Funeral

Es un gran disco que vale la pena tener. El producto tardó un poco en llegar pero estaba todo en buenas condiciones.

Ok, so I'll start this rather honestly by stating that if it weren't for my total adoration of the film adaptation of `Where the Wild Things Are' I wouldn't have any clue who Arcade Fire was. But, thanks to the strategic placement of the flawless track `Wake Up' in the trailers for that glorious film, I was brought to a nostalgic place that moved me to pick up this album.Finding a genre to place Arcade Fire in is hard. They seem to be a genre all their own. There is obvious rock influences here, but there is also folk and pop and an almost theatrical aspect to their music that makes it larger than life, or at least take on a life all its own.I'll start by breaking down the `Neighborhood' tracks. There are four of them. The only one I dislike is `Laika', which is a little too abrasive for their own good. Win's vocals are not the best in the industry, but he uses them effectively on most of the tracks here. On `Laika' he abuses them and the band comes off like a garage band trying to be `hard'. It just doesn't work for me. `7 Kettles' is drastically different, creating a calming feeling almost, with a fluid serenity that calls to mind something almost ethnic (I get an Irish folk type vibe here). `Power Out' feels like controlled chaos, and I like that. The vocals are a little harsh at times, but the overall catchy flow of the track is infectious and totally lovable.But, of the four `Neighborhood' tracks, the best is easily the opening `Tunnels'. This is the first taste we get of what this band can do, and lyrically and musically this song is stunning. I love the softness that is created with the musical arrangement (that also likes to play with some backing guitar to create a fanciful atmosphere).These lyrics are just sublime.The rest of the album may even be better than these four tracks. The delicacy of `Une Annee Sans Lumiere' is marvelous. It has a lullaby feel to it, one that lulls you in all the right ways. It is sincere and earnest and moving. `Crown of Love' has a seemingly theatrical tone, something almost epic in production. I get a very vintage feel from it (it defiantly has some aged influences) and the way that the track builds gradually is phenomenal.`Haiti' is bouncy and delightful in scope and presentation.`Rebellion' and the closing track `In the Backseat' are both stunning and very commanding. The subtle emotional resonance of the strings accompanying `In the Backseat' beautifully contrast the commercial approach taken to `Rebellion'. They are two very different yet very complimentary tracks.A great way to close out the album.But, what review is complete without total doting over the star track, `Wake Up'? This track is, in a word, perfect. From the intro, which rises and falls at just the right moment, to the tracks effortlessly heightened embrace of nostalgia and human enchantment, this is an unforgettable musical experience in itself. Lyrically, the track is moving and stirring and unbelievable astute, and musically it understands its themes and captures them with the swift rapturous collision of sound.Easily one of my favorite songs of the decade.In the end I totally recommend this album. There really isn't a low point (outside of `Laika'). Even though Win is not the most accomplished singer, he uses his vocal limitations to create a feeling of authentic emotional connection, allowing his blemishes to compliment his vision, not detract from it.Just buy this album!

Idealistically, there are few things more appealing than the apocalyptic notion of complete isolation. Large scale worldwide end-of-the-world apocalypse or small, "Lord of the Flies" type trapped-on-a-deserted-island seclusion, we have all been occasionally aroused by this type of all-alone-in-the-world separation. Ever since the dawn of mass civilization and the overwrought hustle and bustle of the modern world, being The Only People/Person on Earth has inspired thousands of years worth of art and literature for its romantically serene notions, dating back to and beyond the fable of Adam and Eve from Christianity. Usually a combination of loss and innocence- first the loss of power, whether it take the form of god, government, or even parents, and second, a perceived "return to innocence" because of this loss- the one thing that our art has taught us is that, basically, the apocalypse sucks. It's cool for a little while, but ultimately loneliness sets in, we freak, and begin to want more than this nothing, having come from a society where we are conditioned to want Everything. Even on South Park the kids couldn't last long without their parents, and in 28 Days Later, Jim can't get on without believing that "society" still exists somewhere. The opening menagerie from the Arcade Fire's debut album, "Funeral," plays out a frosty mini-apocalypse, complete with icy parents, tunnels under the snow, a vampire brother, and a year of darkness. "Neighborhood #1 (Tunnels)" introduces the metaphorical End Of The World, as snow buries the houses and our narrator and his lover make their way alone ("we let our hair grow long and forget all we used to know"). Forgetting their parents ("whatever happened to them?!") and all the names that they were going to name their baby ("we forgot..."), their "skin gets thicker from living out in the snow." This all goes down beneath a gorgeous piano and xylophone twinkling, like a patient, classical version of Interpol. The second neighborhood tune (Laika) introduces us to perhaps the progenitor of the metaphorical apocalypse, a brother named Alexander, bit by a "vampire" and forced to drink a years worth of his "tears in a cup" for his own good and for the sake of the neighborhood. Emotionally driven and resonating beyond this realm, singer Win Butler makes like Ian Curtis, encouraging the neighbors to "dance in the police disco lights" brought on by Alex's fights with their father. Only the next to last track, "Rebellion (Lies)" comes close to matching the emotion of the opening couplet, but you'll need the rest. The opening quintet concludes with a mellow, half French soiree about "Une annee sans lumiere," with darkness enveloping the hood for a year. Finally, our narrator wakes up with the neighbors "all shoutin' that they found the light," only to find the power out "in the heart of man." The neighborhood tale is concluded with a pensive realization about the frightening sadness and regenerative power of time- "time keeps creepin' through the neighborhood/ killing old folks, wakin' up babies." The second half of the album breaks from the neighborhood theme, but not from a lack of thematic cohesion. "Haiti" is a love ballad to the homeland of Regine Chassagne that "she'll never see", complete with a spookily transparent synth line and rushing waves that ache and break like John Lennon. Crying for the children in their "unmarked graves where flowers grow," she spiritually exorcises the demons of war and violence, promising that "all the tears and all the bodies will bring about our second birth." Already legendary, the bands mystique only plays up the emotional weight of the debut. After the marriage of Butler and Chassagne and during the recording of "Funeral", the band lost nearly ten family members amongst them during the "terrible winter of 2004," according to liner notes (hence the title as well). This is dealt with on the album's denouement, a bjork-like send up to survival amidst emotional despair. "My family tree's losing all its leaves" Chassagne laments, before realizing that she has been "learning to drive my whole life."

I've just ordered my second copy of this album, because I've worn my first one out by playing it so much. Like all great albums, it just gets better and better with repeated listenings, especially when you've left it for a while since the last time. It initially took a few plays to get me hooked 2 years ago, but its grown on me more and more ever since. It is one of those albums you want to really listen to and concentrate on, it can't just be 'background' The magical opening chords of Tunnels give me instant goosebumps, and a warm glow, which rarely lets up through the duration of the album.They are a band that famously do things theor own way and do little to publicise themselves. With music this special they don't need to. Word of mouth has made them a big favourite with genuine music lovers and their breathtaking live shows have become the stuff of legend for those 'in the know.'Funeral is an album to treasure, they may never surpass it, its that good. Taking its influences from amongst others, Talking Heads, Heroes era Bowie, Born To Run era Springsteen, with elements of punk, folk, rock all thrown in, it is an album which wears its influences on its sleeve but has carved and shaped them into something unique and special.The songs are beautifully crafted with layers of guitar, piano, strings, rhythm, and passages of full band vocals (which often act as an extra 'instrument') combining and interweaving, and the production is clear and precise without ever being glossy or slick.The deaths of various family members 'inspired' the title and some of the material (In The Backseat) yet the music is equal parts mournful and utterly euphoric, (most empahtically summed up in the massive vocal chorus of the magnificent epic Wake Up)There is an almost naive romanticism and yearning in songs like Tunnels and Crown of Love ('I'll dig a tunnel from my window to yours' / 'You've got to be the one, you've got to be the way/ your name is the only word I can say') And yet there is also a wiser more world weary cynicism in the unbelievably intense Power Out ('Nothings hid from us kids you ain't fooling nobody with your lights out') and the superb momentum building Rebellion (Lies)('Every time you close your eyes Lies! Lies!')In the series of 'Neighbourhood' songs, the lyrics come from a kind of fairy tale world, where they use imagery of a neighbourhood buried by snow or without electricity, and many of the songs are sung from the perspective of children which gives them a certain charm and innocence.Win Butlers vocals are emotional and urgent without ever going over the top, and the frequent full band vocal sing alongs add a warmth and depth, from the almost ghostly 'woo oo oo's of Tunnels to the rousing 'Woah-oh's of 'Wake Up' and the big instrumental and vocal crescendo of Rebellion (Lies). The best thing of all is they sound like they mean it, no hint of fake or manufactured emotion, no posturing or pandering to expectations, just thoroughly joyous heartfelt music, which is exactly how they also come across live.I could go on but the best thing is to hear this album for yourself if you haven't already. 99% of current music pales by comparison, its one of my top 5 of all time. Completely, utterly wonderful.

This is music reminiscent in its power, melodies, fantastic lyrics and absurdly good, headily (even recklessly) driving ensemble playing, of the good old days of the 60's and 70's, when there was a bit of real craziness about! You have the feeling these guys really had no choice but to make this music, and the best art comes from necessity. I am reminded of Jefferson Airplane in the funkiness; Paul Simon by the extraordinary lyrics; yes, of course, Talking Heads by the wonderful strangeness and surrealism, and even, on account of my wanting to play some of the songs over and over again, of the thrill of discovering the Beatles in my early teens. These young men and women have given us back a bit of the joy of our beautiful youth in those far off days, and we can even profit from our (increasingly rare) good hifi rigs to get the most out of this densely active and engaging music with its unusual instrumentations and passionate declaration. What a great discovery - if you love music you will adore this band. Friends, too, are falling like ninepins for this stuff, at once mad, wonderful, funky as hell, touching, tuneful and lovely.

I cannot give anything less than 5 stars as I love this album, but rough trade get NO stars. The "maxi" should actually say "mini" because you don't get the funeral leaflet that has all the lyrics in it and I'm no convinced of the quality of the LP.So I'm sending this back and getting the 180g US Import version from my favourite auction site.I don't know why they've fobbed off the UK audience with an inferior re-release and Amazon should make it clearer that this MAXI version does not come with the leaflet and is far inferior to the US rerelease.Disappointed in everyone but arcade fire.

I discovered Arcade Fire quite late and bought all their back catalogue. So far, this is my favorite. The sound changed quite a bit on subsequent albums. Interesting vocals by 2 different lead singers, in EN/FR. This album filled with interesting songs that never meander and manage to surprise you time after time, holds your attention for quite a while I think.

Great album, as always. However this vinyl edition omits the lyrics and credits pull-out that was included with the CD version.On this edition its a gatefold sleeve and the tracks listed on the back, thats it. So hence 3 out of 5 for this edition! A bit of a poor show.