By TJ Ford
Arts Editor
“Reflektor” is all smoke and mirrors with an attempt of a supposedly connected string of eclectic tones that act as a facade of intellect and societal commentary.
Arcade Fire’s new album, “Reflektor,” is an absolute disaster, as it completely diverges from the relatively mild indie rock roots from which the once-renowned band began. Awkward instrumental mash-ups, odd lyrics and vocals and an overuse of synthesizers move the group from its previous place in the 21st century and back into what sounds like the worst of the ‘80s.
Arcade Fire is made up of a variety of members including Win Butler, Régine Chassagne, Richard Reed Parry, William Butler, Tim Kingsbury and Jeremy Gara. Members range in instrument from cello, to glockenspiel, to drums and even the xylophone. The arrangement was initially based in Boston, then diversified over the years to encompass a larger group, which then moved to Montreal, its current home.
Being of the indie rock genre, the group began playing in lofts and art galleries because of its music’s strange, mesmerizing qualities. After a year of private showings, the band released its first self-titled EP, which was wildly successful. Winner of the Grammy’s Album of the Year in 2004, “Funeral” still holds the title for being the only album to have won for a first-released album. Since then, the group has also been nominated for two Grammys, including Best Alternative Music Album for “The Suburbs” and “Neon Bible.”
However, there seems to be a change of pace for the band, as after so many masterful works, Arcade Fire seems to have lost its charm with “Reflektor.” The new album is overflowing with oddly placed instrumentals while multiple songs rely on bongo drums for their beat. It frankly sounds haphazard and utterly confused with the idiosyncratic jungle-vibes that the tribal hand drums give off, heard in the song “Reflektor.” The misplaced drumming in a genre, that should be mainly indie rock completely throws off any creativity intended from the inclusion of new, foreign sounds.
The painstakingly constant use of the synthesizer also hurts “Reflektor.” There is barely any real instrumental inclusion which is a complete change from previous works. Band members in albums like “The Suburbs” would play more than one instrument in a given song, switching halfway throughout. Now, the majority of sounds are pop-like and more cheap electronic than indie rock.
Where authentic playing rarely exists, other than the ridiculous bongo drum riffs, it only lasts for less than 30 seconds. For example, the song “It’s Never Over” starts with classic, irresistible guitar riffs. However, the unlistenable awkwardness pervades, and the song quickly returns to the status quo and horrific synthed-out ‘80s beat.
Not only does the album disappoint in terms of instrumental technicalities but also with substance as a whole. Arcade Fire attempts to pursue pseudo-interesting themes, yet does not fulfill their intent. Songs like “Normal Person” question what average is: “is there anything as strange as a normal person?” Yet, such unoriginal lyrics make the album more superficial in its lack of exploration than actually profound.
A sad digression from Arcade Fire’s usual alternative excellence, “Reflektor” reflects a once noteworthy alternative group’s demise and degression into the abyss of the cacophonous abstract art instead of enjoyable music.
“Reflektor” was released on Oct. 28 and is available in retail and digitally for $11.99.
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