an american werewolf in london (1981) dir. john landis / florence + the machine - howl / yellowjackets s2e7: "burial" / moonface - heartbreaking bravery / týr and fenrir (1911) by john bauer / tumblr post from @lupi-usque-ad-finem / "hounds of iron | naafiri cinematic" - league of legends / mongrels (2016) by stephen graham jones / instagram post by @violenttradwife / have a nice life - hunter / tropical malady (2004) letterboxd review by frances meh / ethel cain - famous last words (an ode to eaters)
Doctor Who, "Dark Water" // "Valentine Godé-Darel," Ferdinand Hodler // "Portrait of the Illness as Nightmare," Leila Chatti // Silverlake Life: The View From Here // "A Searing, First-Person Look at the AIDS Crisis Told Through the Eyes of a Couple," a review of Silverlake Life by Joshua Kaplan // "Cry All Day," Spencer Krug
Apologies to the Queen Mary
Wolf Parade
2005, Sub Pop
Apologies to the Queen Mary is on the short list of ‘00s indie records that I’d consider masterpieces. The funny thing is that my list, as someone who was there (or there-adjacent), is pretty well fixed in time, whereas the consensus among Zoomer critics continues to morph in ways I’d never have figured. (Or maybe it’s not funny, really—just always how time and memory work.) In 2008, I would’ve bet my left pinkie that TV on the Radio (and especially Return to Cookie Mountain) would be the defining band of the era. Meanwhile, in 2024 the Killers are still riding the same five songs to a second greatest hits record and fifty times TVotR’s monthly residuals; the National have tween fans; and I hold a mug weird. Time clowns us all and Wolf Parade are a dad band now, owners of a few anthems from the era before genuinely weird indie bands could near the summits of the pop chart, economically compelled to continue touring small theatres together despite both Boeckner and Krug having been more invested in other, even less profitable projects for some time now.
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Wolf Parade is one of those bands with two lead singers who sound indistinguishable before you know the group well, and instantly identifiable thereafter (like John and Paul of the Beatles, or Felix and Will of Chapo Trap House). They’re both yowlers who let their voices crack pubescently as shorthand for the frayed emotional spectrum they traffic in, given to barking and hooting to help drive their bric-a-brac compositions forward. Boeckner is a lanky post-punk looking fuckboy in roughly the Richard Hell mould, given to posing sweatily in torn undershirts and starting projects with a succession of raven-haired keyboard players he’s also dating. He loves motorik dance rock and Wire, but also has a substantial helping of Bruce Springsteen in his songwriting. Krug is a stocky, normal-looking guy who doesn’t really meet your eyes and self-deprecatingly called his solo project Moonface. He writes lyrics that sound like philosophy and love letters translated from an alien language, and prefers his music to both thwack and quaver.
Their similarities give Wolf Parade coherence, but much of their dynamism comes from how the two singers pass the controls back and forth. Backed by electronics tinkerer Hadji Bakara and Arlen Thompson, a drummer (crucially) capable of serving as a rhythm section unto himself, Krug and Boeckner find the perfect balance between Krug’s experimental art collective predilections and Boeckner’s slyly sexual rock ‘n’ roll heart. Krug leads with the empty warehouse strut of “You Are a Runner and I Am My Father’s Son”; Boeckner parries with the hooky acoustic rocker “Modern World”; Krug closes with the brittle seven-minute dirge “Dinner Bells”; Boeckner responds with the pinkly-hued Suicide-Springsteen collab “This Heart’s on Fire.”
Both Boeckner and Krug have made wilder, stranger music elsewhere, and there are plenty of other brilliant Wolf Parade songs to be found across their subsequent records. But Apologies remains the greatest blend of their particular talents they ever managed, a perfect example of two guys pushing each other to do their best work. With luck, a future generation will reconsider Wolf Parade and its many, many satellites (Sunset Rubdown, Operators, Handsome Furs, Frog Eyes, Swan Lake, Divine Fits…) as one of the most interesting micro-scenes the whole post-alternative rock era produced. And if not, I’ll still be here spinning the record a few times a year, believing in it all all over.
Flaming, but in the Spencer Krug of Sunset Rubdown and Wold Parade sense where living life is synonymous with burning things, consuming the world around us in order to dance and shed our light and just keep going whether we like to or not (this is also the gay sense).
I got a hand
So I got a fist
So I got a plan
It's the best that I can do
Now we'll say, "it's in God's hands"
But God doesn't always have the best goddamn plans, does he?
Première partie de mon traditionnel top de mes albums préférés de l'année passée, sans autre ordre qu'alphabétique. On y retrouve surtout des habitués de mes tops (parfois plus hauts d'ailleurs), Florent Marchet pour la première fois et Kendrick Lamar seul artiste hors folk/rock que j'apprécie vraiment.
Un titre de chaque album en écoute dans ces playlists :
Andrew Bird - Inside Problems
Built To Spill - When the wind forgets your name
Michel Cloup - Backflip au-dessus du chaos
Alela Diane - Looking Glass
Peter Doherty & Frédéric Lo - The Fantasy Life of Poetry & Crime
Baptiste W. Hamon - Jusqu'à la Lumière
Spencer Krug - Twenty Twenty Twenty Twenty One
Kendrick Lamar - Mr. Morale & the Big Steppers
Florent Marchet - Garden Party
Plains - I Walked with you a ways
Spiritualized - Everything Was Beautiful
Spoon - Lucifer on the Sofa
Sharon Van Etten - We've Been Going About This All Wrong