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Wolf Parade: Apologies to the Queen MaryApologies to the Queen Mary (2005)
Sub Pop Records
Reviewer Rating: 4.5
Contributed by: RyanMRyanM
(others by this writer | submit your own)
It's safe to say there's been enough buildup surrounding the release of this album to fill in any lesser album, but where Apologies finally satisfies in ways earlier releases couldn't is in perhaps the simplest of ways: amount and variety. Not that past releases haven't been good -- they were -- or .
It's safe to say there's been enough buildup surrounding the release of this album to fill in any lesser album, but where Apologies finally satisfies in ways earlier releases couldn't is in perhaps the simplest of ways: amount and variety. Not that past releases haven't been good -- they were -- or engaging, but there is only so far twenty minutes of music can take you. Finally tackling a full-length (albeit one that isn't necessarily lengthy either) leaves Wolf Parade with much more room to expand their sound and fully realize the nuances that can bring opposing pieces together.
Granted there is nothing inherently special about Apologies, and while it's nearly obligatory to reference Modest Mouse or the Arcade Fire, from which there are clear similarities, the successes here are far more subtly embedded within the interplay of the songs and their differences. "Same Ghost Every Night" is particularly epic, yet leads its unassuming delicacy into the pounding stomp of "Shine a Light." Perhaps even more surprising is how this adds to the latter, drawing a stark distinction between the emotions and the zeal for unassuming ramblings -- even if both are present in some sense in them all. So while the pieces are unassuming and somewhat expected, the linkage between them is what is ultimately satisfying. So while it's simple to attribute its likeability to the recent breakout successes from both styles, doing such is merely a cursory observation; in truth, the album continually plays off contrasting elements: The youthful exuberance of "You Are a Runner and I Am My Father's Son" or the mechanical delivery in "Modern World;" the atmospherics in "Dinner Bells" and the straightforward build through "I'll Believe in Anything."
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