Arcade fire: The Suburbs
Through all of the hardship expressed via their music, the members of Arcade Fire carry on unscathed. This Montreal band has gained respect on all fronts. They started with the unique Funeral in 2004, continued with spectacular Neon Bible in 2007, and now with The Suburbs, they have successfully combined the best attributes from their past two records towards this powerfully poignant album.
Even with a straightforward concept, Win Butler, Regine Chassagne and company pack so much content to explore on The Suburbs. To fit with the record, it’s the juxtaposition between those “Wasted Hours” in “The Suburbs” and the “Modern Man” mentality you cannot escape when on this bands musical journey. The album reminiscent of childhood innocence mixed with a longing to break free of the shackles of your surroundings is reflected in the track “we used to wait” which portrays a sense of nostalgia we can all relate to. Win Butler, pensive as ever on last track “The Suburbs (continued)”, would have those times back in a heartbeat. This album explores this move from past to present and all the tidal waves in between.
The exquisite fairy like Regine Chassagne has been the unsung hero of this band since their debut, giving balance when backing up Win’s vocals, and rising to the occasion by herself many times. Able to hold a tune as perfectly as any vocal greats her fragile tone is most certainly not a force to be reckoned with. Her finest work is without a doubt present on The Suburbs. Chorus work on “City With No Children”, echoing Butler on “Half Light II (No Celebration)” and running off with the emotional “Half Light I”, she fires on all cylinders. I cannot forget to mention “Sprawl II (Mountains Beyond Mountains)”, the epitome of pop music, which makes for the best track on the album and is the ultimate feel gooder.
Power ballads “Month of May”, “Ready to Start” and “Empty Room” will rock an arena near you. Intimate tracks like “Sprawl (Flatland)”, “Suburban War”, “Deep Blue” carry out the quiet desperation that makes the concept click. The Suburbs respires, from loud to soft, argumentatively back-and-forth to enhance the juxtaposition.
Easily their most cohesive, most accessible album to date, Arcade Fire have again landed a storm with The Suburbs and, bounced out the messages they deliver and how they portray them, they are not finished their escalation.
Even with a straightforward concept, Win Butler, Regine Chassagne and company pack so much content to explore on The Suburbs. To fit with the record, it’s the juxtaposition between those “Wasted Hours” in “The Suburbs” and the “Modern Man” mentality you cannot escape when on this bands musical journey. The album reminiscent of childhood innocence mixed with a longing to break free of the shackles of your surroundings is reflected in the track “we used to wait” which portrays a sense of nostalgia we can all relate to. Win Butler, pensive as ever on last track “The Suburbs (continued)”, would have those times back in a heartbeat. This album explores this move from past to present and all the tidal waves in between.
The exquisite fairy like Regine Chassagne has been the unsung hero of this band since their debut, giving balance when backing up Win’s vocals, and rising to the occasion by herself many times. Able to hold a tune as perfectly as any vocal greats her fragile tone is most certainly not a force to be reckoned with. Her finest work is without a doubt present on The Suburbs. Chorus work on “City With No Children”, echoing Butler on “Half Light II (No Celebration)” and running off with the emotional “Half Light I”, she fires on all cylinders. I cannot forget to mention “Sprawl II (Mountains Beyond Mountains)”, the epitome of pop music, which makes for the best track on the album and is the ultimate feel gooder.
Power ballads “Month of May”, “Ready to Start” and “Empty Room” will rock an arena near you. Intimate tracks like “Sprawl (Flatland)”, “Suburban War”, “Deep Blue” carry out the quiet desperation that makes the concept click. The Suburbs respires, from loud to soft, argumentatively back-and-forth to enhance the juxtaposition.
Easily their most cohesive, most accessible album to date, Arcade Fire have again landed a storm with The Suburbs and, bounced out the messages they deliver and how they portray them, they are not finished their escalation.
Cecil Beaton for Vogue