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re: Arcade Fire

Posted by:
Vin 08:25 pm UTC 03/06/07
In reply to: Arcade Fire - Scaramouche 07:58 pm UTC 03/06/07

Man, I bought BH & R w/ a gift card I got for X-Mas and it disappointed me. Not sure what I expected, but what I got wasn't it. To be fair, I only listened like 3 times, but I hear the singles on the radio all the time.

Of the NWOMLCB (new wave of Meat Loaf compared bands) I much prefer MCR's "The Black Parade," even if it is largely Rob Cavallo's "American Idiot" redux.

The Killers' "Sam's Town" is pretty good but I don't love it. Brandon Flowers is NOT a great singer by any stretch.


>
> Their album 'Black Holes & Revolutions' was THE record of
> 2006, and a Steinman produced album would be glorious!!
>
> Do yourselves a favour and get 'Neon Bible', 'Funeral' &
> 'Black Holes...', your heart & soul deserves it!!
>
>
>
>
>
>
> >
> > http://www.canada.com/nationalpost/news/artslife/story.html?id=d26b477d-3528-4d94-bcc6-dfb0a25ca7cd&k=63823
> >
> > Arcade Loaf: Montreal's most operatic indie band is
> > constantly being compared to Springsteen, but they're much
> > closer to The Boss' more theatrical contemporary
> >
> > Mike Doherty
> > National Post
> >
> >
> > Tuesday, March 06, 2007
> >
> >
> >
> > CREDIT: Olivier Laban-Mattei, AFP, Getty Images
> > The Arcade Fire's Win Bulter is finding the epic drama of
> > his band's new album being likened to Bruce Springsteen at
> > his most anthemic, but could the quasi-religious fervour
> > of much of the disc be directed at a Paradise closer to
> > ...
> >
> > Judging by the number of times he has been name checked in
> > the music press in recent months, you would think Bruce
> > Springsteen was the most important rocker on the planet.
> > From mega-sellers (The Killers) to critical darlings (The
> > Hold Steady), a raft of young artists is said to have been
> > inspired by The Boss. They've either named albums after
> > his (like Badly Drawn Boy's Born in the U.K.), used
> > elements of his aesthetic or both.
> >
> > But for all the Jersey rocker's influence, these bands and
> > many more reach beyond Springsteen's marriage of
> > blue-collar grit with fist-pumping anthems. Between Brooce
> > and today's indie rockers, a large and unexpected presence
> > looms: that of Meat Loaf.
> >
> > Starting with 1977's Bat Out of Hell, the stage veteran,
> > along with composer Jim Steinman, popularized a brand of
> > apocalyptic, theatrical rock that is making a comeback,
> > from Muse's universe- spanning epics to The Flaming Lips'
> > cosmic existentialism to the dark, cinematic glam of
> > Kasabian. Startling as it may seem, a striking comparison
> > can be made between Meat Loaf's critically reviled debut
> > and The Arcade Fire's brand-new Neon Bible, now receiving
> > hosannas from congregations of zealous music writers. The
> > similarities begin, fittingly, with The Boss.
> >
> > "When I saw Springsteen at the Bottom Line in New York,"
> > recalls Steinman, "I was blown away. I remember saying to
> > Meat Loaf, 'God, he's doing what I?m doing!' "
> >
> > On 1975's Born to Run, which ends with the 10-minute
> > Jungleland, Springsteen showcased a theatrical
> > presentation of Americana, which he then more or less
> > abandoned. Springsteen's label boss, Clive Davis, rejected
> > Steinman's songs as being too bizarre, but he and Meat
> > Loaf soldiered on. With help from producer Todd Rundgren
> > and Springsteen's own pianist and drummer, they took
> > operatic rock to absurd heights with Bat Out of Hell
> > (which has since sold around 40 million copies) only to
> > outdo themselves with1993's immensely overblown Bat Out of
> > Hell 2.
> >
> > Steinman, reached at his Connecticut home yesterday at
> > 2:15 a.m. (like bats, he's nocturnal), may have written
> > hits for the likes of Bonnie Tyler and Air Supply, but
> > he's also a Wagnerian at heart who likes to challenge his
> > audience. His modus operandi is not just to throw the
> > kitchen sink into his work, but also to chuck the pipes in
> > after it, set it on fire and then add strings.
> >
> > You can hear elements of Bat's orchestral grandeur on Neon
> > Bible. The New York Times' claim that "the Arcade Fire has
> > managed to avoid any gestures toward the operatic" is
> > belied by the album's opening song: Black Mirror sounds
> > like the Rolling Stones' Brown Sugar as re-imagined by the
> > Phantom of the Opera, underpinned by a menacing low
> > rumble. You can't get much more Sturm und Drang than
> > this.
> >
> > Steinman cites "extreme passion, or fever" as a necessary
> > element in good rock music, and the Arcade Fire's lead
> > singer, Win Butler sings with a dramatic fervour that
> > recalls Meat Loaf's desperate romanticism. Butler's lyrics
> > are shot through with end-of-the-world apocalyptic
> > imagery: "World War III, when are you coming for me?", he
> > warbles on the eerie Windowsill.
> >
> > Steinman's oeuvre looks ahead to a quasi-Biblical rock 'n'
> > roll apocalypse: "I find heaven and hell, light and dark,
> > to be eternally exciting conflicts," he says. "From the
> > time I was a little kid, I loved religion for its
> > accessories. I used to go to St. Patrick's cathedral [in
> > New York] just to hear the music and liturgies."
> >
> > Most of Neon Bible was recorded in churches outside of
> > Montreal; what with its shivering strings, big reverb and
> > 500-pipe church organ, the album is as gothic as the
> > lettering on Bat Out of Hell's cover. All the same, the
> > Arcade Fire are hardly reverent: On Saturday Night Live
> > last month, Butler shattered an acoustic guitar.
> >
> > The guitar-smashing Pete Townshend was himself an
> > influence on Steinman: "I had never seen violence so
> > beautifully portrayed," he says of seeing The Who for the
> > first time. "There's a great fun in destroying things and
> > tearing them down, and it's also politically the essence
> > of rock 'n' roll."
> >
> > Significantly, the Arcade Fire, together with bands like
> > The Hold Steady and even The Killers, are apt to write in
> > character, or about events outside themselves. "If I was
> > teaching songwriting," says Steinman, "I would say: 'Stop
> > looking inward.' I can't imagine Wagner sat down and said,
> > 'Let me start a four-part epic cycle about my personal
> > life buying female underwear.' He had a much different
> > mission."
> >
> > Wagner wrote about the twilight of the gods; Meat Loaf
> > sings about "killers on the bloodshot streets," and Win
> > Butler sings about falling bombs --it's all very dire, but
> > it works only if you can enjoy the music viscerally. Hence
> > the exhilarating rhythms and sweeping arrangements that
> > accompany both Meat Loaf's finding paradise by the
> > dashboard light and Win Butler's ode to going where No
> > Cars Go.
> >
> > Canadian musicians (aside from Celine Dion and Rush) have
> > mostly shied away from the grandiose. Nonetheless, Bat Out
> > of Hell first reached platinum status here, and Meat Loaf
> > has claimed, "More people in Canada owned Bat Out of Hell
> > than owned snowshoes" (which is not really that many, but
> > you get the idea).
> >
> > If Neon Bible's hugely uplifting closer, My Body is a
> > Cage, with vocals by a choir of fallen angels, crashing
> > drums that could set a whole army marching and, of course,
> > the pipe organ to end all pipe organs, is any indication,
> > the Arcade Fire could give Steinman a run for his money.
> >
> > As for the songwriter, he played little part in this
> > year's Bat Out of Hell "threequel," The Monster is Loose,
> > but fear not: He's writing new songs for a musical version
> > of the first two albums, to premiere in London in 2008,
> > complete with 3-D animation. Steinman likens it to a
> > musical version of last year's apocalyptic film Children
> > of Men.
> >
> > "The first review of Bat Out of Hell said I'm way over the
> > top," he recalls. "But how are you going to see the other
> > side if you don't go over the top?"
> >


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