Apologies to the Queen Mary arrived early autumn 2005, creeping in toward the end of a year that also brought Spoon’s Gimme Fiction, Sleater-Kinney’s The Woods and Kanye West’s Late Registration. Ten years later the record sounds as much a revelation as it did the first time. The record arrives with clattering solo drums that serve more like confrontation than invitation. Titled “You Are a Runner and I Am My Father’s Song,” it’s a real humdinger. This concussive attack changes little over the next two minutes and 46 seconds, becoming almost mind-numbing in its repetitiveness. Even the drums’ placement in the mix, right near the front of the sound spectrum, creates a deeply unsettling atmosphere. With Spencer Krug’s barbaric yawp, guitar lines that twist in knots impossible to untie and sudden turns that almost convince us that the whole thing’s about to fall apart, you can’t help but be reminded of Modest Mouse’s brilliant precariousness. Chalk that up either to producer Isaac Brock’s influence over the sessions or the Wolf Parade lot loving the sounds he and his crew made, it all results in a brilliant record.

Krug’s loud, chaotic songs stand in perfect contrast to Dan Boeckner’s more studied and frequently more varied pieces. The latter’s “We Built Another World” possesses some of the opening cut’s fervor but proves more tuneful if no less adventurous. It blends the wild, amphetamine style of the most frenzied Talking Heads numbers with the power and imagination of Big Country’s stadium-worthy hit “In a Big Country.” It’s easier to find the hooks, though Krug’s immediate response, the aptly-titled “Fancy Claps” has no short supply of either hooks or claps.

Apologies to the Queen Mary doesn’t have much in common with a typical rock record. The guitars cut into your ear drums like barbed wire. The drums don’t allow you to shake your groove thing in the usual, mindless way. You can’t easily sing the words. The emotional truth contained in the lyrics reveals itself in ways you’re not always accustomed to. You must pay deep attention and give hard focus to grasp the complexities.

The haunting “Same Ghost Every Night,” the hook-ish “Shine a Light” and the Bowie pastiche “Dear Sons and Daughters of Hungry Ghosts” are among the record’s most palatable but even those lay waste to most previous listening experiences. The album’s penultimate “Dinner Bells,” with its howling electronics, gorgeous, psychedelic keyboard lines and a vocal that sounds like Syd Barrett one or two seconds before he finally reached his wit’s end, may very well be the record’s greatest concession to rock created before 1991. It’s not just aural cinema at its finest, it’s also a nod to the classic era of albums which, by 2005, was starting to slip away. It’s a pulling out of the stops, a reward to stalwart listeners or a testing of their patience as the song comes smack dab in front of one of the most accessible things Wolf Parade has ever done, the sweetly anthemic “This Heart’s on Fire.”

That tune almost sounds like another band, one that could have had oodles of mainstream success had it wanted it. But that idea of success had started to evaporate for most bands by 2005 so we’re probably better off hearing that number for what it is, evidence of Boeckner’s vulnerabilities meeting head-on with his talents.

That the record is repacked now with a wide range of bonus cuts adds great pleasure to the entire listening experience. The band’s pre-Sub Pop, self-titled EPs are added to the collection, providing even more amusement via numbers such as the truly strange “Wits or a Dagger” as well as different renditions of the key cuts from Apologies. Add a previously unreleased track, “Snakes on a Ladder” and you have more than you could ask for.

The full repackaging comes with a wide range of bonus cuts, namely the pre-Sub Pop EPs and the unreleased “Snakes on a Ladder.” It’s refreshing to hold onto a collection that delivers end to end and allows us to experience an old favorite such as this in a way that makes our ears think it’s the first time.

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