Posts Tagged ‘Arcade Fire’

Arcade Fire have announced a reissue of their debut Arcade Fire EP. It’s the first time that the EP has been pressed to vinyl. The Arcade Fire reissue arrives on Record Store Day 2018 (Saturday, April 21) via Legacy Recordings. The band self-released Arcade Fire in 2003. Two years later, Merge Records re-released it on CD. The seven-track release includes “No Cars Go,” which was re-recorded for 2007’s Neon Bible.

This 2003 album preceded the instant classic Funeral, and has been relatively overlooked since Arcade Fire became one of the biggest bands in the world. However, the seven track EP (known unofficially as Us Kids Know) gives an insight into the band’s thematic and musical heart and is a key part of any fan’s collection. Now on vinyl for the first time in transparent blue, limited and numbered.
1. Old Flame  2. I’m Sleeping In A Submarine 3. No Cars Go  4. The Woodland National Anthem 5. My Heart Is An Apple  6. Headlights Look Like Diamonds 7. Vampire / Forest Fire

First time on Vinyl for this 12″ transparent Blue coloured & individually numbered EP, with augmented Gold artwork


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Arcade Fire have made the announcement that they will soon be sharing a brand new short-film ‘Money + Love’ to work as a double-header video for two of their more recent tracks ‘Put Your Money on Me’ and ‘We Don’t Deserve Love’. The full film will drop on March 15th.

It comes ahead of the scheduled UK tour, which you can see the dates for below, and will see the band work with not only David Wilson, whom they collaborated with in 2014 on ‘Reflektor’ and ‘We Exist’ but also Australian actress Toni Colette.

Win Butler has said: “The concept of a double video really appealed to us, we’d always loved songs being put together as A and B sides… and these songs seemed perfect together. David has been a great collaborator for us since Reflektor and we were finally able to work with Toni whom we’d been wanting to work with for some time.”

UK Dates:

06/04 Dublin 3Arena
08/04 Manchester Arena
11/04 London SSE Arena Wembley
12/04 London SSE Arena Wembley
13/04 London SSE Arena Wembley
15/04 Birmingham Genting Arena
16/04 Glasgow SSE Hydro

Arcade Fire once again proved to be one of the ultimate festival headliners with a towering, career-spanning set to close out Lollapalooza Festival .  From Funeral to Everything Now, the Canadian rockers took Grant Park on a journey. Arcade Fire aren’t capable of putting on a live show without absolute passion and sincerity, and that glowed like a golden aura at their Lollapalooza-closing set. There’s an intoxicating density to their new songs.

This live experience feels like a never-ending fever dream of sing-along beauty, aided by the dozens of pastel balloons at the crowd’s front bouncing like popping corn. For continuous minutes at a time, restless keyboardist Will Butler, soulful violinist Sarah Neufeld, and passionate multi-instrumentalist Richard Reed Parry would glide into sound worlds of their own provision, and slowly morph, as if on an evolutionary timeline. Their best moments, like “No Cars Go“ and “Sprawl II (Mountains Beyond Mountains)“, steadily swell and collapse, shove and soar. By stretching songs past their usual time, they manage to shift one’s very sense of progression, where small changes in tone or volume or speed suddenly feel emphatic.

Arcade Fire // Photo by Heather Kaplan

The setlist brimmed with a flood of favorites from each album in the band’s catalog. A pulsating dose of Funeral songs led to sing-alongs; a couple apiece of Neon Bible and The Suburbs songs .
Along with material from their new record Everything Now, the band touched on every era of their career with many of their classic songs anchoring the set along with a special closing cover of John Lennon’s “Mind Games” featuring snippets of Radiohead’s “Karma Police” and their own anthem “Wake Up.” 

All of the Arcade Fire hallmarks appeared at some point during the night ,violin lines, bent bass that could split the ground; hyperactive percussion that could crack at any second; soaring sing-alongs. The main set ended on the always explosive “Neighborhood #3 (Power Out)”, leaving only one song to remain: “Wake Up”. When the band returned for an encore after a brief break, the ultimate indie rock anthem that followed was predictable but as effective as ever.

Arcade Fire’s full Lollapalooza headline set. Live from the Grant Park stage in Grant Park, Chicago, IL, USA. August 6th, 2017.

00:00:06 Everything Now (Continued) – intro
00:02:05 Everything Now
00:07:19 Rebellion (Lies)
00:12:31 Here Comes the Night Time
00:19:46 Signs of Life
00:25:17 Electric Blue
00:29:41 No Cars Go
00:36:03 Keep the Car Running
00:40:37 The Suburbs – dedicated to David Bowie
00:45:47 The Suburbs (Continued)
00:47:04 Ready to Start
00:51:39 Neighborhood #1 (Tunnels)
00:56:47 Sprawl II (Mountains Beyond Mountains)
01:02:40 Reflektor
01:09:49 Afterlife – with snippet of New Order’s 01:14:46 “Temptation”
01:15:23 Creature Comfort
01:21:09 Neighborhood #3 (Power Out)
01:28:05 -encore break-
01:29:37 Wake Up
01:35:54 Mind Games – John Lennon cover, with snippets from Radiohead’s 01:40:59 “Karma Police”, David Bowie’s 01:41:26 “Oh! You Pretty Things”, and Arcade Fire’s own 01:42:35 “Wake Up”.

Neon BibleIt didn’t happen overnight, but it still came about pretty quickly. After making only one album Funeral in 2004 and doing a whole bunch of touring, Arcade Fire had become one of the most acclaimed bands in the world, anointed as the new flag waving of U2 , Coldplay and David Byrne . Now all the Canadian collective had to do was make a follow up record.

Neon Bible is the second studio album by the Canadian rock band ,released on March 5th, 2007 on Merge Records. Originally announced on December 16th, 2006 through the band’s website, the majority of the album was recorded at a church the band had bought and renovated in Farnham Quebec. The album is the first to feature drummer Jeremy Gara, and the first to include violinist Sarah Neufeld among the band’s core line-up.

In the process of making the sophomore release Neon Bible, the members of Arcade Fire turned their gaze from the inward grief of Funeral to more worldly matters – religion, violence, television, war, power, greed and fear, personified as “a great black wave in the middle of the sea.” Oceans play a major role in the imagery of the album’s songs.

“If you’ve ever been in a boat when the weather is bad… all of sudden you feel out of control,” frontman and primary songwriter Win Butler  said . “Those are the few times when I’m really aware of how out of control of the situation I am. And definitely, if you’ve ever been in the ocean and had a huge wave move over you, you become very aware that you’re not in control.” Butler was able to gain perspective on the “ocean” that is the U.S. via his status as an American expat. On Neon Bible, his birth country became reflected in, to borrow the title of the album’s lead-off track, a “Black Mirror.”

“It was the first time in my life that I felt like I was visiting my own country as some sort of outsider,” Butler said about the effect of touring the U.S. “I had lived in Montreal for a few years at that point, but I didn’t realize that I had really made it my home until that trip.”

He began to look at the U.S. as an alien culture where, Butler said, “Christianity and consumerism are completely compatible, which I think is the great insanity of our times.” Religion became a through line for many of the compositions, reflected in the thoughts of a suicide bomber (“Keep the Car Running”), the aspirations of the father of a reality star (“(Antichrist Television Blues)”) and the devotion of a person “singing hallelujah with the fear in your heart” (“Intervention”). Although the American criticisms of “Windowsill” aren’t explicitly God-obsessed, Butler connects the tune to religion as well.

“In theology there is this idea that it is easier to say what God isn’t than what God is, and in a way that song is my trying to say everything about my country that is not what makes it great or beautiful,” the singer said. “In a way it makes what is great and beautiful and worth fighting to preserve more clear.”

It’s no wonder that most of the album was recorded in a church – a former one, at least, that the members of Arcade Fire purchased in 2005. The bandmates turned the Petite Eglise church in Farnham, Quebec, into a studio over the course of 2006, recording “Neon Bible” as they went. While the building’s past use might have rubbed off on the lyrical content, the big, central space also allowed the seven-member band to have enough real estate to record live all at once.

The big spaces and big themes seemed to demand big sounds. Neon Bible reveled in expansive arrangements and instrumentation. A film orchestra and military men’s choir were recorded in Budapest to add epic heft to “No Cars Go” (a holdover from Arcade Fire’s debut EP). A gargantuan pipe organ led “Intervention.” Butler’s wife (band multi-instrumentalist and vocalist Regine Chassagne) played the enormous instrument on the album’s fourth track, nailing the performance in just one take.

“Normally you think of organ with just a couple of stops open, said ” Butler “It’s like a flute – gentle. But with all the stops pulled it’s got this really aggressive sound. I knew that for ‘Intervention’ it was really going to be about the organ.”

Upon Neon Bible’s release on March 5th, 2007, fans and critics were divided over the new, more substantial Arcade Fire sound. While many praised the ambitious arrangements, pointing to the influence of maybe Springsteen , others felt that the album’s sound could become overblown, pointing to the influence of Bruce Springsteen. In spite of – or because of – this, the album became one of the most-praised releases of the year, included on a bevy of best-of lists at the end of 2007.

Neon Bible also pushed Arcade Fire further into the mainstream. Soon after the album’s release, the band played the TV show “Saturday Night Live” and scored their first No. 1 album in Canada, while hitting No. 2 in both the U.S. and the U.K. “It’s pretty wild,” Butler  said “It’s pretty amazing for a band like us to be in that position. It’s funny in kind of a satisfying way.”


  1. Black Mirror” – 4:13
  2. Keep the Car Running” – 3:29
  3. “Neon Bible” – 2:16
  4. Intervention” – 4:19
  5. “Black Wave/Bad Vibrations” – 3:56
  6. “Ocean of Noise” – 4:53
  7. “The Well and the Lighthouse” – 3:57
  8. “(Antichrist Television Blues)” – 5:10
  9. “Windowsill” – 4:16
  10. No Cars Go” – 5:43
  11. “My Body Is a Cage” – 4:47

arcade fire

Arcade Fire have released a song ahead of the release of “Everything Now” their new dance-oriented album. The new track is called “Electric Blue” and it comes with a new music video.

This is the fourth track Arcade Fire have shared from their new album, which is released July 28th .

From the upcoming album ‘Everything Now’,

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For nearly a decade and a half, Arcade Fire have continued to push and challenge themselves, drawing from their own confrontation with personal crisis and giving us access to things we might have been ignoring within our own lives. But always retaining the emotional core, their “us against the world” anthems, and their arena-propelling hooks.

Arcade Fire have now returned properly to give us a real taste of their new music, with a new track ‘Creature Comforts’ from the forthcoming new album. which is out today July 28th via Sony Records.

The track is a ball of dark energy, with low level synths buzzing across the floor as the odd lead line raises the temperature every so often. It is a true testament to the band, that they can be so far removed from their previous incarnations and still have a nuance so noticeable that as soon as the music starts you think “That’s Arcade Fire!”.

As Win and Regine yelp across to each other it is fully confirmed that this is yet another victory for Arcade Fire and the new album Everything Now is likely to be yet another gold-standard record.

From the upcoming album ‘Everything Now’,

The torrent of content we absorb on a daily basis is a topic ripe for art that has been largely been under-explored in music thus far, but Arcade Fire don’t do it in somber and morbid fashion, “Everything Now” being their most upbeat, joyful album to date. It’s like they’ve chopped up a bunch of Abba tracks with this album, tenderized them, sprinkled them with glitter and reassembled them into something a little more subtle and insouciant. Arcade Fire’s fifth studio album doesn’t have the sprawling nature of The Suburbs or Reflektor nor the cacophonic intensity of Funeral, but the sequin-festooned, disco-ish Everything Now is every bit as good as these albums in its own right.

Departures in sound are often unwelcome when we’re already so happy with where a beloved band are, but, in this case, their experiments are a complete success.”  [Two different covers are available: ‘Day Version’ and an exclusive indie-store-only ‘Night Version.’ Limited blue colored vinyl pressing also available.]

Arcade Fire are bigger and bolder than ever before and ready to tour in 2018! 

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Following several days of rumors, hints, teases, guerrilla-marketing tactics and social-media hints, Arcade Fire finally has some new material to share. “Everything Now,” the first single from a forthcoming album of the same name, first surfaced on a 12″ record that popped up for sale at Barcelona’s Primavera Sound Festival this week. Today, at long last, the whole world can experience the song’s brash, soaring intensity.

Musically, “Everything Now” taps into the chugging, dance-friendly urgency of 2013’s Reflektor. But its words — which describe a loud, media-saturated world in which instant gratification seems to make everyone less and less happy — recall the larger themes of Neon Bible . The keyboard hook that opens “Everything Now” has an undercurrent of dread, fatigue and frustration seeps into every line: “Every song that I’ve ever heard is playing at the same time — it’s absurd.”

Everything Now is Arcade Fire’s first studio album since Reflektor , though the intervening years have produced — among other projects — extended tours, a Will Butler solo album , a road documentary called The Reflektor Tapes, and protest single with Mavis Staples titled “I Give You Power.” Everything Now, the band’s fifth full-length studio album, will be Arcade Fire’s first release for its new label home, Columbia Records.

From the upcoming album ‘Everything Now’,

Image of Minor Victories - Orchestral Variations

Ninor Victories – Orchestral Variations

This summer, Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, Editors’ Justin Lockey and his brother James came together to release their debut album as Minor Victories. Currently in the midst of a run of live shows throughout Europe, the band are pleased to announce their utterly stunning instrumental interpretation of the self-titled record, entitled Orchestral Variations.

What better way to hear the gorgous backdrops and impeccable arrangements behind the brilliant Minor Victories album than by hearing the instrumentals all on their resplendent tod. Soaring strings, beautifully poignant interludes and heart-breakingly serene segues. A fantastic companion piece for those who enjoyed the first, and a truly stunning stand-alone for those who didn’t.

Image of Ty Segall - Ty Segall

Ty SegallOrange Color Queen

Ty Segall has made whole records that wrestle with realities — fighting against some, pulling mightily to bring others into being. Of late, he’s thrown up his hands and donned clown shoes, dancing merrily in the dual role of oppressed/oppressor! His hands aren’t any more or less dirty than anyone else’s — but amidst the thunder and the chaos of the ongoing storm, he’s looking for the eye within.

The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation.

The construction and destruction of his chosen realities has, until now, been a luxury Ty has rightfully reserved for himself, striping overdubs together to form the sound — but for this new album, he entered a studio backed by a full band — Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye — to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall.

“Freedom/Warm Hands” puts the “sweet” back into suite; “Orange Color Queen” is a supreme moment of tenderness; “Talkin’,” a roots-infused truth-attack. “Papers,” looks behind the doors of Ty’s process; “Break A Guitar” is a brutal fun-fest pitched to the back of the house. Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-verité toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies, and LOTS of songs to sing. There’s no concept beyond that; finding the right places to be is a momentary thing. Ty Segall is the sum of his songs — and about getting the free. The free to be!

Another self titled album? Who are these crazy fools? They’re Ty Segall, that’s who and they can do exactly as they wish if they keep churning out rocking classics like these. Much more punky than sludgy, with more in common with early Pixies than their more recent output. Driven, rocking and absolutely essential.


Horse Thief  -Trials and Truths

Two years after their widely feted Bella Union album debut Fear In Bliss, Oklahoma quintet Horse Thief have created another surging, crafted beauty in Trials and Truths. The record’s unified feel still contains many contrasting elements, sounding both panoramic and nuanced, intimate and anthemic and vibrant and contemplative, while frontman Cameron Neal’s lyrics range from the confessional to the metaphorical as he surveys the passing of time. For Trials And Truths, Oklahoma quintet Horse Thief reunited with producer Thom Monahan (Devendra Banhart, Vetiver).

Image of Japandroids - Near To The Wild Heart Of Life

Japandroids – Near To The Wild Heart Of Life

With the release of their second album, Celebration Rock in 2012 the band embarked on what seemed like an endless world tour, performing over 200 shows in over 40 countries, and played their final show in support of Celebration Rock in Buenos Aires, Argentina in November 2013. They would not perform live again for three years. Their third album, Near To The Wild Heart Of Life, was written clandestinely in Vancouver, Toronto, New Orleans, and Mexico City. It was (mostly) recorded at Rain City Recorders in Vancouver, BC (Fall of 2015), with one song, “True Love And A Free Life Of Free Will”, recorded at Golden Ratio in Montreal, QC.

The title, Near To The Wild Heart Of Life, comes from a passage in the novel A Portrait Of The Artist As A Young Man by James Joyce: “He was alone. He was unheeded, happy, and near to the wild heart of life.” Like their prior albums Post-Nothing and Celebration Rock, the album is 8 songs. This is because 8 songs is the standard template for a great rock n roll album. Like Post-Nothing and Celebration Rock, the album was sequenced specifically for the LP. On Near To The Wild Heart Of Life, side A (songs 1-4) and side B (songs 5-7) each follow their own loose narrative. Taken together as one, they form an even looser narrative, with the final song on side B (song 8) acting as an epilogue. If Celebration Rock was the culmination of something, then Near To The Wild Heart Of Life can be considered the beginning of something else.


Arcade Fire  –  The Reflektor Tapes

The Reflektor Tapes is a visually stunning and hypnotic documentary about the making of Arcade Fire’s hugely successful 2013 studio album Reflektor by director Kahlil Joseph . The film received its premiere at the 2015 Toronto International Film Festival. The documentary captures recording sessions, live performances and the band’s time in Haiti, a country with which they have a long-standing relationship. The second disc in the set features Arcade Fire’s full length live concert from Earl’s Court in London on 6th June 2014 during the Reflektor tour, which perfectly complements the documentary.

Image of Cloud Nothings - Life Without Sound

Cloud Nothings are back with ‘Life Without Sound’, the follow up to 2014’s ‘Here And Nowhere Else’, on Wichita Recordings.

Lead singer and guitarist Dylan Baldi maintains simple, admirable standards in quality. “A thing I like to do with all of my records is drive around with them,” the 25-year-old Cloud Nothings front man says. “In high school, I would listen to music for hours like that: just driving through the suburbs of Cleveland. And if it sounds good to me in that context and I can think of high school me listening to it and saying, ‘That’s okay,’ I feel good about the record. This is the one that’s felt best.”

‘Life Without Sound’ is the radiant fourth full length Cloud Nothings have recorded since Baldi began writing and releasing songs on his own under the Cloud Nothings alias in 2008. While its highly acclaimed predecessor, 2014’s ‘Here And Nowhere Else’, came together spontaneously in the little time that touring allowed, ‘Life Without Sound’ took shape under far less frenetic circumstances.

For more than a year, Baldi was able to write these songs and flesh out them out with his bandmates – drummer Jayson Gerycz and bassist TJ Duke – before they finally joined producer John Goodmanson (Sleater Kinney, Death Cab For Cutie) at Sonic Ranch in El Paso, Texas for three weeks in March of 2016. The result is Baldi’s most polished and considered work to date, an album that speaks to his evolving gift with melody while also betraying the sort of perspective that time provides.

Image of Allison Crutchfield - Tourist In This Town

Allison Crutchfield – Tourist in This Town

CD is 4-panel digipak, LP includes full album download. The debut full-length by Allison Crutchfield titled Tourist in This Town sonically pulls back the curtain on her life and places Crutchfield center stage, fully revealing her power, conviction, and grace. The Alabama native has immersed herself in music since her teenage years, forming notable bands such as P.S. Eliot and Bad Banana (both with her twin sister Katie of Waxahatchee). In 2012, she co-founded Swearin’—the band in which she would truly begin to formulate and understand her full potential as a songwriter—and in 2014, she recorded and released her first solo EP Lean In To It. Her debut album is an accomplished work that integrates her past musical experiences with a pronounced growth in arrangement and instrumentation.

Tourist in This Town was made at Uniform Recording in Philadelphia with Jeff Zeigler, who is known for his work with Kurt Vile, Steve Gunn, and Mary Lattimore, among others. His synthesizer collection and related expertise proved an alluring draw for Crutchfield, who had started incorporating synths into her work when she branched off into a solo career. “This record marked a sonic transition in the way I think about the element of space in music, and I attribute that mainly to Jeff,” says Allison. “His arsenal and knowledge of analog synths, along with his ear for spatial addition and subtraction within a song, really sculpted this album and impacted me artistically forever.” “Tourist in This Town is completely made up of heightened anxiety and became a clearly defined puzzle that I slowly put together over the course of a year,” says Crutchfield. “It’s a record about change— change of scenery, of partner, of band, of home, of friends, of outlook—and how that change can cause a temporary panic but ultimate triumph in most of us.”

Arcade Fire recruited Mavis Staples for a bombastic new anthemic track, “I Give You Power.”
Watch Arcade Fire Perform Epic ‘Reflektor’ in the New Live At Earls Court”
A new  Two-disc set compiles 2014 London concert ‘Live at Earl’s Court,’ and the documentary ‘The Reflektor Tapes’
The track finds Arcade Fire putting an industrial spin on the dance-rock sound of their last album, Reflektor, without skimping on the disco gospel.
“It’s never been more important that we stick together & take care of each other,” the group tweeted, adding that all proceeds from the song will go to the ACLU.
The track opens with a bruising bass synth and Win Butler’s soft vocals. Mavis Staples joins soon after and takes control, carrying “I Give You Power” brilliantly with her ageless roar as the song builds into a dance floor rallying cry.

“I Give You Power” marks Arcade Fire’s first piece of new music since 2013’s Reflektor. The group is reportedly at work on a new album, which is tentatively due this spring. As Rolling Stone noted in the 2017 album preview, the band recorded material between summer festival dates in Montreal and Paris with multi-instrumentalist Tim Kingsbury hoping the sessions would “put a little burst of energy back into the process.”
As for Staples, the legendary singer released her 15th studio album, Livin’ on a High Note, last February.