Arcade Fire- Everything Now
by Jessica Cardona
When the Montreal-based indie rock band Arcade Fire announced the upcoming release of their fifth album, Everything Now, fans and critics speculated about the overall sound and theme of the new release. Would the group continue the hypnotic and electronic aesthetic that defined the sound of their fourth album Reflektor? Would they continue their tradition of criticizing aspects of society in each album? This speculation, along with the unusual methods that were used to promote the album, created a quickly expanding bubble of excited anticipation in the music world. However, that excitement ended swiftly after people actually listened to the album.
Compared to Arcade Fire’s past releases, Everything Now is disappointing. The upbeat dance songs that make up most of the album are ruined by the blunt and cringey lyrics. The most egregious example of this awkward wordplay is the fourth track, titled “Creature Comfort”. In the song, the band names consumerism as one of the main causes of suicide and body dysmorphia. The song goes even further by claiming that the band’s first album, Funeral, prevented a woman from committing suicide. With the right lyrics (and without the shameless self-insert), this sensitive issue could possibly be respectfully addressed without any major controversy. However, the song comes off as a romantic ode to suicide and the subsequent “fame” that springs forth from it.
Despite the terrible wordplay, the high production value deserves some credit. The lush, multilayered instrumentals of the the album are impressive. The tranquil song “We Don’t Deserve Love” is probably the best song on the album due to the impeccable sound mixing. The producers and the band also made an ambitious decision to explore different genres of music. Daft Punk member Thomas Bangalter co-produced the album, and his electronic influence can definitely be heard in songs like “Electric Blue”. Other genres, from reggae to punk to country, are also noticeable in other songs. Unfortunately, the genre-hopping makes the record sound inconsistent, and contributes to the overall messiness of the album.
Everything Now is a non-essential album in the discography of Arcade Fire. Individuals who have never listened to any of the band’s work shouldn’t bother listening to this, and fans of the band should approach this album with caution. Listeners would be much better off by revisiting the band’s first album, a genre-defining classic that is more likely to be remembered and cherished than Everything Now.
by Jessica Cardona
When the Montreal-based indie rock band Arcade Fire announced the upcoming release of their fifth album, Everything Now, fans and critics speculated about the overall sound and theme of the new release. Would the group continue the hypnotic and electronic aesthetic that defined the sound of their fourth album Reflektor? Would they continue their tradition of criticizing aspects of society in each album? This speculation, along with the unusual methods that were used to promote the album, created a quickly expanding bubble of excited anticipation in the music world. However, that excitement ended swiftly after people actually listened to the album.
Compared to Arcade Fire’s past releases, Everything Now is disappointing. The upbeat dance songs that make up most of the album are ruined by the blunt and cringey lyrics. The most egregious example of this awkward wordplay is the fourth track, titled “Creature Comfort”. In the song, the band names consumerism as one of the main causes of suicide and body dysmorphia. The song goes even further by claiming that the band’s first album, Funeral, prevented a woman from committing suicide. With the right lyrics (and without the shameless self-insert), this sensitive issue could possibly be respectfully addressed without any major controversy. However, the song comes off as a romantic ode to suicide and the subsequent “fame” that springs forth from it.
Despite the terrible wordplay, the high production value deserves some credit. The lush, multilayered instrumentals of the the album are impressive. The tranquil song “We Don’t Deserve Love” is probably the best song on the album due to the impeccable sound mixing. The producers and the band also made an ambitious decision to explore different genres of music. Daft Punk member Thomas Bangalter co-produced the album, and his electronic influence can definitely be heard in songs like “Electric Blue”. Other genres, from reggae to punk to country, are also noticeable in other songs. Unfortunately, the genre-hopping makes the record sound inconsistent, and contributes to the overall messiness of the album.
Everything Now is a non-essential album in the discography of Arcade Fire. Individuals who have never listened to any of the band’s work shouldn’t bother listening to this, and fans of the band should approach this album with caution. Listeners would be much better off by revisiting the band’s first album, a genre-defining classic that is more likely to be remembered and cherished than Everything Now.