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i've been putting this off for far too long, but we're almost one full week done with november, so i'm finally starting on this series of posts about my favorite music of 2005.

do you remember summer 2004? the most "elite" of the musically hip probably remember what i'm talking about. most of the indie music scenesters didn't catch the fever until that autumn, and it was a widespread epidemic by the winter, and while the buzz has died down a bit since, there's no denying that there was just an unprecedented fervor behind The Arcade Fire's debut album Funeral and their impossible to ignore live show. one by one, everybody "discovered" The Arcade Fire and became momentarily obsessed, and ever since then everybody's been clamoring to find "the next Arcade Fire," so much so that its almost become a running joke in the indie music scene. from what i've seen, of the many bands labeled as "the next Arcade Fire," there are only two that meet the sufficient buzz requirements, and those are Clap Your Hands Say Yeah and Wolf Parade. in my opinion, it it a fight that CYHSY is undoubtedly winning, thought that does not make them a better band. i, myself, prefer Wolf Parade, which brings me to this:

Wolf Parade's 2005 debut album, Apologies to the Queen Mary

i'll admit, i don't love this album...yet. sometime i forget about it, but i'll walk by somebody's apartment and they'll be playing "You Are a Runner and I am My Father's Son" extra loud on their computer's fragile speakers and i'll bop along and remember, "oh right, this song is fucking awesome," and then go home, listen to the album again and love it and forget another hour later.
many people have likened the sound of this album to that of Modest Mouse, which is wholly understandable when you consider that head Mouse Isaac Brock produced this LP.
one of my greatest joys and sorrows about this album is that the whole thing flows together TOO well, in that the first time i listened to it, i thought for sure that the first three tracks were just one lengthy song and the same of later pieces. i still have trouble noticing when some of the songs end, which is both lovely and upsetting.
the glorious thing about all of this, in my opinion, though, is that the whole album comes across as one grand cathartic release. the beats sputter to instill and echo your rage at whatever it is that's driving you mad today, the guitars and pianos pound in violent hostility, but you still hear the lead parts being tickled in the background with an intent playfulness, and the vocals wain back and forth from bemoaning cries and nonchalant warbles as if to say "i've had it, you're bigger and stronger than me and i accept that, but i'm not going down without a fight!" i can't help but listen to this album and feel like i've just gone through an hour of both mental and physical therapy, without any of the emotional or physiological pain.

i had a hard time picking one track to post as an example of all of this, so here's my favorite couplet of tracks, which include a rather ingenious transitional element.
Dear Sons and Daughters of Hungry Ghosts MP3
I'll Believe in Anything MP3