Favourite Things of the 00s: Apologies to the Queen Mary

For CWHCWK's first ever music post (!), B.E. Sheppard kindly and gracefully takes us through one of his favourite records of the last decade. Don't say we only talk movies...well, anymore at least.



I've heard that all great art is based on conflict. If there was one word that I could use to describe Wolf Parade's debut LP Apologies to Queen Mary, conflict would probably be it. I'm not saying this is an angry record. It doesn't lash out at the listener against any injustices and there is certainly no screaming. However, it is definitely the case that there is an awful lot of tension in this record and this is one of the many reasons I love this record.



There is no better example of this tension than one of the stand out tracks, I'll Believe in Anything. Like many of the songs on the record, it begins with a disarmingly simple intro riff; calm and flowing. Then co-vocalist Spencer Krug brings his almost naturally distorted yelp into the mix, following with the riff, yet the contrasting with its calmness. Finally, the rugged and violent drumming of Arlen Thompson is taken up a notch leading to the psuedo-refrain of the song. I say psuedo as, much like the playful sense of rhythm and tone utilised on the record, there is rarely a strict structure to a song. This sounds like a recipe for disaster (just look at the latest records from the Mars Volta), but Wolf Parade had a collective head for ordering that nips any such self-indulgence in the bud very early on.

As I mentioned previously, the music on the record is deceptively simple. If you were to listen to any instrument solo, a more virtuosic performer may be insulted, fortunately, Wolf Parade are one of the tightest groups I've ever heard. They know just when to boost the tempo or soften the playing. The effects are astounding. Unlikely the National's Boxer which was the sound of a band using the same trick over and over again, Wolf Parade's toolbox is expansive and versitle, highlighting them as a truly intelligent group.



Of course, like most records, without decent lyrics and melodies, an album can fall flat quickly. Fortunately, both vocalists have their own differing, yet highly inventive styles. Whereas the technical ability shown in the music is limited, the vocals are nothing sort of incredible. From howling to soft heaving, the vocals are so empassioned, they never cease to be infectious. Lyrically, the record is a pallete of abstract surrealism, playing with the themes of identity and creativity through the four main motifs of ghosts and voices, blood and bones. The one track that lets its guard down is the opener You Are a Runner and I Am My Father's Son. Despite some bizarre imagery, it is easy to see this as a man, both coming to terms with and avoiding his genetic fate. Obviously, as I can relate to this, it adds a new layer to the song, but even without this, it plays as the most tense song on the record. Given its differences to the rest of the record, it seems an odd choice for the opening track, but then again maybe it is best for Wolf Parade to deal with the past first, before they release the powerfully original work that lies on the rest of the album.