ARCADE FIRE

Like the equivalent of one of those 'sleeper hits' you get in the film business Arcade Fire's first full length release slipped out in late November 2004 to absolutely no fan-fare whatsoever, only to then progressively generate a significant buzz through word-of-mouth and fawning reviews in the alternative media. Funeral was not even officially released in the UK until February 2005 but, regardless, has now come to be regarded as one of the best - if not THE best - release in 2004; unfortunately one of the limpest years for new releases in recent memory. There are some factual circumstances surrounding this album that everyone who has heard of it are already no doubt inherently familiar with but, nonetheless, my review cannot progress without at least touching on them. Firstly, the band (technically a six piece, although this album relies on a score of additional musicians) are led by a Canadian husband-and-wife team of Win Butler and Regine Chassagne who share vocal duties, although Butler is more prominent more often. Whilst Chassagne has that young-girl-in-the-headlights sound to her vocals (cf. Mo Tucker) Butler's voice brings to mind mainly that omnipresent cracked falsetto that is so prevalent in North America (cf. Neil Young, Flaming Lips, Mercury Rev, etc.) but yet somehow completely absent in the UK. Indeed, loathe as I am to make comparisons the Flaming Lips cast an unavoidable shadow over proceedings. Even though the instruments used by the Arcade Fire are consciously old-fashioned (cellos, violins, accordians, etc.) and somewhat reminiscent of The Band in that respect the actual music is mainly a wall of epic pop bombast, and therefore an obvious reflection of The Soft Bulletin. That said, the variation and subtlety of the arrangements is refreshing and the interspersion of the epic soundscapes with childish, almost twee, pop songs provides a delightfully diverse listen. The second circumstance that cannot go unmentioned is the fact that a lot of people died whilst the band were preparing to record this album. Hence the album title and the general ambience of dignified mourning. That said, the level of tragedy does not match the personal apocalypse of the Eels' 1998 alternative masterpiece Electro-Shock Blues, which occupies a very similar ground to this release on the basis of concept, given, apparently, the family members of Butler, Chassagne and co who died were mainly elderly relatives. I am not saying death ain't sad, of course, but the nature of their bereavements more reflects a celebration of life rather than the tragedy of death and, as a result, I do not find the up-lifting undercurrent of this album as surprising as some other commentators. That said, it is the epic numbers on here that resonate further and impress more than the reflective and restrained tracks. "Wake Up" is probably the most pompous and bombastic song out of the ten but its power towers over some of the quieter numbers and, as a centre-piece, it encapsulates the strengths of the album, particularly when it switches from tortured power ballad to its uplifting upbeat coda. By contrast, album closer "In the Backseat" starts out modestly enough with Chassagne singing a frail nursery rhyme before it gradually escalates and erupts into a mournful epic. (By the way, I do not want to compare every female singer to Mo Tucker but, come on, have you heard "I'm Sticking With You"?) Indeed, the album's climax is its strongest stretch of material with the effortless power-pop of "Rebellion (Lies)" again benefitting, almost against the odds, from their heavily orchestrated approach. Four songs carry the title "Neighbourhood" and, although the swirling strings on the chorus of "#4 (Kettles)" are highly effective and affecting, it is the opener "#1 (Tunnels)" that impresses most with Butler's cracked vocals brilliantly elevated by the creaking organ in a way that is both elegiac and archaic. It is easy to see why this album has been so popular and highly revered but, although it is satisfyingly consistent, it only really amazes on sporadic occasions. It is a charming and enjoyable listen and fully deserving of its current success but I feel it is not fated to go down in the chronicles of twenty-first century music as one of the greatest albums of the decade.

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Email me at: jackfeeny@yahoo.co.uk