Mendelsohn: This is a special album, Klinger. Special. It’s in the top 50 on the Great List and it was released within the last ten years. Considering that most of the albums we’ve talked about thus far are pushing middle age, what kind of album could catapult an untested band of nobodies from Canada into the holy rock and roll canon? I’ll tell you what kind—the special kind.
Klinger: Is it? Is it special? I’ve been kind of back and forth on this album ever since I first heard a track from it and decided it not only sounded like the Pixies, as was the style at the time, but I decided it specifically sounded like “Velouria” (as I listen to the album now, though, I have no idea which song that could have been). So grumpy old me put the record aside, assuming it was something I needn’t concern myself with.
Meanwhile, though, while I was doing other things, the Arcade Fire continued to grow slowly in stature, even as a lot of other bands from that more innocent time fell by the wayside. And along with that, apparently, the respect for Funeral has far outstripped my shortsighted 2004 expectations. Outstripped them embarrassingly, in fact. But you used the word “canon” up there, Mendelsohn, and even though this album is irrefutably ranked in the upper-upper reaches of the Great List, I’m still reluctant to call it canonical.