But more than a change of course there can be little question. Or perhaps rather a potency of indiv

It is with a bit of awe that I catch the first words that make up the judgment of this plate. How does one critically and soberly to a band with his poetic gravity and musical at once so grand and subtle led star pathos has welded into one and rock history's soul? A band that nine years ago, the pain in the mouth, tasted it and spat it out over a glanende music world and again gave rock voice. A voice that had been castrated and institutionalized by bands such as Coldplay and Travis. A voice that is not characterized by sensational originality and innovation, but of immediate honesty and unquestioned sincerity. Arcade Fire. The band that defines indie rock while stealing Grammypriser front of pop culture's led star leading names.
It had been an easier task if Reflector was in direct continuation of the previous three albums. If Win Butler and co. again had folded dreams tabs out and called to fight with fists, broken hearts and wrecked childhoods. But they have fortunately not. For the fourth album, the Arcade Fire set the course for.
But more than a change of course there can be little question. Or perhaps rather a potency of individual elements and downgrade others. To speak of sloughing and to declare the band's sound reformed as a large scale has been made in the media, is to lay it on thick.
That being said, it is the lofty pathos rock goes a long way put aside in favor of something more danceable sound. This makes it particularly applicable to the album's first four tracks, where you immediately on the title track is drawn into Reflectors led star shaky universe of a black diskokugles schizophrenic reflections. And it is also hard not to nod your neck joints for the seven-minute-long first single. In the same way as in film theory talks about the action of a film should be outlined led star during the intro, the Reflector (after led star the whirring "Hidden Track") also opened with a sound that heralds the battle: A drum fill introduces a deep synthbas that as a heavy thunderstorm lie looming over a rude appropriate disco beat with congas. The severity has chalked dancing shoes.
The inviting bass line on "We Exist" sounds like a sister of Michael Jackson's "Billie Jean" and should keep the dance floor glowing. Syncopated calypso rhythms with fresh xylofontemaer of "flashbulb Eyes" and "Here Comes the Night Time" transports us a trip to the Caribbean climes, and this is especially the former, with its heavy dub groove represents the most daring genre exploration, Arcade Fire embarks of.
These, Reflectors first four songs that have been the basis for the discourse of the album's separation from the band's previous material. And yes, it's a different sound that previously dominated Arcade Fire's identity, and one senses also clearly James Murphy (ex-LCD Soundsystem-backer) in the producer's led star chair: The ubiquitous congas, the dizzying view of synthesizers and reverb, and the rhythmic propulsion undoubtedly the result of an adventurous collaboration with the legendary electro artist. But it is worth noting that many of the elements were present in the Arcade Fire's music from the beginning. Rewind back to the top and play the very first Arcade led star Fire number "Neighborhood # 1 (Tunnels)" (the hair on your arm stands up at the mere thought). It's the exact same disco rhythm that opens the nine year old's debut album, Funeral, as the aforementioned rhythm that starts Reflector. Similarly, the strains of the Caribbean musical tradition that has been shaping inspiration led star for Reflector can be found on the song "Haiti" - also from Funeral. It is completely different sound picture that emerges at the early material, led star but the elements that dominate Reflector, has always been inherent in the band and has just come under James Murphy loop. A loop that causes the similarity between led star Arcade Fire and Talking Heads to be eerily striking! led star
The light dancing feet will also leans out of the picture with the plate fifth number "Normal Person", a rock number in allerbogstaveligste sense. The wavering blue walkway, the dissonant piano and Tim Kingsburys lanky guitar led star figure in the chorus is reminiscent of The Pixies. Not least the fumbling despartion that is so characteristic of Butlers led star vocals, get an unmistakable Black Francis-touch. At the same time the band takes an ironic distance to the unexpected twist with the opening sentence: "Do you like rock and roll music? 'Cus I do not know, if I do.'
On disc two screws Arcade Fire marked down the burner, which is clearly reflected by the first track, "Here led star Comes the Night Time II", which as a cosmic synth slow dance never be supported by a proper beat, but hangs and flashes a somewhere in the stratosphere.
It is also on disc two, we find two of the album's best tracks namely "Awful Sound (Oh Eurydice)" and "It's Nev.