One record at a time: 9. Arcade Fire: Everything Now

So, the next album in my collection has actually been opened and played! Arcade Fire "Everything Now" is from 2017 - which seems astonishing as I feel like it came out only recently. I seem to have the Japanese language variant of the sleeve but I have no idea where I bought it from. This album is a bit of a change in direction for the band and appeals to me much more than some of their other efforts. When I fist played this I had to check to see if it was produced by James Murphy it sounded so familiar in execution. To my astonishment I found it was actually co-produced by Thomas Bangalter and suddenly the prominent synthesizers and groovy drums made sense. Realising this album was (half) produced by one half of Daft Punk elevated it to a different plane and I gave it far more attention that might otherwise have done.

"Everything Now" is a straight up radio friendly, disco pop song that is catchy and satisfying. Unfortunately when it was released as a single this track received a good kicking from those unable to cope with change. "Signs of Life" is an archetypal LCD Soundsystem song complete with bad lyrics. Things move up a gear with "Creature Comfort" which is the perfect blend of traditional instruments and electronics. It really shouldn't have come as a surprise to find this track had also been through the hands of Geoff Barrow. This is hands down the best track on the album and worth the admission fee on its own. Things are followed by the pseudo dub of "Peter Pan". I don't like dub much but this track is pretty interesting with its distorted bassline and synth motifs. "Chemistry" continues the faux reggae theme and is surprisingly fun. The bizarrely titled "Infinite Content" and "Infinite_Content" are equally disappointing and annoying (especially "Infinite_Content"). Thankfully these are short pieces and side one is finished. Whatever happens on side two, we're already ahead of "Funeral".

Whilst "Electric Blue" is probably one of the least original song titles the band will ever employ, the music is great. Copious drum machine and synths. "Good God Damn" finds us back in that electric bass dominated LCD Soundsystem type groove but the repetitive lyrics begin to annoy. "Put Your Money On Me" instantly sounds like a cracker. Synth arpeggios creep out of the ether as Will begins to croon the infectious melody that almost sounds like.....dare I say it?....Pet Shop Boys. "We Don't Deserve Love" represent a nice change of pace and kicks off with analogue drum machines and synth textures before Daniel Lanois's steel guitar begins to emerge. Yes, 7 time Grammy award winning producer Daniel Lanois is used as a session musician - that's how grandiose this album is. This track is epic and is a fitting end to an astonishing album. Except it's not the end as they have to mess things up by reprising the title track in the form of "Everything Now (Continued)". But the ending is a minor complaint. This is a great album and whilst it was reviled by the purists, I think it is by far the band's best work. 3/5

One record at a time: 8. Arcade Fire: Funeral

Another unopened record. I probably haven't played this because I find Arcade Fire very hit and miss. I either really like their songs or they just sound a bit weird and boring. I think I bought this copy of "Funeral" as it was cheap - £10 or something. I enjoyed some of the tracks on the CD when it first came out and thought it might sound good on vinyl. Indeed, this is a quiet and well pressed vinyl and I have paid considerably more for records which sound much worse.

"Neighborhood: Tunnels" is an impressive introduction and was one of five singles taken from the album. I like the melody on this song and it seems to drive on relentlessly. Will's vocal is both confident and vulnerable at the same time. "Neighborhood 2 (Laika)" is a quirky beast and I can't warm to the accordion; it just doesn't sound right. The French influence continues with the bilingual "Une Année Sans Lumière" (the band are Canadian after all) which is OK without being anything impressive. Where things kick off for me are the next track "Neighborhood 3 (Power Out)". This is an infectious track that swings between a soaring anthem and a lullaby. Imagine Joy Division covering Dexy's Midnight Runners remixed by LCD Soundsystem and you're almost there. Or something like that. The first side ends with "Neighborhood 4 (7 Kettles)" which ventures too far down the violin and acoustic guitar street for my taste. I think there is a good song here but it would need re-recording with a few modular synths or something for me to enjoy it. 

"Crown of Love" is one of those maudlin tracks that builds and builds until almost turns into a disco record. Worth persisting with. "Wake Up" starts like a Nine Inch Nails song and gradually turns into a tune you've probably heard on TV a hundred times. Even though I am not a massive fan of guitar, this track sounds good. "Haiti" sounds like album filler but it does at least have a drum machine in there. Next up is another brilliant track "Rebellion (Lies)" which is clearly an anthem of epic proportions. These are the sort of tracks Arcade Fire do best: infectious, complex, building and satisfying. Having been whipped up into a frenzy, we have to rely on "In The Back Seat" to calm us down and see us out.  Regine takes over on vocals and you can't help but feel an external producer might have added the bit of sparkle and polish this track needs.

By far the worst part about this record is the fact that the vinyl wont fit back into the sleeve properly. I suspect this is because I have only split the cellophane up the side to get the record out. When closed the gatefold sleeve remains tight and I have to jam the record back in. Still, all good for £10 or whatever I paid. 2/5