Arcade Fire - Funeral - 2009 Indie - Alternative Rock - 180 Gram LP
Arcade Fire - Funeral
Sony Music – 88985462421, Rough Trade – RTRADLP219
Vinyl, LP, Album, Reissue
01 Dec 2017
Alternative Rock, Indie Rock
Comes in gatefold sleeve
A1 Neighborhood #1 (Tunnels)
Songwriter [Help] Josh Deu 4:48
A2 Neighborhood #2 (Laïka) 3:32
A3 Neighborhood #3 (Power Out)
Songwriter [Help] Josh Deu 3:41
A4 Une Année Sans Lumière 5:12
A5 Neighborhood #4 (7 Kettles) 4:49
B1 Crown Of Love 4:42
B2 Wake Up
B3 Haïti 4:07
B4 Rebellion (Lies) 5:10
B5 In The Backseat 6:20
Accordion Richard Reed Parry, Régine Chassagne
Acoustic Guitar Timothy Kingsbury, Win Butler
Arranged By [Strings] Arcade Fire, Owen Pallett, Sarah Neufeld
Artwork By [Cover Art] Tracy Maurice
Artwork By [Photo, Insert] Hilary Treadwell
Bass Timothy Kingsbury, William Butler, Win Butler
Cello Michael Olsen
Drums Howard Bilerman, Régine Chassagne
Drums [Percussion] Régine Chassagne, William Butler
Engineer Arcade Fire, Howard Bilerman, Mark Lawson, Richard Reed Parry
Guitar Howard Bilerman
Guitar [Jaguar & 12 Strings Electric] Win Butler
Guitar [Rickenbacker], Organ, Double Bass [Upright Bass] Richard Reed Parry
Guitar [Telecaster] Timothy Kingsbury
Harp Anita Fust
Horns Pietro Amato
Mastered By Ryan Morey
Piano Richard Reed Parry, Régine Chassagne, Win Butler
Producer Arcade Fire Recorded By Arcade Fire Howard Bilerman, Richard Reed Parry
Recorded By [Help] Mark Lawson, Thierry Amar
Recorder Régine Chassagne
Songwriter Arcade Fire
Synthesizer Richard Reed Parry, Régine Chassagne, William Butler, Win Butler
Violin Owen Pallett, Sarah Neufeld
Vocals Régine Chassagne, Win Butler
Xylophone Richard Reed Parry, Régine Chassagne, William Butler
Recorded and mixed at Hotel 2 Tango and Win & Régine's apartment in Montréal in a week of August 2003 and the winter of 2004. Mastered at Disques SNB, Montréal.
Comes in an embossed Gatefold Cover.
Newly reissued on 180-gram vinyl, & includes a digital download coupon.
Barcode and Other Identifiers
Barcode: 6 73855 02551 3
"Wake Up," a track from the debut full-length by Montreal's Arcade Fire, builds from a midtempo strum into a "You Can't Hurry Love" gallop, which singer Win Butler interrupts with a yell: "You better look out below!" Somehow, none of this hits the ear as overemotional. Throughout Funeral, the band augments its five-piece lineup with string sections, weaving near-cinematic, folk-influenced chamber pop that slots in somewhere between Belle and Sebastian's delicacy and the robust classicism of '80s New Zealand bands such as the Chills and the Verlaines. The album drips with enough romanticism to rival Jeff Buckley's Grace, from the dreamscape of "Neighborhood #1 (Tunnels)" ("Meet me in the middle of the town, forget all we used to know") to the epic realism of "In the Backseat." One of the indie rock community's most beloved finds of 2004, Arcade Fire are poised to win over even more listeners.
Only five years ago I was somewhat despondent about the state of rock music. Relatively little exciting new music was being produced compared with previous decades in the history of rock. But the past few years has seen an explosion of really fine bands from all over the planet, not merely from around the U.S. and England, but in every area of Europe and, as in the case of Arcade Fire, Canada. Most of these bands tend to fall into either of two categories: back to roots bands (usually European, where they go back almost to garage roots, and bands that synthesize much of the history of rock to create their own unique mixture. Arcade Fire clearly belongs to the latter. Like a band like Modest Mouse, Arcade Fire constantly reminds you of other bands. Most frequently I'm reminded of the Pixies and Talking Heads, but almost as often I hear echoes of Roxy Music, Joy Division, or even David Bowie and Brian Eno.
As anyone knows who has heard anything at all about this album, it was produced shortly after members of the band suffered the deaths of several family members in less than a month. This clearly gives the album not merely its title, but a lot of its urgency and focus. The album doesn't, however, deal with death (like Lou Reed's LOVE AND MAGICK does, for instance) but with love and life. The heart of the album is the quartet of the songs that share the title "Neighborhood." They take up four of the first five tracks on the album, and each one is utterly splendid in its own way. I might have a slight preference for the first one, subtitled "Tunnels," but if you ask me on a different listening I might opt for another. The album hardly slows down after that quartet of songs is finished (and for the record, the 3rd cut, "Une Année Sans Lumière," is one of the stronger cuts on the album, and the one that immediately follows the final "Neighborhood" song, "Crown of Love," is another amazingly strong number. If the album fades at all (and compared to most other recent rock albums, even good ones, it doesn't), it is near the end. But even then, the next to last cut on the album, "Rebellion (Lies)," is as good as anything the album contains.
One thing that marks nearly every song on the album is the wonderful way that they employ contrasts. Most songs build rather slowly, to build up to a glorious, powerful crescendo. Many of the songs have a kind of majesty that many heavy metal bands, for instance, strive for, but rarely achieve. One thing, however, that sets them apart from many of the bands I mentioned as possible influences is that they have a very powerful, dynamic rhythm section. I absolutely adore the Pixies, but they almost intentionally submerge the rhythm section in the music. In Arcade Fire, despite all of the musical trappings, the drums and bass propel the song forward, and in the many songs where the tension and tempo build, they always lead the charge. Just listen to "Rebellion (Lies)" and watch how the rhythm section controls the song.
|Format||LP, 180 Gram|