Since their debut in 2004 with “Funeral,” every Arcade Fire album has been greeted with much fanfare and discussion. Their latest, “Reflektor,” reached an entirely new level of hype before its release earlier this month.
How would the critically-acclaimed indie rock gods follow up on “The Suburbs” (2010), widely heralded as one of the greatest albums of the last decade? Predictably, “Reflektor” was reviewed by just about every publication in existence, but lacks the universal adoration “The Suburbs” was met with.
The band is certainly evolving; “Reflektor” depends on synths as much as “Neon Bible” (2007) depended on organ, and it’s lacking the orchestral feel that characterizes both “Funeral” and “The Suburbs.” But their propensity for memorable guitar hooks and sing-along choruses remains the same.
There are a fair amount of Arcade Fire diehards on the staff of CU Independent, all of whom have been listening to “Reflektor” nonstop. Rather than add to the inundation of album reviews, we thought we’d present a playlist of our all-time favorite Arcade Fire songs, along with our picks from “Reflektor.”
“In the Backseat” from “Funeral”
This is the closing song on Arcade Fire’s first album and a classic example of my favorite things about the band’s style. It’s long, it’s epic, there are strings and I have a tendency to favor the songs Régine sings lead vocals for.
“Broken Window”
Released as the B-side to the “Keep the Car Running” EP, “Broken Window” is one of the more perfect examples of the band’s ability to start off subtle and end in a heart and eardrum-pounding rush of noise.
“Ocean of Noise” from “Neon Bible”
The guitar from 2:12, the piano from 3:12 and the horns from 3:45. I still get goosebumps every time.
“Sprawl II (Mountains Beyond Mountains)” from “The Suburbs”
The first two Arcade Fire albums were the definitive soundtracks to my life in high school, and “The Suburbs” came out my freshman year of college. The first months of that fall semester were a rush of new experiences and independence, but I remember listening to “The Suburbs”—an album about the transition from adolescence to adulthood—and realizing I was still just a kid. This is my favorite song on the album.
“Porno” from “Reflektor”
Sonically unlike any other Arcade Fire track, and as catchy as ever. 2:08-2:28 is incredible.
Annie Melton, Managing Editor
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“Keep the Car Running” from “Neon Bible”
This song is when I knew these guys were going to be big. Although they lost me on “Reflektor,” “Keep the Car Running” really shows the evolution of a quaint, indie rock outfit to a group destined for the big stage.
Patrick Fort, Entertainment Editor
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“Here Comes the Night Time” from “Reflektor”
The keyboard tune that characterizes this song is simple, but oh-so catchy. Track four is easily the defining moment of the band’s surprisingly satisfying follow-up to their Grammy Album of the Year, “The Suburbs.” No matter which Arcade Fire Member plays it—Régine Chassagne, Tim Kingsbury and Richard Reed Parry all take turns on keyboards—it’s the track I would most look forward to at the band’s return visit to Colorado (fingers crossed).
Alison Noon, Managing Editor
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“It’s Never Over (Hey Orpheus)” from Reflektor
Though not the biggest fan of their new album’s dreary tone, this song reminded me just how good Arcade Fire can be. The funky bass turns to soft guitar riffs and back without warning, keeping you on your toes.
Nate Bruzdzinski, Photo Editor
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“Rebellion (Lies)” from “Funeral”
Sure, this is Arcade Fire’s most recognizable song and first big hit, but that’s because it’s brilliant and full of energy. If any song makes me want to run a marathon, finish a paper and kiss a beautiful girl, this is it. I love the way it builds from a simple beat, crescendos to chaos and then reverts to calm. When the piano enters 20 seconds in, a smile appears on my face. Lyrically, “Rebellion” seethes with angst and requires recognizing a band bound for greatness.
“My Body Is a Cage” from “Neon Bible”
I know you’ve heard a bass drop, but what about an organ drop? I’m usually not a fan of heavy sounds, but coupled with lead singer Win Butler’s voice, the effect is truly haunting. It happens at 2:00, when the air is startled by what must be every key pressed at once. The bulk of this album was recorded in a Quebec church, and every time I hear “My Body Is a Cage,” I imagine someone holed up with the organ, ready to let loose.
“The Suburbs” from “The Suburbs”
With an album so deserving of its Grammy for Album of the Year, picking a favorite track is brutal. Like a novel, it’s theme-driven, a story of growing up in a suburban sprawl with each song a new chapter. The opening title track is five minutes of listeners encountering kids learning how to drive, playing in the backyard and standing under the overpass, dreaming of destruction and starting anew.
“Afterlife” from “Reflektor”
Arcade Fire’s latest album is very good, not quite “The Suburbs” (what is?), but worth listening to. The best of this free-flowing dance collection is the penultimate track, “Afterlife.” Like all Arcade Fire songs, it’s ripe with introspection. Over lush sounds, Butler and his wife Régine Chassagne ask questions fit for an existentialist: “When love is gone, where does it go? And where do we go?” Ideas this ethereal call on the listener to consider himself and the world around him, something few songs are capable of.
James Bradbury, Photographer
Contact CU Independent Managing Editor Annie Melton at anne.melton@colorado.edu.
