I'll take it! Honestly didn't intend to write so much but once I sat down and began typing, it all just sort of happened. Oh well. It's not the Arcade Fire album I wanted after 4 years, but I'd rank it closer to "decent" than "steaming pile of dog shit" compared to most scathing opinions.
I guess it's time to weigh in on this one, myself, since I've been revisiting the album on and off for the last week. I feel like I'm finally in a position to state a concrete opinion here.
Like Tim and several others have said, above, I don't think the album is even half as atrocious as people are making it out to be. As much as I love seeing the polarization surrounding this release, it really is going to be an album that requires you to form your own opinion and not lend credence to the proverbial bandwagon... which is almost a perfect split, last I checked. Among users, anyway.
I really think fans of Arcade Fire are going to fall into one of two camps when listening to this record and deciding how they feel about it. The first (and more popular) group are going to view it as an objective plot on the trajectory of Arcade Fire's discography so far. It will be related relative to their "classic" albums and held to the same standards accomplished by Funeral, because it is the same band after all... right? Nevermind that it's an entirely different style, or that it was released 13 years after their heralded debut: it's still Arcade Fire, so they should be critiqued on the same scale that they've spent the last decade+ establishing for themselves. I get it, it's sound logic. But if you go into the album with that mentality, you're gonna' have a bad time. Plain and simple.
The second camp will be able to abandon the band's past, and focus on the present. For all we know, this is Arcade Fire exploring a pop-centric avenue and truly, deeply, shamelessly scratching the dance itch that began as a mere tingle on the skin in Reflektor. I think that this album fully embraces some of the swanky disco flare from the 2013 double-album. Four years ago, those disco drums and swelling horns during the title track's chorus were just peppered across the hour and 16 minutes. Today – now – it is the main ingredient of a 47 minute dish. That isn't going to bode well with everyone, and it's quite alright if you're not in the minority who can find enjoyment with the album. You are not alone. But they say misery loves company, and I'm personally enjoying the lifted spirits that are synonymous with this record. Have you tried driving with it on a commute? You really should.
This isn't AOTY by any stretch of the imagination. I'm comfortable calling it Arcade Fire's weakest release, and even more confident in saying that it contains bad lyrics – probably some of the worst I've heard in a significant amount of time. If I was a lesser man, I'd really allow the lyrics to deter me from enjoying this album. Almost every track has some cringe-inducing moments that leave me scratching my head. And the best part is that I don't even have to mention which moments those are – I can tell you that Peter Pan and Chemistry both have some laughable moments, and anyone who's listened to the album more than once will be able to cite the choruses in agreement. There are many moments when the lines break out of a rhyming structure, stagger syllables, swing with an awkward delivery, or just sound pathetic. I'm not awarding points to that style of songwriting... but in a very real way, I think there's a sort of "train wreck" phenomena going on here, where you can't help but spectate and carry the memory with you even after the moment has passed. Going back to Peter Pan: I think the chorus is a garbage fire. "Be my Wendy / I'll be your Peter Pan"... with those derpy dashes of brass in the background – no thanks. But I cannot deny that it rattles around in my head well after the album is over. Creeping in there for seemingly no reason on any given afternoon, and nestling itself comfortably on repeat. It makes no sense, but I think it's a testament to Arcade Fire's songwriting on this record. Whether you love it or hate it, they're still writing unique tunes that leave a lasting impression... for better or worse.
Honestly, for me, the only "dud" of a track at this point is Good God Damn. It has a sort of seedy groove to it that is definitely chill - no mistake about that - but I just feel like it doesn't go anywhere. Reflektor was cited as being bloated with throwaway tracks... but for me, even the weakest songs on that album took off and did something noteworthy at some point, redeeming their slow plod. Not so much on Good God. But barring what I'd consider the one true stumble in the back half, I really don't feel compelled to throw away any other song on this record. Could they be better? Absolutely. Régine's voice on Electric Blue is borderline annoying. And coupled with whatever weird synth melody that twines around it, it makes for a puzzling chorus – puzzling in the sense that my ears don't really enjoy it in the moment, though I've had it in my head for the last 10 hours or so. I'm at a point where I need to be playing something else to drown it out. Infinite Content has those blistering guitar chords - basic as they may be - and lazy lyrics... but I admittedly enjoy it quite a bit when that underscore pops up in the title, and the whole track becomes instantly bathed in an afterglow straight out of The Suburbs. Chemistry has some of the weakest lyrics Win has ever delivered, but its got a chorus that's dimwitted and ready for stomp-clap radio play, and makes me feel like I'm fulfilling my guilty pleasure quota.
So what's done right? I've talked a lot about how every song is so bad that it's charming... but is there anything that's legitimately good? The title track (and first single) still soars in my book, and is an A+ feel-good hit of the summer. Beyond the initial and popular reaction of "dude lol ABBA piano", I think there's a really well-written, layered, infectious pop tune that sees the band ascending to unrivaled heights. I also have to admit that I'm a huge sucker for when its main motif is repeated on the final track, but with a symphony – maybe the album's singular moment that beckons their older material, in terms of beauty and cohesion. I also think We Don't Deserve Love is brilliant, and was surprised no one brought it up in this thread. That guitar melody bouncing in unison with the vocals during the chorus was love at first listen... and Régine's backing vocals during the finale take me back to Black Wave / Bad Vibrations; arguably my favorite track off Neon Bible. The whole song is drenched with those syrupy synth drones, and I think it all comes together into a really nice package. Creature Comfort was also a really solid single with a commanding hook, if I'm being honest here.
It was pointed out to me that Everything Now's runtime is within a minute of both Funeral and Neon Bible. This really threw me for a loop... and after a bit of consideration, I think it's because those first two albums – arguably their best, in my opinion – feel like complete journeys. There's a starting destination, an ending point, and a spectrum of colorful tracks, dips, and progression between the two. Cheesy as it sounds, a dedicated listen to those albums feels like you've accomplished something; like you've come out on the other side, somewhere else. It feels like a 3-course meal that's nutritious, satisfying, and loaded with flavors. Everything Now is a grab bag of junk food. Sugary, sweet, shallow, and nowhere near as beneficial in the long run. It feels like less a journey and more of a Greatest Hits compilation. It may be fun to bounce off the walls with hit after hit, but at the end of the day, the sugar crash is inevitable. I really don't see it having the same lasting power or impact as any of their earlier albums. And in truth, I think that was a given to anyone with a shred of common sense who listened to the singles. If you listened to at last two of the four singles and still hoped we'd get a successor to Funeral, Neon Bible, or The Suburbs, I don't know what to tell you. Would it be rude to say that you deserve to be let down? Because that's kind of how I feel. I think it's very obvious that the band was not going for a "complete" journey spread across two LPs, this time around.
Maybe it's because I listen to a lot of drone, ambient, and otherwise experimental artists... but I think part of the appeal of this album could be tied to the "challenge" of finding the value in each song. I won't say that there's a diamond in the rough on every track, but I also don't think it's a complete pile of shit like a lot of folks are making it out to be. I won't sugarcoat it: I would be very happy if this record was Win and co. exhausting their disco cravings, so they could release something on a much more refined and grander scale, next album. But whatever the case may be, I think it's another colorful notch in Arcade Fire's belt. It won't "click" and be a sleeper-classic that everyone praises 10 years from now, but you have to give it credit for not being a rehash of ground they've already treaded. The general consensus can sit and pout with their arms crossed, lamenting the band for shit lyrics and shallow dance-anthems... but I think I'm just gonna' let loose and have fun with this one for what it is.
Darla records is having a 10% off sale. JULYTEN is the code. just grabbed that Secret Shine along with Crash City Saints. terrific deals on Saint Marie releases (as well as other terrific shoegaze) on already low prices.
I didn't think this needed it's own thread, but still warranted a post somewhere. 13 years later Flotation Toy Warning has put out a new album, and holy fuck it's gorgeous.
Dream/Indie Pop, Psychedelic, and very ethereal sounding, some o you might dig it.
1 Controlling the Sea
2 Due to Adverse Weather Conditions All of My Heroes Have Surrendered
3 Everything That is Difficult Will Come to an End
4 A Season Underground
5 I Quite Like it When He Sings
6 King of Foxgloves
7 When the Boat Comes Inside Your House
8 Driving Under the Influence of Loneliness
9 To Live for Longer Slides
10 The Moongoose Analogue
Drums — Steve Swindon
Guitar, Bass — Ben Clay (2)
Guitar, Bass, Vocals — Nainesh Shah
Keyboards, Sampler, Vocals — Vicky West
Lead Vocals, Sampler, Programming — Paul Carter (4)
CD: digipack three panels with booklet (16 p.), matt paper.
VINYL: Double LP gatefold. Uncoated paperboard sleeve, printed inner sleeve. Comes with a free download code.
Please note:
> this is a pre-order. Pre-orders will ship by or before the June 16th release date. If you have a pre-order item in your purchase, your order will not ship until the pre-order does.
> all vinyl pre-orders will receive a free copy of Flotation Toy Warning new 7 inch 'King of Foxgloves'. (Side A: King of Foxgloves | Side B: Driving Under The Influence of Loneliness 'Demo version' + Made from Tiny Boxes 'Encore') >> In partnership with agnès b.
> vinyl version (2LP / Gatefold) of Flotation Toy Warning debut 'Bluffer's Guide To The Flight Deck' is also back in stock.
“swirls of guitar, looped samples and beautifully bereft vocals to beguiling lo-fi effect, recalling both DIY Flaming Lips and the glitchyside of Sparklehorse……Buckled but beauteous, psychedelic Victoriana with beats” Time Out
Not vinyl-related, but I came across this Japanese Edition CD listed in ebay.
Looks to be gatefold with foiled wording and an OBI strip.
I found it interesting at least.
Still available direct from the label: http://hostess.co.jp/releases/2016/06/BGJ-5106.html
Waters reacted to fish in PO NOW: Thom Yorke - Suspiria (OST)
Waters got a reaction from thedood in Radiohead - A Moon Shaped Pool
Waters got a reaction from thesewoodenideas in Radiohead - A Moon Shaped Pool
Waters got a reaction from Tommy in Radiohead - A Moon Shaped Pool