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Funeral

Arcade Fire

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Album Review

Fronted by the husband-and-wife team of Win Butler and Régine Chassagne, the Arcade Fire's emotional debut — rendered even more poignant by the dedications to recently departed family members contained in its liner notes — is brave, empowering, and dusted with something that many of the indie-rock genre's more contrived acts desperately lack: an element of real danger. Funeral' s mourners — specifically Butler and Chassagne — inhabit the same post-apocalyptic world as London Suede's Dog Man Star; they are broken, beaten, and ferociously romantic, reveling in the brutal beauty of their surroundings like a heathen Adam & Eve. "Neighborhood #1 (Tunnels)," the first of four metaphorical forays into the geography of the soul, follows a pair of young lovers who meet in the middle of the town through tunnels that connect to their bedrooms. Over a soaring piano lead that's effectively doubled by distorted guitar, they reach a Lord of the Flies-tinged utopia where they can't even remember their names or the faces of their weeping parents. Butler sings like Radiohead's Jonny Greenwood used to play, like a lion-tamer whose whip grows shorter with each and every lash. He can barely contain himself, and when he lets loose it's both melodic and primal, like Berlin-era Bowie or British Sea Power. "Neighborhood #2 (Laïka)" examines suicidal desperation through an angular Gang of Four prism; the hypnotic wash of strings and subtle meter changes of "Neighborhood #4 (7 Kettles)" winsomely capture the mundane doings of day-to-day existence; and "Neighborhood #3 (Power Out)," Funeral's victorious soul-thumping core, is a goose bump-inducing rallying cry centered around the notion that "the power's out in the heart of man, take it from your heart and put it in your hand." The Arcade Fire are not bereft of whimsy. "Crown of Love" is like a wedding cake dropped in slow motion, utilizing a Johnny Mandel-style string section and a sweet, soda-pop stand chorus to provide solace to a jilted lover yearning for a way back into the fold, and "Haiti" relies on a sunny island melody to explore the complexities of Chassagne's mercurial homeland. However, it's the sheer power and scope of cuts like "Wake Up" — featuring all 15 musicians singing in unison — and the mesmerizing, early-Roxy Music pulse of "Rebellion (Lies)" that make Funeral the remarkable achievement that it is. These are songs that pump blood back into the heart as fast and furiously as it's draining from the sleeve on which it beats, and by the time Chassagne dissects her love of riding "In the Backseat" with the radio on, despite her desperate fear of driving, Funeral's singular thread is finally revealed; love does conquer all, especially love for the cathartic power of music.

Customer Reviews

The only album that mattered in 2005

If you haven't heard of Arcade Fire by now ... where have you been? They are by far one of the most inspirationally unique bands to have appeared in the last decade. Funeral is a great album. And it is a true album. It is best listened to from start to finish as each track builds or take cues from the previous and feeds into the next one. If you are a fan of music, do yourself a favour and buy Funeral. If you plan on getting stranded on a desert island (with a power source) make sure this is on your iPod. Five stars and 3 years later it is still in heavy rotation on college music stations and iPods everywhere.

love

from start to finish, this sounds like a neighborhood, a place of strange occurences and popsicles in the summer, and tunnels of snow. listen up. nothing better.

Beautiful

Without a doubt one of the most beautiful albums I've heard in a long while.

Biography

Formed: June, 2003 in Montreal, Quebec, Canada

Genre: Alternative

Years Active: '00s, '10s

A combination of indie rock muscle and theatrical, unapologetic bombast turned Arcade Fire into indie royalty in the early 2000s. Originally comprised of Régine Chassagne, Richard Parry, Tim Kingsbury, and brothers William and Win Butler, the group formed during the summer of 2003, after Win spotted Chassagne singing jazz standards at a Montreal art exhibit. The grandson of famed swing-era bandleader Alvino Rey, Win was quickly charmed by Chassagne's performance, leading the two to launch a songwriting...
Full bio

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