We got back to Montreal and I didn’t have a copy of the record. Nobody had a copy of the record. We couldn’t listen to it. Then we stopped hearing back from Isaac. So we had done this thing and nobody knew what it sounded like, it only existed in our minds. I was so fucking broke I was living on my friend’s couch in Hochelaga, which is a shitty suburb of Montreal. My girlfriend at the time had moved to Taiwan. So I just worked my ass off at my job for a month, saved up for a plane ticket, and flew to Taipei. When I got there she broke up with me and I lived in Taiwan for 3 ½ months after that. All in the back of my mind I’m thinking, there’s like a record, we did a record.
I came back to Montreal and we started fixing the record. With Isaac’s help, we used some of his mixes. But we had to re-record Shine A Light. Spencer and Arlen did a lot of heavy lifting for mixing stuff like ‘I’ll Believe in Anything’. Somehow we managed to get a coherent record out of that whole thing. Even though we were dealing with different mixes, different formats, different sound quality, we pulled together a coherent record. The whole process took about a year with a lot of huge gaps of not working on it because everybody had gone their separate ways. Or that we couldn’t get in touch with Isaac to get mixes because he was doing shit with Modest Mouse. It’s interesting, it seemed very precarious right from the start. That sort of informed the rest of our career.
When we were back in Montreal there wasn’t a lot of retooling done to the record because we didn’t have the skills to do that. Most of the retooling was sonically, like running stuff through a crappy computer. The biggest ones were Disco Sheets and Shine a Light, which were entirely re recorded. For I’ll Believe in Anything, Spencer did a lot of work on that. Not re-recording his parts, just mixing.
There’s no question the lonesome crowded sound is here, but when Wolf Parade dig in and dust off their influences, the band rolls like a Ritalin-deprived power-Bowie or 70s Eno flexing piano-based hooks over Pixified rhythms. Component ingredients include electronics, keyboards, guitar, drums, and two spastically surging, forever tuneful vocalists (Dan Boeckner and Spencer Krug), but there are also surprises: A theremin cries in the slow-poke “Same Ghost Every Night”– one of the longer tracks, it grows in pageantry as it swells to the six-minute mark
Possibly the only live version of this track was recorded at the CBC Radio 3 Sessions in November 2004:
Short Film and Fan Made Video
I found this short film titled ‘Same Ghost Every Night’ by writer/director Darren Anderson. Wolf Parade’s song is playing at the 7:59 mark
This video, created by Jeffrey Orgill, deals with the grief of a family over the loss of their brother/son: