i've had this long anticipated record in my grubby little paws for a week plus now. i really wanted to digest it thoroughly before i posted any sort of review anywhere. knew i might flip flop between omgiluvthis album of 2010 or meh, neon bible syndrome, check it for a few weeks then shelve that bitch. after much contemplation and SEVERAL listens and re-listens, i'm delighted to say it's more of a 2010 contender vs sophomore slump. my biggest difficulty with writing anything, though, is the album's ability to suck me in. i want to separate myself from the listening experience and analzye the lyrical content, i want to compare the musicianship to past efforts, i want to be able to really dig deeply. but this record, just won't let me. whenever i hit play on the first of its 16 tracks, (title track 'suburbs'), despite it being a lengthy release, the next thing i know, the album is already completed. and i haven't analyzed shit. i've just sat back, enjoyed and listened to the shit outta it without even realizing it. sort of like hypnosis or something.
talking to a pal last night about the record made me realize that this is exactly what's been missing in modern music. so many albums are disposable and flavor of the week type shit, things you may really dig for a week and then forget about. it's those releases that make up 90% of whatever's hyped on the blogs or whatever, that control the scene. those records are easy to sit back and subtract yourself from the experience. critique, critique, compare, contrast. repeat. well, the albums where you find yourself absorbed (against your will!) speak volumes. sure, i can (and will) take each track apart and ramble on what makes it so great - but the only way i can actually review this album is to separate each song as an individual. i can say right now that The Suburbs is one of very few records that seamlessly transitions song to song, without the feeling of too much filler (with enough listens, i think i can even say NO filler).
Suddenly, Beach House's "Teen Dream" may have a run for their money for Best Record of 2010. We shall see. . .
This is going to be a long ramble, I can tell already. So if you're bored and just want the bottom line, here it is. The Arcade Fire's third album is a 10/10 on the jodifer rating scale. At first listen, i was half bored and looking for a "No Cars Go" or "Rebellion (Lies)." Once I quit looking for comparable singles, I instead became enthralled with the magic of such tracks as "The Suburbs," "Empty Room," "Month of May," "Ready to Start" and "Half Light II (No Celebration)."
This album's worth it, kids. Fuck, you can still
buy it digitally on Amazon for $3.99, so really you ain't got no excuse not to pick it up. It lacks the rawness of Funeral; unfortunately I think our lackluster days of nonharmonious Regina/Win melodies are longgone, and the brokenness was what was so originally endearing, but they managed to work with their polished production in a way more effective than that of the 'mehness' of Neon Bible. It's a good in-between record, but more advanced than any prior release. It's just really pretty, advanced and well, just listen for yourself. It's good shit. I wish I could focus more and pick apart the theme of The Suburbs, even with a casual listen it's apparent to the listener that Win Butler and crew are reminiscing on suburbia, tearing apart the small intricacies of "easy" living. The Butler bros wrote the album in mind with their experiences of growing up in the suburbs of Houston. But the rest of the band is from Canada. Sooooo, it is what it is. And what it is is damn good.
Arcade Fire - The Suburbs
1. The Suburbs : One of the two first released singles, it's fitting that the title track joint is the opening number as well. It's the epitemy of Arcade Fire. Win's lethargic, yet straight from the gut vocals, wavering in his pseduo falsetto, "Sometimes I can't believe it, I'm moving past the feeling," atop a comfortable bed of mellow guitar strumming, soft strings and a progressive clomp-along melody. It's chill, enjoyable, and a nice melody. Can't really relate to his desires of wanting a daughter while he's still young to show her beauty or whatever, but that's what they do in the 'burbs, right? Still a damn solid song. Awesome opening way to grasp listeners attention STAT.
2. Ready to Start :Next we move right along into the fast tempoed second single. The immediacy of the steady percussion/guitar riffs keeps us interested in hearing what's up on this album. If you have a radio (and actually listen to it), chances are high this is the song you've heard from the new album. With Win's repetitve steady chorus build-up/fake-out, "If I was scared, I would. If I was bored, you know I would. If I was yours, but I'm not," the track progresses with added instrumentation each round. When Win finally clinches the chorus with a "Now, I'm ready to start!", it's a welcomed opportunity for a chill synth driven break down. What I love most about Arcade Fire is their ability to blend so many different instruments, yet create a very solid hyrbid without anything sounding outta place. Synthesizers are used as they should be, as an enhancement to the current sound, not as an out of place prop. Chill tune, solid, good choice for a single.
3. Modern Man : Our humble narrator takes us on a four and a half minute journey into the definitions of what it takes to be a man in today's indie rock society. Apparently, he doesn't know what this is himself. There's a lot of "don't understands", "clock's tickin'," "dreams he had he was dreamin', where he was losin' the feelin," etc. The guitars are low, yet steady. The basslines are the foundation of the track. For the "chosen few, who were wasted," this seems to be the most lyrically thought out reflection of not understanding what the fuck adulthood is about. I bet my older brother could relate to this track, on more than a handful of occassions, he's wistfully reflected to me about his successes within his profession, his family and his securtity, but still yearns for more and dwells on his uncertainties in suburbia, envying my cityhood experiences. But still, I'm not so sure we'll ever get it, maybe this is what Win's trying to say when he dreams aloud, "Maybe when you are older, you'll understand why you don't feel right - why you can't sleep at night now." Hopefully, Win.
4. Rococo : Dreamy strings, casual guitar strums, layers of percussion and a lazy back melody. This song is a floater, "They build it up just to burn it back down," Butler nonchalantly sings, prior to a repetitive chorus of "Ro-co-co-Ro-co-co-co-co's" which then leads into a more pissed off strings and heavier guitarwork. A little darker, heavier, but still melodically solid. I guess if this album was capable of having filler tracks, this might be one, 'cept for the inevitably catchy and stubborn repetition of Ro-co-co's that get stuck in your head, hours after hearing the track.
5. Empty Room : I am 90% positive the opening whirring violin action belongs to a Mr. Owen Pallett (aka final fantasy) as it sounds EXACTLY like his craftmanship, but even if its not, it still nails the effect he so enchantingly possesses. Demanding, fast, huge. The strings lead into one of the album's more upbeat numbers, full of soaring strings, addictive drumming, and an overall pop madness. With Regina's vocals sharing lead responsibility with Win's, it's a throwback reminscent reminder to Funeral's days. If it was a little more clumsy, it'd easily be able to be mistaken for a debut album track, but the beauty is that it's not. It's new shit. And it's one of my fave tracks on the record.
6. City With No Children: Happy go lucky, lazy melody. While I'm not sure I agree with Win's comparison of a city with no children to a private prison, I agree that this song is delectable and the perfect soundtrack for lounging with a book or folding your laundry. I'm starting to get sick of listening to our leadman whining about wanting kids, but luckily for me, I'm really good at tuning out lyrics and focusing on the eloquent musicianship instead.
7. Half Light I: Four minutes of light, soaring string/guitar melodies sugared with Regina's off kilter vocalwork. Dizzying at times, nostalgic at others, this track is a gorgeous trip into a welcomed trance of relaxation and laziness. I guess this could be filler if it wasn't so darned easy on the ears. . .
8. Half Light II (No Celebration): From the days of Funeral's numerous "Neighborhood" tracks, any Arcade Fire fan knows these dudes are big do-er's of sequels or song title series. This is the first of two, between the "Half Light's" "The Suburbs's," and "Sprawl's," they're still abundant on the record, but whatever works for them man. If it ain't broken, don't fix it. This particular track, the sequel to Half Light, is more enjoyable than the first. Wherease Half Light I was a lazy, pretty four minutes of forgetfulness, Half Light II picks up the tempo and throws in some jittery synthwork to up the stringwork melodic ante. It's like you're on some sort of journey into no celebration land, not sure what's ahead, but wanting to progress regardless. Win throws out references to watching the markets crash, how much this city's changed since childhood (NYC?), paying the cost for what's been lost and being left behind. I guess this could be analyzed to the state of affairs in our country's currently rotting in, but that's boring and I hate politics. So instead, I'm just gonna say it's a faster tempoe'd track and them Canadians are just crazy. Synths can really work to the advantage of the Arcade Fire, this track is evidence of that.
9. Suburban War: Again, this is a very Arcade Fire esque song. All the regular formulas are in place, delayed, yet timely build ups, slower beds, Win's reminiscent vocals and lyrics, reflecting on learning to drive in the suburbs, starting wars that remain unwon, the power of music, and long lost friendships. This builds into loud clammors near the end with epic percussion and falsetto buildup. The result is an overall chill, yet enjoyable four and a half minutes.
10. Month of May: Fave song on the record, easy. It's in your face, driven, upbeat and loud. It may only be about recording an album in May, or an observation on hipster tudes ("while some things are pure and some things are right, the kids are still standing with their arms folded tight,"), but May happens to be my favorite month anyway, so its only fitting that the most energetic and tight track is titled as such. This is The Suburbs' equivalent to Funeral's "Rebellion (Lies)."
11. Wasted Hours: Dreamy, slow, melodic. This is probably the anthem to my summer of unemployment and lethargy. Wondering where all the time went--lazy, almost remorseful, but not having enough energy for any regret. Just enough uumph for observation. I can relate to that. "All those wasted hours, we used to know. Spent the summer staring out the window. A wind that takes you where it wants to go."
12. Deep Blue: I really like what Win does with his vocals on this track. Speaklike verses. Slow guitars, percussion, throw in some heavy piano clinkwork, building up to a peak where Win slowly starts to add more effort from an apathetic, "La la la la la la la, Woooo," before progressing to a more melodic blend later into the four and a half minute ditty. Nothing super standoffish, but just beautiful in its own simplistic way. Very Arcade Fire, but probalby not for the average non-fan.
13. We Used to Wait: Choppy yet consistent, this track is no doubt driven by the chunky piano work, accompanied with its soft percussion, and topped off with Win's nostalgia of pre-fame days.
14. Sprawl I (Flatland): Super quiet and probably way too lenghty of an opener and when it finally does open up Win's just flat out whining.I take back my "no filler" comment. This is definitely filler. Unless you're Arcade Fire Super Fan Extreme. This one kinda sucks. Bah.
15. Sprawl II (Mountains Beyond Mountains) : The one upside to Sprawl I sucking so bad is that Sprawl II is welcomed warmly in transition. With Regina's childlike wavering female vox, gasping and sighing atop a tinkering bed of keys, warped guitars and an overall upbeat tempo, I'm def more taken by the idea of Mountains beyond Mountains than Flatland. This is a pretty solid track.
16. The Suburbs (continued): Shortened, slower rendition of the title track. Normally this would bore me, but it's extremely fitting for the album's closer. Whispery vocals vs the strong opening rendition, gentle, beauty. An epic album. This is a reminder of what we've all just experienced. Not to listen to on its own or in shuffle, but the ideal closer for an ideal listening experience. Such a good record, you guys.
