Funeral, by Arcade Fire, released in late-ish 2004. As is par for the course, I didn't listen to the album until years later. It stands as the last of the three albums on my list that I can sit through completely. My first encounter was many moons ago. A friend put the song Crown of Love on a birthday mix-tape, in January 2007. Good song, I thought to myself. It wasn't until the next year I acquired the entire album. This was before Lindsey had me sit in her room and listen to Neon Bible on her record player (remember that, linsoosoo? I do). So I kind of knew the band before the Where the Wild Things Are trailer hit in March and made everyone crazy. That trailer though...Wow. That got me paying attention to the album again.
Neighborhood #1 (Tunnels) is spectacular in its role as introduction. It sets the stage, building and building anticipation, giving us little payoffs and playing with us. I want it to break, to go a little bit further, but it doesn't. It holds me, and tells me to have a bit of patience. I think it stands as a reflection of the album, with it's slower start, but filled with payoffs along the way. Neighborhood #2 (Laika) is just kind of there for me. The background vocals really come out in this one, and that's one of the things I love about them: They have a plethora of voices. Une Année Sans Lumière uses those extra voices, but not enough for me. I could've used them backing lead singer Win Butler a bit more, since it's pretty, what they do. By the time the song transitions, you've been waiting for it. No complaints from this listener.
Neighborhood #3 (Power Out) features darker guitars than we've been treated to, and the bass constantly sliding from note to note is one of those small choices that make a big difference. The strings, in only a few moments, bring out something lighter, usually when the guitars take a break. But the drums just keep it going no matter what. Next is the final of the "Neighborhood" songs: Neighborhood #4 (7 Kettles). There's a ton to love about this song. The finger-picking opening guitar line, for starters. It makes me think back to my Guitar I class, freshman year of high school. And the strings...I love the way they layer on top of the guitar, only to back off once the vocals start again. The percussion in the background is cool—beating away, but not overbearing or distracting. Once the strings start playing over the vocals, the song just fills. It's a beautiful progression and the way they deconstruct it in the next few bars, and keep it simple, is a work of art. This is probably my second favorite piece on the album.
Ah, my old friend, Crown of Love. I dig the song and all, but it doesn't fit on this particular album. To me, it protrudes from the rest, and draws attention to itself in that regard. Again, not a bad song. I just don't get it's placement on the album. However, I'd bet it has something to do with hearing it first, amidst other songs, that makes it like this for me. The way the violin whines during the chorus complements the lyrics without distracting. In fact, it basically bides its time during the verse, until Butler's voice starts to break.
On the one hand, I feel like plenty has been said about Wake Up, in light of Where the Wild Things Are. The other hand thinks not enough could be said. Oh, before I go any further, watch this (like right NOW. Seriously.): http://www.youtube.com/watch?v=z6c9Ejfu-iU. That video encapsulates what I <3 about this band, and especially this song, so much: Emotion. You see it one the face of all one million members of the band. Everyone is into it. Especially on that fella beating about on the tambourine and marching drum. He loves what he's doing. Everything feels right with the song. They had to have known they crafted a genuine masterpiece here. It's a blast to listen to and even more fun to play. It stands at the list of songs I'd want to cover if ever I'm in a band again.
Haiti is a good come-down song, featuring vocals other than Butler's. But at no point does it depart from the feeling of Arcade Fire. Regardless of who's singing, you know who this is. Another thing to check out is their appearance on Austin City Limits. Not only do the vocals trade off, but so do the instruments. The entire show they're handing off guitars, basses, accordions, etc. It's neat to see that represented here on the album, in the only way you could really tell.
As a bassist, I always appreciate a song starting off with one. Rebellion (Lies) does just that, with a rolling bassline, as I describe it. The piano accentuates this sound, and the bass drum gives a sense of forward motion. Also, I lied before. This is my second favorite song on the album. The vocal response to "Every time you close your eyes" makes the song for me, especially after the last go, with the violin's line. I think there's vocals matching the violin, but I can't quite tell. Either way, it sounds awesome.
They close it out with In the Backseat, leading with another voice. It's the right song to close on. How can you argue with that violin line? You can't! The drum work is also stellar—nothing extraordinary but really brings it all around for me. It's amazing to me that they went ahead and closed the album with strings, percussion, piano, and horns, in such a guitar-driven world. A smart and classy move.
I love this album, and I love you, too. Depending on who you are. I'd love you even more if you folks would guess more. I have a lot of junk to (pretend to) unload on you guys. So, the hint: Hip hip, hooray! And the prizes! Winner gets a choice of a 1995 Ford Bronco, two 30 lb. dumbbells, my Fusion razor, size 11 black Pirate boots, my mostly-used bottle of "Tommy" cologne, or two broken guitar tuners. Join us tomorrow for the next installment of Joey's Running Out of Titles for This Top Ten List!
Funeral completes me. It had me at hello.
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