Wolf Parade had their indie cred established even before anyone heard their debut album, Apologies to the Queen Mary. They hail from the mecca of fresh music, Montreal, which helped them land their first show opening for the Arcade Fire. After they caught Modest Mouse member Isaac Brock's ear, Brock decided to produce their debut and encouraged them to sign with Sub Pop.
Since their album leaked in June, bloggers have been building up an Internet buzz that was matched by the praise of sites like pitchforkmedia.com and stylusmagazine.com when the album was officially released. By the time you read this review, the hype machine will be spinning out of control. Their songs will already be on the next O.C. soundtrack and be playing at your local Urban Outfitters.
But what is it about Wolf Parade's music that attracts an immediate positive response? They certainly aren't doing anything new musically. They play rather loose indie rock, complete with two alternating whiny vocalists, understated drumbeats, limited bass line movement and fuzzy production. In this respect, they are just an average band.
But what makes them so likeable is simplicity and repetition. Most songs build up to a sing along chorus with verses that repeat the same word or string of phrases from line to line. These strategies helped carry musically limited albums like the Arcade Fire's Funeral or Clap Your Hands Say Yeah!'s debut.
The opener \You Are a Runner and I am My Father's Son"" is a perfect example of this technique. The drums are neat with huge cymbal crashes and bass kicks. The bass barely moves and the rhythm guitar riff is messy. When the singer yelps ""I am a hero / early in the morning I ain't no hero / in the night"" he connects the band's herky jerk sound with a lyrical stream that meshes surprisingly well.
These techniques are not a precise science. Sometimes it seems that the lyrics are impromptu and the band later adds a bridge or another chord change to accommodate the ramblings. Highlight ""I'll Believe in Anything"" breaks off from its structure after the first chorus and sets off on a downhill trajectory that builds layers and steam as it repeats lyrics for about three minutes until it hits the brakes.
The album is not all lyrical fury. The epic ""Dinner Bells"" favors sparse lyrics and gentle guitar noise, light piano and well placed electronics that sober up the album before the closer, ""This Heart's on Fire."" The final track marries the sentimentality of Wolf Parade's ballads and the levity of their rockers to create the most memorable song on the album.
Apologies to the Queen Mary is a short-term addiction. The nice hooks and repetitious lyrics make the album immediately likeable but they also prevent the album from deserving repeat listens. Everything about Wolf Parade screams 'throwaway indie rock,' which becomes more apparent after some time with the album. But when that realization hits, you might like Wolf Parade enough to suspend your cynicism and admit that they have produced a solid debut, even if it doesn't stand out in any particular area.
