NEVER TRUST A MILLIONAIRE, QUOTING THE SERMON ON THE MOUNT ( OR HOW THE SUBURBS BY ARCADE FIRE CAPTURED INNOCENCE & THE TERROR OR REALITY)

Since early on in their career, the Arcade Fire have been a band worth watching, more or less. With their first three albums they became stars, and though they’ve suffered slightly from some not perfect records, the “Suburbs” still stands as an indie triumph in the shadow of glitzy pop and rap. Today, we’re going to discuss my personal favorite, the critically acclaimed third album “ The Suburbs.” Enjoy

From the announcement of the album’s name and the slow leak of songs that were presented, you could tell this was going to be another lesson in how to craft an album that bridges the gap between indie rock and epic arena rock. Arcade Fire is so good at shaping an album into what they want to create at this point that It should be a crime, and many of their records are full of emotional turmoil, and the importance of coming of age.  “The Suburbs” is no different. The first song, which also happens to be the title track, opens us up to a very realistic world. It’s a slow kind of Sunday song. The band has mentioned this album was inspired and imagined on  a trip that Win and wife Regine took all over the country, just driving around. You can feel that on the full length of the record. It's the sort of free spirited album every generation coming into the world should have. 

The music is steady, and Win Butler’s use of piano is the perfect undertone for the start of this album.Listening to the opening track you can tell it’s very much a road record. The winding opening of “The Suburbs” sets the stage for a driving record that is at times both peaceful and beautiful, as well as dark and sinister. From there we’re treated to the hurried, shimmering darkness of “Ready to Start.” I’ve always thought of the first song as a little teaser and an intro to the rest of the album, and the buildup and feel of the second song doesn’t do much to discourage that idea in my head. 

The great thing about this band is their ability to make songs that are at once pushing their sound in a new direction and reminding you of where they were previously. “Ready to Start” is easily recognizable as an Arcade Fire song. At times in the music the listener gets the vibe present throughout their Sophomore release “Neon Bible.” The whole song is quintessential AF. Furthermore, “Ready to Start” the second song in a perfect row of 5 great songs. Don’t get me wrong; the album is remarkable, but the first 5 songs are so impressively strong that it really builds the momentum and helps the rest of the album evolve and open eyes.

By “Modern Man” and “Rococo” you start to see the themes of the album building into one cohesive vision. I’ve mentioned this before, but the album to me is about the death of innocence. The struggles of this “Modern Man” are easy to relate to because we are all these people. You’re taught as a youngster growing up that everyone is special in their own way, but when we grow up we quickly realize that we’re not all special, and some of us are doomed for mediocrity. The band themselves are able to make music that is so thoughtful and powerful that you really at times forget that they weren’t always so prolific in the quality of output.

One of my favorite songs on the album is the feverish, and crazed “Empty Room.” From the violent violin opening to the immediate pace, this song is a rocker in a very unrocking way. Regine, finally allowing us to hear her voice on this recording, is frantically singing about the perils of growing up and the safety many of us have felt inside the four walls that make up our room. This is a clear example of the band making a lot of focused noise. At times you might think they’re losing control of the music, but not only is the music coming out of them so fast, they are mastering it and are growing in leaps and bounds as the thick, dense sounds exit their bodies. From then we’re immediately thrust into the Springsteen-esque “City of No Children.” The lyrics here are as good at telling a story as any other song on the album, and it’s a perfect entrance to the middle of the record, which is full of weight and meat.

This album came out three years after the previous record “Neon Bible.” Now, while the band did tour quite a bit for Bible, the growing success they were finding was instrumental in the band wanting to take some time away and grow as artists. You can absolutely tell the amount of structure and overall power that this band had gained during the down time between albums. Songs like “ Half Light 1 & 2” are place holders for the momentum, and they manage to marry the concepts on this album. 

On one hand you have the knowledge of knowing that your once youthful passion may have been misplaced because you didn’t know what the world actually had to offer, but on the other hand, at least you got to experience it. You’re likely a better person. Sometimes it’s a good thing to put your faith in things you aren’t sure about.

In these types of writings, I’ve tried hard to give a detailed but less song oriented structure to the pieces, but when the album is this amazing, it’s hard not to discuss everything you’re hearing. That’s the power of this album. You can’t help but feel like you’re part of something when Win Butler is echoing his pain about things “Have changed so much since I was a little child” in the finale of “Half Light II(Celebration). Trust me, this isn’t a wonderfully happy record, but the power and weight behind the words are unifying and powerful in a very cathartic way.

The album then switches gears a bit and brings us to the one two sequence of “Suburban War” and the thick, heavy sounds of “Month of May.” “War” whirls down a slow, pretty path and again the pain is palpable in Butler's voice as well as the instruments of the other band members. One of my favorite parts of the entire album is the shifting of gears that occurs at the end of this track. I don’t even know how to describe it. It’s just a flood of sound and the vocals are as haunting and ethereal as you’ve ever heard in an Arcade Fire album.

 From then we’re abruptly thrust into the “Month Of May.” This has to be one of the best and more overtly aggressive songs in the band's whole catalog. When I first heard it I couldn’t believe it was the same band. It’s easily the closest this band has ever gotten to punk rock. The drums and guitar are so forceful and strong that you almost lose track of the general concept behind the song. But in the end it’s ok, because the song perfectly kicks ass and takes names in the way this band hadn’t done previously.

One of the best little tricks of the album is its reuse of lyrics. “Month of May” and “ Wasted Hours” are the best examples. “First they built the roads then they built the town” are both used and also used in different ways. “Wasted Hours” has all the gorgeous tones of classic Arcade Fire. It might be the most open song on the album. When vocalist Butler wants to lay it on in an emotional way, he knows exactly what to do. This album has stayed so strong in my head because of this ability. It’s the perfect album for the moments when I think about my developmental years. Kids would drive around for hours, hoping confidently for a bright future. Sometimes it works out, and sometimes you wake up years later and it’s awash in a mist of troubles and failures. That for me is the concept behind the “Suburbs.”

“We Used to Wait” is a solid start to the last chapter of this album. The piano is great here, and although the tempo doesn’t really pick up until the conclusion, it’s a very good song that goes hand in hand with the tracks that both follow it and came before it. From here we venture back to the suburbs for the modern-day of the Sprawls. “Sprawls I(Flatland)” is a hauntingly painful song. It stinks of the failures we’ve discussed earlier. The pain behind Butler's voice here is the most clear they are the whole album. This leads us into what is quite possibly the strongest song the band has ever written. 

“Sprawls II(Mountains Beyond Mountains)”has a very retro 80’s vibe to it, and you can clearly hear the makings of styles that would become the basis for the next album. It’s a down beat but danceable. Like the rest of the album, it contains moments of freedom and feeling invincible. Also contained are clear-cut downers about the realities of life outside of the “Suburbs.” Regine’s voice soars on the track, and it’s clear to see why it was such a joining song for the band. They’re all at their best here, and Regine especially hits it out of the park with her unique but beautiful singing.

The album closer is a slow reminder of where we began. “The Suburbs(Continued)” is a slow but appropriate down wind sound that wraps up the album. As a person who loves adventures and overwhelmingly positive experiences, the lyrics “If I could have it back, all the time that we Wasted, I’d only waste it again” speaks to the free spirit inside many of us that loves for the responsibilities and rewards that come with adulthood, but also yearns for the time when this were beautiful and everything worked out. For us, that was in “The Suburbs.”