By Tobin Barnes So I’m sitting in my living room, watching my favorite TV music program, “Austin City Limits” on PBS.
It’s my favorite because you never know what you’re going to get. Could be an a cappella South African men’s choir, like “Ladysmith Black Mambazo,” or an alternative rock group, like “The Flaming Lips,” for crying out loud.
Uh huh, it’s a well-shaken grab bag, but the producers usually come up with the best of any and all genres. It’s an education in music, and I usually come away appreciating more creative variations than I did before.
And I’ll admit, I need the education. After all, I’m the guy who admitted just recently that I love the song “Sugar, Sugar.” (“He who is without sin, cast the first stone.”)
My take on music, not being formally trained, is much like the Supreme Court judge’s view on obscenity: I know it when I see it.
For me, I know good music when I hear it. That’s not particularly profound, but most people would say the same thing, even Mozart or maybe Iggy Pop. Of course, good music recognition is also kinda like being a fine wine connoisseur, the more of it you try, the better you get; that is, up to an over-indulged certain point.
Anyway, I’m watching Austin City Limits, and this alternative band, “Arcade Fire,” comes on. Immediately, I’m hooked--I’m talking right out of the box.
They’re style is past, present, and future, all wrapped into one.
And most of all, they’re fresh.
Fresh? Heck, they’re almost intensely different, yet still recognizable, if you know what I mean.
Since the golden age of rock, I’ve been waiting for popular music to morph into some new, positive directions. (Instead, there’s been a ton of mediocre, if not negative, directions—let me count the ways, starting with Gangsta Rap).
I guess what I’ve been waiting for is “Arcade Fire” and their ilk, and hopefully, more kith and kin.
Originating in Montreal, Canada, the band’s creative core is the husband-wife team of Win Butler and Regine Chassagne. Win’s wife has an almost bizarre stage presence, oftentimes mouthing the lyrics her husband sings, like a mute Greek chorus. But then, all band members ecstatically express themselves by bouncing and cavorting around the stage, feeling the emotion of what they’re doing.
This ten-person extravaganza plays everything from a medieval hurdy-gurdy to french horns to xylophone to violins to accordion to a big honking church pipe organ, as well as all the standard, rock-type instruments. Sometimes, band members will even sing through a bullhorn or bang on a football helmet, but almost all play several instruments and sing, sometimes in choir-like way.
Now all this might sound like a great big mess, but hardly so. They’re into new and old sound combinations, and most of them work. Every song has a great melody and/or catchy guitar riff that keeps the listener right there.
Their style has variously been described as alternative rock, indie rock, art rock,
and my favorites, epic rock and baroque pop.
I know for some of you, Arcade Fire is nothing knew—they’ve been around since 2004. But I’d wager most would find this band to be a great new listening experience.
Start out with “Rebellion (Lies)” from their debut album “Funeral.” That’s right, not much moon, June, and spoon with this bunch: They’ve definitely got an edgy point of view, but that’s just another reason for recommendation. And if you like that song, then listen to the rest of the CD.
Unlike most albums today, there isn’t a bad song on it. Most of them are just plain great.
After that, move onto the equally fine “Neon Bible,” released last March.
The band is on hiatus now, but I can’t wait to see what epic, baroque things they come up with next.
(Watch the following two videos to get a better idea of what I'm talking about.)
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