Arcade Fire “WE”: Honesty in Counter Attack

For those who were offended by the leader, I’m in a hurry to clarify – I’m not saying that Arcade Fire After “Neon Angel” they started recording nothing. For albums like “The Suburbs” or “Reflektor”, young bands with poor achievements will likely be killed or sentenced to a Sunday dinner with Kaczyński in Przyłębska. But judging that Wayne Butler, Regeni Chassani and his cohorts’ greatest accomplishments were “Funeral” and “Neon Gospel,” it’s hard to reasonably argue. In order not to linger, I cut off the suspense: “we” are not catching up to these levels, but it seems that the downtrend has reversed.

How do? and like this “at” “Goes back to the roots” (to use this rhetorical character one would have to be flogged in public), that is, he quits the tombak kitsch they have been patting their songs unnecessarily lately. Compared to its predecessors, WE probably isn’t much hierarchical (because it certainly isn’t), but is simply tidy and less chaotic. At least in terms of music, because the Arcade Fire theme reflects the atmosphere of its era, the very strange post-apocalyptic world. It was meant to be, but not as we imagined it to be.

No ‘Mad Max’, ‘Fallout’, no radioactive spikes, yet it conveyed our reality through it. And that’s one of the things Arcade Fire is trying to measure in the text layer. This is perhaps their most ambitious assignment since they were 20 years old naked and trying, with great success, to tell us something about life and death at the funeral.

Especially since they, along with many other artists somehow associated with the new queer American trend (Cat Power, Banhart, Newsom, Okkervil River, etc.), aspire to be part of the so-called new honesty scene, an entity against the paradox of postmodernism. Growing up around the Austin Texan scene in the early ’80s and ’90s (Alejandro Escovedo, Daniel Johnston, Neutral Milk Hotel). The album’s structure, divided into “me” and “us,” appears to be a metaphor for the post-pandemic that comes from inbreeding and the loneliness of the “me” to underscore the restored social interactions. Because the “WE” creation and registration period covers both the “before”, “during” and “after” periods.

This doesn’t mean you won’t find punk action in a positive dance album. There are also numbers built on the well-known principle of escalation (“My Body Is a Cage” anyone?), so instead of the traditional built-in song structure, go to the Impossible Radioheads, who borrowed the product for this recording. Again, this is Butler’s backdrop, with his sincerity and exaggeration, sometimes dangerously close to irony, sentimental, and even rudely ostentatious. But that’s the case with Arcade Fire, if you bounce off of it, you won’t even look at ‘WE’. Ba! Their entire discography will be seen like a dog in a cucumber.

Not that “WE” lacked electronic vocals, but someone apparently apologized for the acoustic instruments, piano and guitar on top. The analog sounds are therefore much richer than they have been recently. And in “Unconditional II,” the Canadians got to play Peter Gabriel (Dude, when’s there an album? indie-folk.

“WE” is proof that while the band could have caught the evil eye of Bona, who hit the stage during their “Vertigo” tour in 2005 with their release “Wake Up,” Arcade Fire won’t share the fate of their older bandmates from outside and neither will they be. A self parody like U2 after “Bob”. In “WE”, as in “End of Empire I-III” and “IV” you can feel that the group has lifted its ass off its laurels and again, fortunately, is looking for something. And let us hope they find it, who is of this generation if not them? At least in the traditional mainstream.

Arcade Fire “WE”, Sony
7/10

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