08-11-2013, 13:56
online listen
allmusic - 2.1 of 3.0
I have my album of the year
I cheated though, fired one up prior to play
whatever works
don't love it yet, but I will
didn't know it was a double album
just barely, 75 minutes (max for 1 cd is 74 minutes)
surely you could have cut back 1 minute guys
13 tracks and some are a bit long imo
last track is way too long, and not good either
title track is so much better without that stupid video
will be a great album
![[Image: MI0003666353.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_400/MI0003/666/MI0003666353.jpg?partner=allrovi.com)
Bio - from allmusic
A combination of indie rock muscle and theatrical, unapologetic bombast turned Arcade Fire into indie royalty in the early 2000s. Originally
comprised of Régine Chassagne, Richard Parry, Tim Kingsbury, and brothers William and Win Butler, the group formed during the summer of 2003,
after Win spotted Chassagne singing jazz standards at a Montreal art exhibit. The grandson of famed swing-era bandleader Alvino Rey, Win was
quickly charmed by Chassagne's performance, leading the two to launch a songwriting partnership. Romance followed shortly thereafter, and the
duo expanded its sound by gathering Parry on organ, Kingsbury on bass, and Win Butler's younger brother, William, on synthesizer and percussion.
Drawing from the bandmates' varied influences, Arcade Fire began mining an eclectic mix of bossa nova, punk, French chanson, and classically
tinged pop music, referencing everything from U2's passion to David Bowie's eclecticism in the process.
Arcade Fire issued a self-titled EP in 2003, having briefly retreated to Maine for the recording sessions. Propelled by Win Butler's quavering
vocals and his bandmates' symphonic swells, the disc helped earn the band an official offer from Merge Records. The bandmates' luck faltered
later that year, however, when Chassagne's grandmother passed away. The Butler brothers' grandfather followed suit in March 2004, and Parry's
aunt died one month later. Seeking catharsis in the studio, the members of Arcade Fire funneled their energies into the creation of Funeral.
Released in September 2004, the debut album was met with unanimous acclaim -- both commercially and critically -- and Arcade Fire found
themselves maintaining a nearly constant presence on the road, playing such high-profile festivals as Lollapalooza and Coachella between a slew
of smaller club dates. They also appeared on the cover of Time magazine's Canadian edition, garnered a Grammy nomination for Best Alternative
Music Album, rubbed shoulders with superfan David Bowie, and toured alongside U2.
Following an exhausting year, Arcade Fire decamped to a church outside of Montreal to work on a second release. The ambitious Neon Bible arrived
in March 2007, featuring such grand ornamentations as a pipe organ, a military choir, and a full orchestra. The album peaked at number two and
sparked another tour, which found the band playing more than 120 shows over the course of a year. When touring wrapped up in early 2008, Arcade
Fire played several shows in support of presidential candidate Barack Obama before beginning work on a third album. The resulting Suburbs, an
eclectic 16-track ode to childhood, suburban sprawl, and middle-class dreams both won and lost, arrived on August 2, 2010. The record was
universally acclaimed and reached number one in both the U.S. and U.K. album charts. The following year they won a host of awards, including
prestigious accolades such as a Grammy for Album of the Year, the Polaris Prize, and BRIT awards for both Best International Album and Group,
among other honors and nominations.
Their success followed them on the road as they sold out shows across the globe, and in 2011 they released a deluxe version of Suburbs that
included a short film -- titled Scenes from the Suburbs -- directed by Spike Jonze. They began work on their fourth release in 2012 and enlisted
LCD Soundsystem frontman James Murphy for production duties. The album, entitled Reflektor, was released in October 2013.
![[Image: MI0003667585.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_400/MI0003/667/MI0003667585.jpg?partner=allrovi.com)
Album Review - from allmusic
After stunning the mainstream pop machine into a state of huffy, new school e-disbelief by beating out Eminem, Lady Antebellum, Lady Gaga, and
Katy Perry for the 2011 Album of the year Grammy, Arcade Fire seemed poised for a U2-style international coup, but the Suburbs, despite its
stadium-ready sonic grandiosity, was far too homespun and idiosyncratic to infect the masses in the same way as the Joshua Tree or Achtung Baby.
Reflektor, the Montreal collective's much anticipated fourth long-player and first double-album, moves the group even further from pop culture
sanctification with a seismic yet impenetrable 13-track set (at 75 minutes itâs one minute over standard single disc capacity) that guts the
building but leaves the roof intact. Going big was never going to be a problem, especially for a band so well-versed in the art of anthem
husbandry, and they're still capable of shaking the rafters, as evidenced by the cool and circuitous, Roxy Music-forged, David Bowie-assisted
title cut, the lush, Regine Chassagne-led âIt's Never Over (Oh Orpheus),â and the impossibly dense and meaty âWe Exist,â but what ultimately
keeps Reflektor from sticking the landing is bloat. The stylistic shifts, courtesy of LCD Soundsystem's James Murphy, arenât nearly as jarring
as the turgid and Tiki-colored, almost seven-minute âHere Comes the Night Time,â the six minutes of rewinding tape that serve as the coda for
the otherwise lovely âSupersymmetry,â or the unnecessarily drawn-out fountain of white noise that should seamlessly connect the Gary Glittery
âJoan of Arcâ with the Flaming Lips-ian âHere Comes the Night Time, Pt. 2,â but doesnât because the songs are on separate discs. Flush with
artistic capital, they went on a bender, and in the process lost some of the warmth, jubilation, and capacity for empathy that made their first
three efforts so inclusive. Nevertheless, Reflektor is as fascinating as it is frustrating, an oddly compelling miasma of big pop moments and
empty sonic vistas that offers up a (full-size) snapshot of a band at its commerical peak, trying to establish eye contact from atop a mountain.
since we have previously posted Reflektor and Afterlife
I'll pick this one
[video=youtube;L35rpdiHH_8]http://www.youtube.com/watch?v=L35rpdiHH_8[/video]
Track Listing
1. Reflektor
2. We Exist
3. Flashbulb Eyes
4. Here Comes the Night Time
5. Normal Person
6. You Already Know
7. Joan of Arc
8. Here Comes the Night Time, Pt. 2
9. Awful Sound (Oh Eurydice)
10. It's Never Over (Oh Orpheus)
11. Porno
12. Afterlife
13. Supersymmetry
allmusic - 2.1 of 3.0
I have my album of the year
I cheated though, fired one up prior to play
whatever works
don't love it yet, but I will
didn't know it was a double album
just barely, 75 minutes (max for 1 cd is 74 minutes)
surely you could have cut back 1 minute guys
13 tracks and some are a bit long imo
last track is way too long, and not good either
title track is so much better without that stupid video
will be a great album
Bio - from allmusic
A combination of indie rock muscle and theatrical, unapologetic bombast turned Arcade Fire into indie royalty in the early 2000s. Originally
comprised of Régine Chassagne, Richard Parry, Tim Kingsbury, and brothers William and Win Butler, the group formed during the summer of 2003,
after Win spotted Chassagne singing jazz standards at a Montreal art exhibit. The grandson of famed swing-era bandleader Alvino Rey, Win was
quickly charmed by Chassagne's performance, leading the two to launch a songwriting partnership. Romance followed shortly thereafter, and the
duo expanded its sound by gathering Parry on organ, Kingsbury on bass, and Win Butler's younger brother, William, on synthesizer and percussion.
Drawing from the bandmates' varied influences, Arcade Fire began mining an eclectic mix of bossa nova, punk, French chanson, and classically
tinged pop music, referencing everything from U2's passion to David Bowie's eclecticism in the process.
Arcade Fire issued a self-titled EP in 2003, having briefly retreated to Maine for the recording sessions. Propelled by Win Butler's quavering
vocals and his bandmates' symphonic swells, the disc helped earn the band an official offer from Merge Records. The bandmates' luck faltered
later that year, however, when Chassagne's grandmother passed away. The Butler brothers' grandfather followed suit in March 2004, and Parry's
aunt died one month later. Seeking catharsis in the studio, the members of Arcade Fire funneled their energies into the creation of Funeral.
Released in September 2004, the debut album was met with unanimous acclaim -- both commercially and critically -- and Arcade Fire found
themselves maintaining a nearly constant presence on the road, playing such high-profile festivals as Lollapalooza and Coachella between a slew
of smaller club dates. They also appeared on the cover of Time magazine's Canadian edition, garnered a Grammy nomination for Best Alternative
Music Album, rubbed shoulders with superfan David Bowie, and toured alongside U2.
Following an exhausting year, Arcade Fire decamped to a church outside of Montreal to work on a second release. The ambitious Neon Bible arrived
in March 2007, featuring such grand ornamentations as a pipe organ, a military choir, and a full orchestra. The album peaked at number two and
sparked another tour, which found the band playing more than 120 shows over the course of a year. When touring wrapped up in early 2008, Arcade
Fire played several shows in support of presidential candidate Barack Obama before beginning work on a third album. The resulting Suburbs, an
eclectic 16-track ode to childhood, suburban sprawl, and middle-class dreams both won and lost, arrived on August 2, 2010. The record was
universally acclaimed and reached number one in both the U.S. and U.K. album charts. The following year they won a host of awards, including
prestigious accolades such as a Grammy for Album of the Year, the Polaris Prize, and BRIT awards for both Best International Album and Group,
among other honors and nominations.
Their success followed them on the road as they sold out shows across the globe, and in 2011 they released a deluxe version of Suburbs that
included a short film -- titled Scenes from the Suburbs -- directed by Spike Jonze. They began work on their fourth release in 2012 and enlisted
LCD Soundsystem frontman James Murphy for production duties. The album, entitled Reflektor, was released in October 2013.
Album Review - from allmusic
After stunning the mainstream pop machine into a state of huffy, new school e-disbelief by beating out Eminem, Lady Antebellum, Lady Gaga, and
Katy Perry for the 2011 Album of the year Grammy, Arcade Fire seemed poised for a U2-style international coup, but the Suburbs, despite its
stadium-ready sonic grandiosity, was far too homespun and idiosyncratic to infect the masses in the same way as the Joshua Tree or Achtung Baby.
Reflektor, the Montreal collective's much anticipated fourth long-player and first double-album, moves the group even further from pop culture
sanctification with a seismic yet impenetrable 13-track set (at 75 minutes itâs one minute over standard single disc capacity) that guts the
building but leaves the roof intact. Going big was never going to be a problem, especially for a band so well-versed in the art of anthem
husbandry, and they're still capable of shaking the rafters, as evidenced by the cool and circuitous, Roxy Music-forged, David Bowie-assisted
title cut, the lush, Regine Chassagne-led âIt's Never Over (Oh Orpheus),â and the impossibly dense and meaty âWe Exist,â but what ultimately
keeps Reflektor from sticking the landing is bloat. The stylistic shifts, courtesy of LCD Soundsystem's James Murphy, arenât nearly as jarring
as the turgid and Tiki-colored, almost seven-minute âHere Comes the Night Time,â the six minutes of rewinding tape that serve as the coda for
the otherwise lovely âSupersymmetry,â or the unnecessarily drawn-out fountain of white noise that should seamlessly connect the Gary Glittery
âJoan of Arcâ with the Flaming Lips-ian âHere Comes the Night Time, Pt. 2,â but doesnât because the songs are on separate discs. Flush with
artistic capital, they went on a bender, and in the process lost some of the warmth, jubilation, and capacity for empathy that made their first
three efforts so inclusive. Nevertheless, Reflektor is as fascinating as it is frustrating, an oddly compelling miasma of big pop moments and
empty sonic vistas that offers up a (full-size) snapshot of a band at its commerical peak, trying to establish eye contact from atop a mountain.
since we have previously posted Reflektor and Afterlife
I'll pick this one
[video=youtube;L35rpdiHH_8]http://www.youtube.com/watch?v=L35rpdiHH_8[/video]
Track Listing
1. Reflektor
2. We Exist
3. Flashbulb Eyes
4. Here Comes the Night Time
5. Normal Person
6. You Already Know
7. Joan of Arc
8. Here Comes the Night Time, Pt. 2
9. Awful Sound (Oh Eurydice)
10. It's Never Over (Oh Orpheus)
11. Porno
12. Afterlife
13. Supersymmetry
