{"id":1236,"date":"2010-09-21T11:17:59","date_gmt":"2010-09-21T17:17:59","guid":{"rendered":"http:\/\/stylusmagazine.ca\/?p=1236"},"modified":"2010-09-21T11:17:59","modified_gmt":"2010-09-21T17:17:59","slug":"review-wolf-parade-expo-86","status":"publish","type":"post","link":"https:\/\/ckuw.ca\/stylus\/2010\/09\/21\/review-wolf-parade-expo-86\/","title":{"rendered":"Review: Wolf Parade &#8211; Expo 86"},"content":{"rendered":"<p><a href=\"http:\/\/stylusmagazine.ca\/wp-content\/uploads\/wolf-parade-expo-86-300x300.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1235\" title=\"wolf-parade-expo-86-300x300\" src=\"http:\/\/stylusmagazine.ca\/wp-content\/uploads\/wolf-parade-expo-86-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/><\/a><\/p>\n<p>When Wolf Parade\u2019s <em>Apologies To The Queen Mary<\/em> was released, it was as damn near perfect as an indie rock record could ever hope to be, falling somewhere in between Arcade Fire\u2019s anthemic scope and Broken Social Scene\u2019s hazy sprawl. 2008\u2019s follow-up <em>At Mount Zoomer<\/em>, shifted into a murky swirl of dense, third-wave Brit pop and Springsteen-indebted rock. With it, the division between Spencer Krug and Dan Boeckner\u2019s songwriting became clear, just barely balancing the record in a sort-of-adverse symmetry. But <em>Expo 86<\/em> doesn\u2019t fall into the same disjointed folly that <em>Zoomer<\/em> did. Instead, the album works as a convergence of their two voices\u2014Boeckner\u2019s raucous riffs are funneled through Krug\u2019s disenfranchised brand of pop, the result as gripping as it is bizarre. Huge, lumbering hooks, like those found on \u201cLittle Golden Age\u201d and \u201cYulia\u201d rock in a way that Wolf Parade has never quite managed to on their previous efforts. The Krug-penned tracks retain his trademark knack for chatty, rambling lyrics, but backing them with Boeckner\u2019s bluesy riffs and spinning them through some fleeting electronica results in something that, for all its layers, sounds organic and fluid. Boeckner and Krug have found a middle ground where they can co-exist cooperatively, rather than competitively, and they sound all the better for it. (Subpop, <a href=\"http:\/\/www.subpop.com\">www.subpop.com<\/a>) <strong>Kevan Hannah<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When Wolf Parade\u2019s Apologies To The Queen Mary was released, it was as damn near perfect as an indie rock record could ever hope to be, falling somewhere in between Arcade Fire\u2019s anthemic scope and Broken Social Scene\u2019s hazy sprawl. 2008\u2019s follow-up At Mount Zoomer, shifted into a murky swirl of dense, third-wave Brit pop [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8,9],"tags":[1115],"class_list":["post-1236","post","type-post","status-publish","format-standard","hentry","category-news","category-reviews","tag-wolf-parade"],"_links":{"self":[{"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/posts\/1236","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/comments?post=1236"}],"version-history":[{"count":0,"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/posts\/1236\/revisions"}],"wp:attachment":[{"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/media?parent=1236"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/categories?post=1236"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ckuw.ca\/stylus\/wp-json\/wp\/v2\/tags?post=1236"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}