Compiling this list has proven to be harder than my album break down last year (and is that because there were fewer or more “great” releases in 2010?) but there was absolutely no doubt in my mind who would steal the top spot. After trying to avoid the fanfare surrounding the release of ‘The Suburbs‘ I was eventually seduced by Arcade Fire like never before.
In the past I felt the Canadian outfit almost had too many good ideas to cram into their records reminiscent of a young boxer coming out in the early rounds and throwing as many punches as possible. Though I have often appreciated (and sometimes loved) the band’s songs I couldn’t quite understand the level of adoration they were afforded. It took the release of their third studio album to turn me into a true believer.
From the opening tripple-whammy of the majestic title track, the blistering ‘Ready To Start‘ and the contemplative Springsteen-esque ‘Modern Man‘, it is clear this is going to be a treat. Boasting the initial rush of ‘Funeral‘ with the ambitious instrumentation ‘Neon Bible‘ there’s a feeling that this collective are at the very top of their game.
It would be a hard ask them to match this sort of intensity throughout but more than anything ‘The Suburbs‘ is frighteningly consistent. It represents a perfect snapshot of where the band stand today to the point where when Win Butler proclaims, “2009, 2010, wanna make a record of how I felt then“, it is entirely believable. This latest incarnation of Arcade Fire is akin to a seasoned champion carefully picking their blows to maximum effect.
Accordingly, songs like the seemingly straightforward ‘City With No Children’ and ‘Month Of May’ still have plenty of hooks and charisma to easily push past the finish line. Elsewhere the Régine Chassagne fronted ‘Empty Room’ and ‘Half Light I’ are particular show stealers with the former dealing a euphoric rush to contrast the sombre orchestration of its counterpart and all this before even half of the album is through.
In the hands of lesser bands, a concept album about the changing faces of The Suburbs might come across as pretentious, but Butler and co. are able to make sharp observations without condescending “the kids” they are singing about and more importantly to.
It comes back to that aforementioned “frightening consistency” because despite going on and on about the album so far I still feel its highest peaks are still to come. Tracks like the magnificent ‘Suburban Wars’ with its bombastic climax, the Cold War taunting ‘Deep Blue’ and the masterpiece ‘We Used To Wait’ possess sufficient magic to carry any album all on their own.
Intelligently the band employs tempo change throughout to reaffirm their undeniable hold. So there is still time for the sharp contrast of the brooding ‘Sprawl I (Flatland)’ and its tale of lost youthful innocence before Régine steals the show once again with the deceivingly upbeat ‘Sprawl II (Mountains Beyond Mountains); coming across like The Knife covering Blondie’s ‘Heart Of Glass’.
This album is so irresistible because its tracks work collectively just as well as they do individually. There is an undoubtable rush associated with their first impact but it is when heard from end to end that their true qualities become acutely apparent. This a classic album where repeat listens will be rewarded by the uncovering of constant themes and reoccurring lyrical musing.
By the time the familiar refrain of ‘The Suburbs (Continued)’ plays out the final moments of the album you will be longing for the whole adventure again. Ultimately, ‘The Suburbs‘ demands repeat visits because each time you go you will come back with a different rewarding experience.
TRACKS:
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