Opening with the bouncy and somewhat divergent title track from the ominous and triumphant sound of Arcade Fire The Suburbs is undoubtedly a grower album. It took many individuals a short while to really start to love Neon Bible, and the newest album from the Canadian rockers is sure to have a similar grace period without the same soaring final opinion.
Containing slightly less complicated musical arrangements, upbeat drum lines have been vastly replaced by walking beats, big organ blasts have been dulled down, and the signature wailings of lead singer Win Butler have given way to a more moody and less energetic performance. The album’s content revolves around growing up in a Houston suburb and is designed to be a letter from that time period and environment. In this aspect, the album captures the tone perfectly. The Suburbs perfectly communicates the mundane and slightly emotionally scarring experience of growing up in the burbs, but this doesn’t translate to anything particularly moving.
By the third track titled “Modern Man” it will become clear that the album is attempting to convey a message of being bound by socialization and failing to venture outside of the prescribed way of life. The following “Rococo” speaks of modern kids building it up to burn it back down, blowing the ashes around, using great big words they don’t understand, and so fourth. The content reflects someone who has in fact busted ou and fortified themselves with what the world has to offer, but somehow is limited in its message and delivery.
Mainly a tale of suburban boredom, the album itself is lackluster. Butler seems to be disconcerted with the hip kids who are probably the ones buying (or downloading) his music. Biting and downright contemptuous at times, the art student quirkiness of the Arcade Fire has almost turned to bitterness. Although not a complete downer, Chassagne’s voice does a great job of elevating the mood and some may say even balancing it out at times. A dirge followed by a burst of energy is a great way to craft a dynamic album, but the dreariness all but outweighs the bright spots of the youthful “Empty Room”, the haunting Half Light I and “Sprawl II”, quite possibly the best song on the album.
The Suburbs is not without its charm. Offering an in-depth look at a large part of North American society, the album does have something to say, but it’s something that many individuals would only want to hear once. The album was designed to be a hybrid of grunge and new wave, which is clearly reflected, but the blend might require a more youthful sound in order to properly be achieved. Saying The Suburbs is a bad album wouldn’t be an accurate assessment, but it absolutely lacks the vigor and beauty that Arcade Fire fans are used to.
Definitely worth a listen and an album that might grow on you (or me for that matter), but there is without a doubt an adjustment period that some Arcade Fire fans simply won’t have the patience for.
