ARCHIVE
CD Reviews
MarchArcade Fire - Neon Bible
March 5th. What does it mean to you? It’s John Frusciante’s birthday, that’s true. Yes, it is the anniversary of such esteemed characters as John Belushi and Lolo Ferrari. And of course, as we all know, on said date in 1924, Shefqet Verlaci became Prime Minister of Albania. But this year, it’s important for a whole other reason. Thousands of indie kids around Europe had this date pencilled into their calendars, as they sat in their room, gripping their copy of Funeral with one sweaty palm, and their ticket for one (of many) sold out shows. March 5th 2007 saw the release of one of the most eagerly anticipated Sophomore albums in recent history, Arcade Fire’s Neon Bible.
Sharing a name with a John Kennedy Toole novel, but that being about as much as it seems willing to share, this album contains 10 news track of standard theatrical Arcade Fire fare (plus a new recording of No Cars Go, originally from their Us Kids Go EP).
Opening with the US and UK first singles (Black Mirror and Keep The Car Running, respectively), the familiar dissonance of Montreal’s famous 7 piece is instantly evident in their theatrical soundscapes. Title track Neon Bible is incredibly sparse, and at just over 2 minutes long is the shortest song the band have released. However, despite it’s lack of arrangement and length, it leaves that incredibly familiar haunting atmosphere in its wake that made Funeral such a good album. It’s followed (with great contrast) by Intervention - a dark, energetic song, the melody flowing along intertwining with Win’s vocal line, lifting itself into the usual emotional crescendo that one has come to associate with this band.The latter half of the album moves on at the same pace, until the revival of old favourite No Cars Go. A far more polished version than the original, it’s still one of the tracks that you’ll keep coming back to, ‘just for one more listen’. Closing the album is the incredible My Body Is A Cage. Welcoming the return of the chapel organ from earlier in the album, this track is a suitable atmospheric closer for such a theatrical group. It’s the closing scene in a gothic play, showing everything that has come before in perspective, letting you see all the threads that link the elements together.
Overall, while this album is not nearly as accessible as Funeral, it contains great rewards for those willing to stick with it, and give it the due attention it deserves. Not an instant classic, but potentially a classic nonetheless.
Abderrahmane