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Arcade Fire
Neon Bible
[Merge; 2007]
Rating: 9/10

I must confess, though I thought that the Arcade Fire’s 2004 release, Funeral was a musical masterpiece, it was equally difficult to swallow at first. The beginning of the album was off to interesting and swelling starts that ended up creating a masterpiece. At the same time, it came off sounding like something ripped off of a primary school music lesson. Genius, yet inacessible.

And yet, backed by the endorsement of David Bowie and the usage of their song “Wake Up” as the introduction music for U2′s 2005 Vertigo tour, it was not hard to see why the Montreal octet was topping nearly all music critics’ top 10 albums lists of that year. Seemingly, the group had nowhere to move but forward on their sophomore album. With the release of their new album, Neon Bible, the members of Arcade Fire prove their meddle, not as hasbeens, but as cemented leaders in the indie-rock mainstay. Thanks to an online leak, we are able to gain advance insight as to the couse of the band’s future (though like a good person, I aim to purchase when available).

The album opens with “Black Mirror,” a dark song that contrasts with the livelier song following it, “Keep the Car Running.” There is something familiar about lead vocalist/guitarist Win Butler’s strumming patterns that are reminiscent of his same style displayed on Funeral. However across this album, there are subtle refinements that are highlighted by the addition of even more instruments. The organ-inspired “Intervention” courts us through church hymn and is backed by acoustic guitar, before finally resting into orchestral bliss and a subtle key change.

On “Oceans of Noise,” the band uses 50s-rock-inspired triplets over a rather vacuous, reverb-laden background. “In an ocean of noise/I first heard your voice/Now who here among us/Still believes in choice? Not I!” bemoans Butler before building up the song into a full-on orchestra. Arcade Fire starts to showcase musical echoes of The Smiths and of Chuck Berry on “(Antichrist Television Blues),” eventually crescendoing into a complete halt. This releases into “Windowsill,” a darker version of the previous song, where Butler reaches deep, discussing a sense of isolation by not wanting to live in his father’s house. “No Cars Go” lifts straight from U2, borrowing Larry Mullen’s drumline and the Edge’s solo from “New Year’s Day” and creating a sense of sophistication beyond what U2 already brought to the table.

Perhaps the album’s best treat though, is the title track, one of the most fantastic short songs ever written. The bassline of “Neon Bible” strolls along an arppegio in a 4/4 time signature, which is obviously simple enough. However, it is the reverberated drone of Butler’s voice during the chorus, combined with the sweet undertones of Regine Chassagne’s backing vocals and violin plucking that complement this bassline. The song loses itself in its simplicity, serving to illuminate the satirical anti-evangelical/pre-apocalyptic morasses of society.