Wolf Parade, which set the tone for the indie renaissance of the 2000s, plays August Hall on Sunday, May 22. Like many great stories, the tale of how Wolf Parade became one of the most influential indie rock bands of this century can be traced back to a decidedly inauspicious beginning.
After getting his fill of fish and chips at the Bent Mast , Krug moved to Montreal, hoping to draw nearer to that city’s buzzing local music scene, which at the time included young upstart bands like Arcade Fire, the Unicorns and the Dears. Boeckner followed about a year later, and from there, the two laid the foundation for what would be the group’s seminal debut album, “Apologies to the Queen Mary.
Released in 2005 on the venerable Pacific Northwest record label Sub Pop, “Apologies to the Queen Mary” was laden with hype and expectations, reflective of the height of the powers for the bygone music blog era. Wolf Parade had released two EPs to universal acclaim, “Apologies” was being produced by Modest Mouse frontman Isaac Brock, and the band’s association with the newly famous Arcade Fire led to a perfect storm of outsized hype. Shockingly, the band exceeded those otherworldly expectations.
The album may be noisy and kooky at times, but thanks to the deft touches of Krug, it is strangely accessible and imminently listenable. Take, for example, the titanic opener, “You a Runner and I am My Father’s Son,” marked by drummer Arlen Thompson’s thunderous bass kicks and Krug’s forceful, syncopated piano movements. Its immediate and precise opening moments dissolve into an unnerving deluge of feedback and static, as Krug’s yawping voice blends into a haze of dissonance.
Krug said he originally wrote that genre-defining creation as a quiet piano ballad for his other band, Sunset Rubdown , but it quickly turned into something different under the collective input of the group.
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