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The Suburbs

Arcade Fire

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Avis sur l’album

Montreal’s Arcade Fire successfully avoided the sophomore slump with 2007’s apocalyptic Neon Bible. Heavier and more uncertain than their near perfect, darkly optimistic 2004 debut, the album aimed for the nosebleed section and left a red mess. Having already fled the cold comforts of suburbia on Funeral and suffered beneath the weight of the world on Neon Bible, it seems fitting that a band once so consumed with spiritual and social middle-class fury should find peace “under the overpass in the parking lot.” If nostalgia is just pain recalled, repaired, and resold, then The Suburbs is its sales manual. Inspired by brothers Win and Will Butler's suburban Houston, Texas upbringing, the 16-track record plays out like a long lost summer weekend, with the jaunty but melancholy Kinks/Bowie-esque title cut serving as its bookends. Meticulously paced and conservatively grand, fans looking for the instant gratification of past anthems like “Wake Up” or “Intervention” will find themselves reluctantly defending The Suburbs upon first listen, but anyone who remembers excitedly jumping into a friend’s car on a sleepy Friday night armed with heartache, hope, and no agenda knows that patience is key. Multiple spins reveal a work that’s as triumphant and soul-slamming as it is sentimental and mature. At its most spirited, like on “Empty Room,” “Rococo,” “City with No Children,” “Half Light II (No Celebration),” “We Used to Wait,” and the glorious Régine Chassagne-led “Sprawl II (Mountains Beyond Mountains),” the latter of which threatens to break into Blondie's “Heart of Glass” at any moment, Arcade Fire makes the suburbs feel positively electric. Quieter moments reveal a changing of the guard, as Win trades in the Springsteen-isms of Neon Bible for Neil Young on “Wasted Hours,” and the ornate rage of Funeral for the simplicity of a line like “Let’s go for a drive and see the town tonight/There’s nothing do, but I don’t mind when I’m with you,” from album highlight “Suburban War.” The Suburbs feels like Richard Linklater's Dazed & Confused for the Y generation. It’s serious without being preachy, cynical without dissolving into apathy, and whimsical enough to keep both sentiments in line, and of all of their records, it may be the one that ages so well. [The Suburbs was reissued after winning the Grammy for album of the year. The deluxe edition, which featured two bonus tracks, an 80-page photo booklet, and a bonus DVD featuring "Scenes from the Suburbs", a short film directed by Spike Jonze, arrived in August 2011.]

Avis des utilisateurs

Arcade fire passe la troisième

Arcade fire monte en charge, après l'énergie brouillonne du premier, la noirceur brute du second, viennent la mélancolie et la finesse du troisième. Mais surtout la maitrise, on sent un groupe serein, au sommet de son art, faisant culminer les pics sur cet album, le nostalgique the suburbs, le somptueux Rococo et ses violons entêtants, la puissance gracieuse de Empty room, la mélodie supérieure de wasted hours, la classe de modern man, bref, la grande qualité à tous les étages. Un classicisme boosté d'autre part par une production magique. Le groupe se livre, offre sa vision de l'enfance et du temps qui passe. Un des grands albums de cette grande année musicale avec Foals, Avi Buffalo, Massive attack ou Born Ruffians.

Aaaah ...

Bah ça faisait longtemps que je l'attendais celui là !

Dès la première écoute l'album déjà emballe !

J'y retourne !!

Pas mal

Après avoir écouté l'album un certain nombre de fois, j'avoue ne pas trop savoir qu'en penser. Les chansons ne décollent pas vraiment. Bien que la première écoute soit agréable, il s'avère qu'à la longue les chansons apparaissent moyennes voire ennuyeuses. Mais ça reste quand même au dessus de la moyenne.

Biographie

Formé(s) : juin 2003 à Montreal, Quebec, Canada

Genre : Alternative

Années d’activité : '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...
Biographie complète