Arcade Fire came to prominence with the release of Funeral in 2004. The band was hailed by fans and critics alike for bringing forth a uniquely passionate sound. Arcade Fire is not a band that is fond of introspective naval gazing. This is a band that composes widescreen anthems about life, death and love, whereas Arcade Fire’s peers often write from a detached viewpoint. This band writes with sincerity, emotions are not tucked neatly away.  They are in your face.  This is cathartic music.

Arcade Fire quickly gathered a following with high profile fans such as David Byrne and David Bowie. In 2007 Arcade Fire released Neon Bible.  It would be three years until the release of The Suburbs on Aug 3rd 2010.

So, does The Suburbs reach the same heights of Funeral, or does it spend time in the darkness like Neon Bible? The answer is no and no. , The Suburbs sounds downright cheerful at times, as evident on the title track “The Suburbs”, quite a departure from a band who tends to evaluate life and death as an everyday part of our existence, and really it is. Funeral was in a way the celebration of life by saying good- bye to love ones recently passed. Neon Bible was an apocalyptic tale shown through the lens of a paranoid, aware and conscious director.

The Suburbs is about growing up, growing out, distancing yourself from your old friends and moving away.  Win Butler, Arcade Fire’s Vocalist/songwriter, and his brother Will grew up in Suburban Houston before migrating to Quebec to form Arcade Fire with Win’s French Canadian wife Regine Chassagne. Several references to the brother’s hometown are mentioned throughout the album.

Written as a concept album, The Suburbs clocks in at over 60 minutes and includes 16 tracks with the final track being a reprise of “The Suburbs.” In the heady days of vinyl this album would be a considered a double album, and I guess we can still consider it a double album due to its length. During the gestation of The Suburbs, Win Butler described the looming album as a cross between Neil Young and Depeche Mode.

Track 1 “The Suburbs” could be a modern day outtake from Young’s After the Gold Rush. Win mentions that he wants a daughter “while I am young, to show her beauty before the damage is done”. I sense that The Suburbs is the start of the journey that lead us into Funeral, and finally the apocalyptic doom of Neon Bible. This completes a three album trilogy on Life, Death, growing up, and growing out.

In a recent review of The Suburbs in Rolling Stone, there is mention about the act taking inspiration from their parents’ vinyl collection. There is mention of Krautrock influences particularly on the single “Ready to Start” with pulses with a robotic-monotone beat that takes its que from 70’s German stalwarts Neu! I would also like to add that it appears the band spent sometime re-evaluating Young’s 1970 release After the Gold Rush as well.
Along with the folk-rock influence, there is also a prevalent new wave coloring throughout the album, specifically on track 4 “Rococo.” The track is written as a reference to the kids who eat out of our hands, and use big words that they don’t understand. Is “Rococo” a possible put down to the hipsters? Someone had to do it.

The constant theme running through The Suburbs is change, neighborhoods changing with the landscape. The idea that Towns are built for the rich is evident on track 6 “City with No Children” with the mention of “a garden left for ruin by a billion inside a private prison.” Is the billionaire the ringleader beyond the urban sprawl?

Track 14 “Sprawl (Flatland)” finds us visiting our hometown looking for the house where we used to stay and play, presumably as children. When nostalgia comes knocking we often will revisit our childhood locations, often surprised at the change taken place. The house we grew up in might now be a convenient store, or worse, a 7-11. Our neighborhood field where we spend hours playing catch is now a freeway off-ramp; these are the realities we are presented with during “Sprawl (Flatland).”

Track 15 “Sprawl II (Mountains beyond Mountains)” is a hidden gem nestled right before track 16 “The Suburbs” (a reprise of the titled track).  “Sprawl II” sounds like a lost Bjork track backed by a MGMT-esque bassline and new wave synths. “Sprawl II” gets my vote as a future single release.

I can relate to the running theme of this album; growing up myself during the 80’s in Southern California, I have imprinted upon my mind miles of Orange Groves, farmland and flat fields enclosed by surrounding mountains. When I return to the places I grew up now, I often do not recognize what lies before me. The Orange Groves have now made way for Shopping malls and housing tracts. We all can relate to such change, and The Suburbs is able to highly articulate the emotions felt when re-visiting our past.

As I mentioned, I view The Suburbs as the beginning of a Life and Death trilogy. Many of the deceased that are subjects within Funeral are still alive and well during The Suburbs. Since this album is a grower, there are no immediate standout tracks, and this is an album that is to be listened to in one sitting, preferably with great concentration. So with that being said, I am happy to see the album as a cohesive whole becoming in vogue once again.