rock groove. The song simmers with strange, mysterious flavor, touching lightly on blues, as Surkamp sings, “I’m not picking up the upstairs man… Cow black leather won’t keep you warm.”
The instrumental “Calling Siegfried” opens with gentle synthesizer melodies over an ambient, ethereal, jazzy backdrop reminiscent of Caravanserai. Soft violin and delicate synth interplay create a hauntingly beautiful texture.
Several tracks on the album’s first half are less successful. “Anyway There’s Snow” lacks soul, blues, and strong vocals, while “Jet Black Cadillac” and “I Wait for You” falter with weak lyrics. The album truly finds its momentum only midway through.
Ultimately, Wonderlust is a mixed but compelling collection, balancing uneven beginnings with a back half of richly textured, progressive rock that underscores Pavlov’s Dog’s enduring musicianship and willingness to explore new sonic territory.
