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Will Butler of Arcade Fire has a new record out. Anyone hear it? (1 Viewer)

The whole "now it's cool to..." meme is so ####### ridiculous. It's a non-starter.

Radiohead actually had the aid of MTV when MTV still played videos and kids watched it. The Creep video was huge and then the Paranoid Android vid made waves. The way I see it, Arcade Fire is essentially the first mega-success story of the Pitchfork age. All the critical praise got them the Grammy and then they were off. Overnight they were a household name.

 
It's definitely an album that gets better the more you listen to it, but this is assuming you at least liked it a little bit on the first listen. If you truly think it's awful on the first listen, I don't think any number of listens is going to change your opinion.
100% true

 
It's definitely an album that gets better the more you listen to it, but this is assuming you at least liked it a little bit on the first listen. If you truly think it's awful on the first listen, I don't think any number of listens is going to change your opinion.
100% true
I wish it was 100% true as opposed to one fan's opinion, which is all that really is, of course. I kinda liked the album from the first listen, and after listening to it many times since then, I still just kinda like it. It hasn't gotten any better, it's not some deep, layered thing that requires hundreds of listens to truly understand. To me, it's a mediocre album - a few really good tracks, a few complete throwaways, and a bunch of meh in between. Easily their worst album IMO. That doesn't mean I'm hating on Arcade Fire to be cool or anything stupid like that. I love Arcade Fire, and I think this was mostly a letdown of an album. :shrug:

 
It's definitely an album that gets better the more you listen to it, but this is assuming you at least liked it a little bit on the first listen. If you truly think it's awful on the first listen, I don't think any number of listens is going to change your opinion.
100% true
edit 100% true for me...

I think the album is very cool, I took both cds and it fit on one disc for me, not sure why they went with the 2 discs..

I think its better played very loud!

 
Arcade Fire's popularity is pretty staggering when you consider they achieved it without the aid of any real hit singles. They are like Radiohead now in that their albums sell a ton despite no success on the pop charts.
Not really staggering. It's basically true of all indie bands that have #1 records. They all sell between 100-150K, and none ever make a dent on the singles chart.

Pitchfork did an article on it.

First-week sales of 140,000 were enough to give Arcade Fire a No. 1 album, as Reflektor takes the penthouse on the Billboard 200 album chart.

If you’re a regular chart-watcher, that sales number might look vaguely familiar. That’s because a number in the low six figures with a "1" in front of it is basically the benchmark first-week sales figure for any big-name indie band with a limited radio profile.

Let’s call it the Vampire Weekend number. I bring up Ezra Koenig’s merry band, because Vampire Weekend have scored two straight No. 1 albums—their second and third discs, 2010’s Contra and 2013’s Modern Vampires of the City—with very similar first-week sales figures: 124,000 and 134,000, respectively.

Win Butler, Régine Chassagne & co. appear to be on the same recording-and-release schedule as VW. Arcade Fire have now also scored two consecutive No. 1 albums in the same two years: 2010’s The Suburbs and 2013’s Reflektor. And again, the first-week sales numbers of the two chart-topping discs fell within about 10K–20K copies of each other: 156,000 and 140,000.

That 100K-plus number persists across other indie-ish artists that have landed No. 1 albums in Billboard over roughly the last half-decade: Modest Mouse’s We Were Dead Before the Ship Even Sank (March 2007, 129,000), Radiohead’s In Rainbows (January 2008, 122,000), Death Cab for Cutie’s Narrow Stairs (May 2008, 144,000) and Jack White’s Blunderbuss (April 2012, 138,000—the first No. 1 album of his career, believe it or not; the White Stripes never reached the summit). The Decemberists scored a slight outlier in February 2010 with The King Is Dead, which managed to top the chart during a slow sales week with 94,000 copies—but that number’s near enough to 100K to resemble the VW number.

But what do all seven of these acts—Arcade Fire, Vampire Weekend, Modest Mouse, Radiohead, Death Cab, White and the Decemberists—have in common? With a couple of exceptions, they have near-nonexistent Hot 100 presence.

VW and Decemberists have made no Hot 100 appearances at all (four of VW’s songs have "bubbled under" the chart). Arcade Fire, Death Cab and Modest Mouse have had no song peak higher than No. 60. Radiohead and White, relative elder statesmen among these acts, have scored a Top 40 hit apiece, but each was short-lived and long ago ("Creep", No. 34 in 1993, and "Icky Thump" with the White Stripes, No. 27 in 2007; a second Radiohead Top 40 hit, "Nude" in 2008, was a fluke, spending a single week in the Top 40 due to an iTunes promotion). To be sure, several of these acts have performed well on the Modern Rock/Alternative chart—No. 1s for Modest Mouse and Death Cab, plus White with his former bands—but alt-rock radio success alone doesn’t generate No. 1 albums. And anyway Arcade Fire, Vampire Weekend and the Decemberists have all performed modestly on the Alternative chart, with nary a Top 10 hit among them.

Hit singles matter, because the minute a "hip" band scores a serious radio hit, their album sales generally multiply. Look at Daft Punk (scientists would call them our control group). Earlier this year, Random Access Memories sold an exceptional 339,000 copies in a week—one of the best sales weeks by any act this year. Sure, the duo was coming back as conquering, EDM-pioneering heroes after a long hiatus. But they’d never sold more than 71,000 copies in a week for 2010’s Tron soundtrack; their prior studio album, 2005’s Human After All, had sold 125,000 total.

Clearly, Daft Punk’s X-factor on RAM was the chart-conquering performance of "Get Lucky"—their first (and, to date, only) Top 40 hit. It’s safe to assume the radio-blanketing performance of the Pharrell-produced "Lucky", which reached No. 2 on the Hot 100 in June, accounts for at least half of Random’s first-week sales number. In fact, given the stark contrast to all their indie-friendly brethren and their 100K–150K starter weeks, it’s pretty safe to assume that the hit single nearly tripled the sales DP could otherwise have expected.

I mentioned a minute ago that Arcade Fire have never reached the top half of the Hot 100. Actually, their pop-chart record is even worse than that: Prior to this fall, they’d scored no Hot 100 hits at all. In late September, the week of their most recent "Saturday Night Live" appearance, "Reflektor" spent a single week on the big chart at No. 99.

We can either regard that meager performance as typical of a band with AF’s profile, or we can consider it their pop coming-out party. The most interesting tidbit in Billboard’s article announcing AF’s No. 1 album this week wasn’t their sales figure, it was this:

"Reflektor is distributed by Universal Music Group, the band's first album with major distribution…Another change in the world of Arcade Fire is that it has a new partner in Capitol Records, which is promoting the album to radio. (The band is still with its longtime label Merge Records…)"

Major distribution? Radio promotion?! These are uncharted waters for Arcade Fire, and virtually any band on Merge. The band is having its cred and eating it too: Remaining on its indie home while simultaneously straddling mega-conglomerate Universal and decades-old label Capitol.

Despite its James Murphy–generated dance beats, Reflektor remains a quirky album, with few obvious radio candidates. But if Capitol can get Arcade Fire even a medium-size pop hit, it’ll be interesting to see whether, by Album #5, the band will break out of that Vampire Weekend box.
 
I think Afterlife is the best shot at Arcade Fire scoring a hit single off of this record. It reminds me of a song that would end one of those teen, coming of age movies on which probably means it would be popular with all ages. It's Never Over is the best tune IMO but it's a bit long for radio in it's current form. Ironically, if Funeral was their fourth record and not their first, it would be loaded with hit singles. I hope they stay small for a while longer so I can keep getting GA pit tickets to the shows. Trying for Brooklyn in 15 minutes. Try code word afterlife.

 
It's odd that they're trying to push this album on the radio, given the fairly unwieldly playing times and that it's a departure from what they traditionally do.

Is there anyone who listens to alternative/modern rock radio that isn't going to be aware that they have a new album coming out? Seems peculiar.

 
Dreadful album... How does the bottom fall out like this with relatively no significant changes?
Because in the past they've had a pretty certain vision and an idea of what they were doing, and with this album they're trying to be a lot of things that they just aren't. Or are not good at. That's the long and short of it.
Totally disagree. This album is money. It is now cool to hate arcade fire.
Is it possible that someone might just think it stinks, regardless of whether it's cool to hate them or not? I don't even know how one would find that out.
Enjoyed a number of their previous songs, but man this new ablum is just terrible. Personally, I dont have the time or desire to "hate" a band/musician...

 
[SIZE=medium]I think it’s entirely possible to just hate the album without thinking that’s the “cool thing.” What I don’t understand is people suggesting that the band suddenly got weird and pretentious. You used to enjoy a wild eyed Quebecois girl wailing while dudes were beating on motorcycle helmets. Weird and pretentious has always been in the mix. They’ve just gone in a weird and pretentious direction you don’t enjoy as much.[/SIZE]

 
[SIZE=medium]I think it’s entirely possible to just hate the album without thinking that’s the “cool thing.” What I don’t understand is people suggesting that the band suddenly got weird and pretentious. You used to enjoy a wild eyed Quebecois girl wailing while dudes were beating on motorcycle helmets. Weird and pretentious has always been in the mix. They’ve just gone in a weird and pretentious direction you don’t enjoy as much.[/SIZE]
Does the dress code thing (the band's now issued a statement saying that it's NOT mandatory, although that was somewhat obvious) count as weird and pretentious? I found that and the Brooklyn stunt to be off-putting, I don't mind the weirdo girl pretending she's stuck in a glass box.

 
[SIZE=medium]I think it’s entirely possible to just hate the album without thinking that’s the “cool thing.” What I don’t understand is people suggesting that the band suddenly got weird and pretentious. You used to enjoy a wild eyed Quebecois girl wailing while dudes were beating on motorcycle helmets. Weird and pretentious has always been in the mix. They’ve just gone in a weird and pretentious direction you don’t enjoy as much.[/SIZE]
Does the dress code thing (the band's now issued a statement saying that it's NOT mandatory, although that was somewhat obvious) count as weird and pretentious? I found that and the Brooklyn stunt to be off-putting, I don't mind the weirdo girl pretending she's stuck in a glass box.
Of course it counts as weird and pretentious. Nobody's claiming they stopped being weird and pretentious.

While I don't hate Reflektor, I'm not someone who thinks it gets better with repeat listens or with close attention to the lyrics. I think the lyrics are pretty trite. Here Comes the Night Time is a particular offender

 
The song Here Comes the Night Time is about how when the sun goes down in Hati it's another world. They are still a mess from the earthquake and most people hide in their houses all night as there is little to no power. But there are some people who get dressed in their Sundays best and go out to party and dance. I read an article about it somewhere and was impressed by that depth. That song is great live.

 
Ramsay Hunt Experience said:
Good Posting Judge said:
Ramsay Hunt Experience said:
[SIZE=medium]I think it’s entirely possible to just hate the album without thinking that’s the “cool thing.” What I don’t understand is people suggesting that the band suddenly got weird and pretentious. You used to enjoy a wild eyed Quebecois girl wailing while dudes were beating on motorcycle helmets. Weird and pretentious has always been in the mix. They’ve just gone in a weird and pretentious direction you don’t enjoy as much.[/SIZE]
Does the dress code thing (the band's now issued a statement saying that it's NOT mandatory, although that was somewhat obvious) count as weird and pretentious? I found that and the Brooklyn stunt to be off-putting, I don't mind the weirdo girl pretending she's stuck in a glass box.
Of course it counts as weird and pretentious. Nobody's claiming they stopped being weird and pretentious.

While I don't hate Reflektor, I'm not someone who thinks it gets better with repeat listens or with close attention to the lyrics. I think the lyrics are pretty trite. Here Comes the Night Time is a particular offender
From everything I've read about them I'll classify them as '####s' rather than 'weird and pretentious'.

 
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PIK95 said:
The song Here Comes the Night Time is about how when the sun goes down in Hati it's another world. They are still a mess from the earthquake and most people hide in their houses all night as there is little to no power. But there are some people who get dressed in their Sundays best and go out to party and dance. I read an article about it somewhere and was impressed by that depth. That song is great live.
Wait, what?

Most of the song concerns itself with Haiti and the Christian missionaries that go there to do work, and the belief by Christians that they're going to Heaven, and the Haitians (also Christians, presumably) are not. "It's behind the gate, they won't let you in." The main point of the song (and I think Win has said this in interviews) is that Haitians are closer to God and understand him better, due to how they've handled the numerous tragedies in their country.

All of this, of course, is painting with an extremely broad brush. If the same concept was in the hands of a modern country singer, and he sang about how immigrants to this country try to hold a monopoly on Heaven, yet it's the Americans who really understand God, the backlash would potentially be career-destroying.

He's also critical of Christians who don't come out at night and "lock the door" when they hear the music, but to be fair, HAITI IS A REALLY FUCKING DANGEROUS PLACE. I've known Haitians who were afraid to go back to Haiti. Regardless of what beliefs a Christian missionary holds, of God or of Haitians or whatever, they should be commended for going over there if they're going to help. Period, full stop. And AF has raised a lot of money for Haiti and that's awesome, but this song just seems oversimplified and a bit prejudicial.

I'm a non-believer, fwiw.

 
Hollowood show is on Palladia now. Reflektor and Afterlife already played. Flashbulb eyes also.

 
Finally gave it a serious listen. There's a lot going on with this album. Most of the songs are complex and dense. Shtick aside, it's actually pretty good. The title track is still pretty bad, though. "It's Never Over (Hey Orpheus)" is also worthy of scorn.

7.5/10 would bang.

 
My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.

 
My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.
Are you going to the Toronto show Thursday?

 
My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.
Are you going to the Toronto show Thursday?
No....I wish. If it was a weekend maybe, but no way I can make it up there for a midweek show this time of year. Sucks. You going?

 
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My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.
I agree actually.

 
PIK95 said:
My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.
I agree actually.
Oh sure, now you come around.

 
PIK95 said:
My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.
I agree actually.
Oh sure, now you come around.
I love It's Never Over (Hey Orpheus), but I did say it was way too long right from the start. It could be a huge hit if it was shorter. I also find myself skipping around the record like Tasker now but I still like it a lot. The live show in Mn. this week was pretty great. It was broadcast live and it is now floating around in the usual places. It definitely was the best they have sounded since they got touring again. The Sprawl II was the best I have heard possibly ever and Controversy>Here Comes the Night Time was top shelf. Will and Richard had the vocals on Controversy and they pulled it off well imo.

 
My main problem, if you can call it that, with this album after 5 months is that about half the songs need to be 2-3 minutes shorter. I like an occasional extended musical outro. But I don't need one on every song. I find myself skipping songs or skipping ahead and not finishing songs on this one much more than I do the other 3.
Are you going to the Toronto show Thursday?
No....I wish. If it was a weekend maybe, but no way I can make it up there for a midweek show this time of year. Sucks. You going?
Yes, looking forward to it because they're so good live, but I still don't love the new album.

 
Great, great show last night. Did nothing to change my opinion of the new album, but just such a great concert. The sets sure have taken a step up since last time I saw them. Seems they're basically ignoring the existence of Neon Bible which is too bad, there's some damn good songs on there. We were less than 50 feet from the B-stage in the 100 level seats at the end, so whenever they appeared on it was an added bonus.

They covered "Young Lions" by the Constantines, which I thought was pretty damn awesome but was lost on most people around me.

Seems like they're playing the same setlist almost every night, I deliberately didn't look in advance, but so glad they haven't cut any of Tunnels/Rebellion/Power Out/Wake Up.

"Rococo" is better than anything on Reflektor... and it's only the 5th or 6th best song on The Suburbs.

 
Great, great show last night. Did nothing to change my opinion of the new album, but just such a great concert. The sets sure have taken a step up since last time I saw them. Seems they're basically ignoring the existence of Neon Bible which is too bad, there's some damn good songs on there. We were less than 50 feet from the B-stage in the 100 level seats at the end, so whenever they appeared on it was an added bonus.

They covered "Young Lions" by the Constantines, which I thought was pretty damn awesome but was lost on most people around me.

Seems like they're playing the same setlist almost every night, I deliberately didn't look in advance, but so glad they haven't cut any of Tunnels/Rebellion/Power Out/Wake Up.

"Rococo" is better than anything on Reflektor... and it's only the 5th or 6th best song on The Suburbs.
They're still playing "No Cars Go" and "Keep the Car Running" right?

Tomorrow night in Austin... :excited:

 
Great, great show last night. Did nothing to change my opinion of the new album, but just such a great concert. The sets sure have taken a step up since last time I saw them. Seems they're basically ignoring the existence of Neon Bible which is too bad, there's some damn good songs on there. We were less than 50 feet from the B-stage in the 100 level seats at the end, so whenever they appeared on it was an added bonus.

They covered "Young Lions" by the Constantines, which I thought was pretty damn awesome but was lost on most people around me.

Seems like they're playing the same setlist almost every night, I deliberately didn't look in advance, but so glad they haven't cut any of Tunnels/Rebellion/Power Out/Wake Up.

"Rococo" is better than anything on Reflektor... and it's only the 5th or 6th best song on The Suburbs.
They're still playing "No Cars Go" and "Keep the Car Running" right?Tomorrow night in Austin... :excited:
They played No Cars Go but it's been around long before Neon Bible. We didn't get KTCR, just part of My Body is a Cage.

 
Northern Voice said:
Great, great show last night. Did nothing to change my opinion of the new album, but just such a great concert. The sets sure have taken a step up since last time I saw them. Seems they're basically ignoring the existence of Neon Bible which is too bad, there's some damn good songs on there. We were less than 50 feet from the B-stage in the 100 level seats at the end, so whenever they appeared on it was an added bonus.

They covered "Young Lions" by the Constantines, which I thought was pretty damn awesome but was lost on most people around me.

Seems like they're playing the same setlist almost every night, I deliberately didn't look in advance, but so glad they haven't cut any of Tunnels/Rebellion/Power Out/Wake Up.

"Rococo" is better than anything on Reflektor... and it's only the 5th or 6th best song on The Suburbs.
They're still playing "No Cars Go" and "Keep the Car Running" right?Tomorrow night in Austin... :excited:
They played No Cars Go but it's been around long before Neon Bible. We didn't get KTCR, just part of My Body is a Cage.
:mellow:

 
Anyone know when the band has been taking the stage on recent shows? Have tickets tonight at Barclays and would rather drink outside the arena then watch the opening acts.

 
Anyone know when the band has been taking the stage on recent shows? Have tickets tonight at Barclays and would rather drink outside the arena then watch the opening acts.
If you're on twitter, check them out there. They usually post what time each act is going on, on the day of the show. At least they were a while back.

 
Anyone know when the band has been taking the stage on recent shows? Have tickets tonight at Barclays and would rather drink outside the arena then watch the opening acts.
If you're on twitter, check them out there. They usually post what time each act is going on, on the day of the show. At least they were a while back.
My office system doesn't allow me to access Twitter and was planning to go to the bar immediately after work so no luck on that front.

 
Will Butler has a new record out. Someone tweeted today to please not illegally down load it. If you are a new artist, would you want the money from a few or more people hearing it. Obviously both but if you had to choose?

 

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