Apologies To The Queen Mary (Sub Pop '05) Rating: B+
I have to admit, I'm way less up on new music than I used to be. For one thing, I'm doing much less freelance work these days, what with my wife, kids, real job, and this Web site (which lately tends to focus more on older releases) being bigger priorities. Still, I try to stay current (it helps that my brother is pretty plugged into what's going on), and when checking out numerous "best albums of 2005" lists I couldn't help but notice that this album kept appearing. These guys are often compared to Modest Mouse, mostly because Isaac Brock produced (but also because of stylistic similarities; for example, "Dinner Bells" is a coldly atmospheric epic of the type that Modest Mouse delivered on The Moon And Antarctica), and The Arcade Fire, mostly because they opened for them on tour and they're both from the thriving Canadian music scene that also boasts Broken Social Scene and Stars, among others (but also because songs such as "We Built Another World" and "I'll Believe In Anything" have similarly anthemic qualities), and Talking Heads, mostly because of Spencer King and Dan Boeckner's David Byrne-esque vocal yelps (acquired tastes to be sure). However, even if Wolf Parade never quite rises above their influences, this is an assured and accomplished debut nevertheless, even if it is a bit overrated given all their accolades. In addition to at times annoying vocals, the band's energetic sound generally consists of big driving beats, edgy angular guitars that are often intermingled with a more melodic counterpoint, and a healthy dosage of hooky synthesizers (the best ones arguably belonging to "Grounds For Divorce" and "This Heart's On Fire"). The best song by far is "Modern World," which is all about its mellow but intense, moody groove, but the album also boasts a surprising consistency and diversity. "Fancy Claps" is fast paced and pretty heavy, for example, while "Same Ghost Every Night" is a ballad, sort of; that one is kind of a mess, actually, though a wonderfully airy synth melody in the background redeems it. Elsewhere, "You Are a Runner and I Am My Father's Son" is herky jerky new wave, "Shine A Light" contains a good groove bolstered by its pounding beats, "Dear Sons And Daughters Of Hungry Ghosts" is all about its laid back "la la la la la la" vocals, "I'll Believe In Anything" delivers an anthemic chorus and the album's most memorable sound bite ("nobody knows you and nobody gives a damn"), and "It's A Curse" is oddly danceable and funky. Still, "Modern World" is the only obviously great song, at least to my ears (my brother would add several others, including "I'll Believe In Anything," his "song of the year"), and I have enough issues with the vocals to temper my enthusiasm somewhat. Which isn't to say that this isn't a fine first album; it certainly is provided you can keep those lofty expectations in check.