The University of Vermont's Independent Voice Since 1883

The Vermont Cynic

The University of Vermont's Independent Voice Since 1883

The Vermont Cynic

The University of Vermont's Independent Voice Since 1883

The Vermont Cynic

Reflektor’ anything but a reflection

?Yes, the wait is over. Arcade Fire?s long-awaited fourth LP ?Reflektor? is finally in our hands, and this time they?ve given us a lot to hold on to. I?ve decided that it is best to not analyze this album in terms of Arcade Fire?s past discography. For one, I don?t think that it?s fair to the record, which itself deals with themes of superficial imitation. I also don?t think it?s fair to the band, who really seem to see this release as an artistic turning point. That being said, I will mention that if you have ever enjoyed any song that Arcade Fire has produced, you will find at least one song on ?Reflektor? that you positively love. The album spans a range of sounds and genres that can leave you confused and possibly dissatisfied upon first listen. It can be difficult to process the whole thing in one sitting, but it?s a work that will grow on you, given the chance. Trust me, it?s worth it. Sonically, the band is doing a lot here, mixing artificial sounds with organic ones and toying with song structure. The album itself is interestingly structured as well: it?s divided into two discs, each one featuring its own unique aesthetic. In general, a few songs in particular really latched on to me the first go-around. ?Normal Person? is an absolute banger and quintessential rock & roll. Bluesy piano accompanied by understated instrumentals in the verse give way to perfectly timed drops into massive choruses exploding with raw electric guitar. Much of the first disc is similarly energetic, with melodically upbeat songs such as ?You Already Know? and ?Here Comes the Night Time.? ?It?s Never Over (Oh Orpheus)? is another standout, grounded in heavy bass synthesizers and an arresting guitar riff. The song?s lyrics retell the heartbreaking myth of Orpheus and Eurydice, in which Orpheus journeys to the underworld in order to save his wife from her untimely death. Love and death are motifs that appear frequently throughout the second half of the album on tracks such as ?Afterlife? and ?Supersymmetry? as well. The disparities between the first and second halves of the record are best exemplified by the contrast between ?Here Comes the Night Time? on side one and its counterpart, ?Here Comes the Night Time II,? on side two. The former is a bright-sounding dance track driven by Haitian drumbeats and punchy piano. Lyrically, it?s a piece of social commentary. The latter begins with a rumbling drawn out string part, which is joined by the mournful vocals of singer Win Butler. Lyrically, it?s far more introspective. One final thing worth mentioning about this album is that, from here, Arcade Fire is free to go in any musical direction they want. Now that they?ve made this artistic leap, they don?t have to concern themselves with imitating their own past work. Put quite simply, ?Reflektor? is anything but a reflection, and that is why it deserves to stand on its own in the legacy of Arcade Fire.

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Reflektor’ anything but a reflection