The Suburbs can be seen as the update decades later, with those same kids having kids of their own, and moving back to and struggling in the same neighborhoods. The heavy-handedness that marred some of Neon Bible mostly resulted from Butler's warning us of destruction caused by the lies of authority figures-- shady cultural impresarios, corrupt church leaders, politicians all too eager to push the button.
At the outset of "We Used to Wait", staccato, minor-key piano chords evoke anxiety. The song is a simple lament about the exhaustion from a relentless pace of life that demands everything immediately. But as Jeremy Gara's steady drums lift the piece into cathedral drama, it's obvious that there's a deeper concern than the antiquation of letter-writing. By the time the narrator finds himself with "the lights cut out Soul-sucking work was at least once a dependably secure and profitable enterprise.
Now what do we do? The bulk of The Suburbs focuses on this quiet desperation borne of compounding the pain of wasting your time as an adult by romanticizing the wasted time of your youth. As bleak as the lyrics are, though, they're buoyed by the band's leanest, loosest songwriting yet. These songs are busy, but never overly complicated, subtly nudging at their boundaries while allowing wide lanes for Butler's perfectly memorable melodic turns.
But The Suburbs is a record that seeks to build, and it reaches a monumental peak at its closure. Both parts of "Sprawl" act like a conversation between lovers and a treatise on what makes Arcade Fire tick: Butler's despondence on "Sprawl I Flatland " matches the desolate atmosphere that surrounds him-- returning to a mall-spackled hometown is an admission of defeat. It's a rare and thrilling example of the group stepping out of their musical comfort zone, an airy disco bounce evoking "Heart of Glass" that serves as further evidence of just how crucial the often underappreciated Chassagne is in tempering Butler's grimmer outlook.
That said, the relative concision of Funeral and Neon Bible didn't allow for a whole lot of wiggle room. And while it's somewhat heartening to hear something allowed to be a "minor" Arcade Fire song, they're still, well, minor. IBM metaphor into more than an afterthought. And as The Suburbs reaches its second half, there's certainly some thematic redundancy-- surely, there's already a drinking game revolving around Butler's use of "the kids.
Two weeks after winning Grammy's Album of the Year , the album jumped from No. The American and Canadian versions were released on August 2, , to coincide with the original album's anniversary. The new version included two brand new tracks recorded during The Suburbs album sessions "Culture War" and "Speaking in Tongues", the latter featuring David Byrne , an extended version of album track "Wasted Hours", Spike Jonze 's short film, Scenes from the Suburbs , and an page booklet as well as other exclusive content.
The album's lyrical content is inspired by band members Win and William Butler 's upbringing in The Woodlands, Texas , a suburb of Houston. There are eight alternative covers for the CD version of the album. A video for "Ready to Start" was released on August 20, , directed by Charlie Lightning and filmed at the band's July 7, concert at the Hackney Empire in London.
Another music video, for the title track "The Suburbs", was released on November 18, , directed by Spike Jonze. The video, filmed in Austin, Texas , follows a group of teenagers living in the suburbs, and features cameos by Win Butler and Sarah Neufeld as police officers. The music video is composed of excerpts from Jonze's short film, Scenes from the Suburbs , which debuted at the Berlin International Film Festival , and has a running time of 30 minutes.
The Suburbs received acclaim from music critics. At Metacritic , which assigns a normalized rating out of to reviews from mainstream critics, the album has an average score of 87 out of , which indicates "universal acclaim" based on 43 reviews.
Ian Cohen of Pitchfork called it "a satisfying return to form—proof that Arcade Fire can still make grand statements without sounding like they're carrying the weight of the world". Club described the album as being "like one long sequel" to the band's earlier single " No Cars Go ". David Marchese, writing in Spin , wrote of the album: "Radiant with apocalyptic tension and grasping to sustain real bonds, [it] extends hungrily outward, recalling the dystopic miasma of William Gibson 's sci-fi novels and Sonic Youth 's guitar odysseys.
Desperate to elude its own corrosive dread, it keeps moving, asking, looking, and making the promise that hope isn't just another spiritual cul-de-sac. Pretty much perfect, in other words — and despite their best efforts, listening to it feels just like coming home. It's nostalgic, with a sense of future dread. There is pain and pleasure, loss and hope. It feels like the anesthetic is wearing off. On June 16, , the album was named as a long-listed nominee for the Polaris Music Prize.
From Wikipedia, the free encyclopedia. For other uses, see The Suburbs disambiguation. Arcade Fire. Indie rock art rock baroque pop. Merge City Slang Mercury. Arcade Fire Markus Dravs.
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