Many rock and roll bands pride themselves on a punchy rhythm section. Those Montreal-based, world-renowned rockers, Arcade Fire, true to their Surrealist captivation, take percussive fire to startling dimensions! Their numerous pistons, deftly digitalized, do not simply get your toes tapping but transport the listener’s whole body into a dynamic thrust such that the subsequent incidents (vocal and instrumental) play out as enacting a saga of proceeding, no longer part of the normal, mainstream, rational world. (The comprehension may be incisive for some and quite dull for others.)
Having just seen them on the home stretch of their tour relating to their recording project called, REFLEKTOR, we’re buzzing with ideas they set free in that concert.
How about starting with the moments when some of the band members (part of an extraordinarily extensive complement to the six-piece principals) don paper mâché heads to accentuate a swirl between ponderous matter and prodigious dynamics?
How about our bumping into fans (long before showtime getting ready to blend with that endeavor?
The motif of reflection (interplay in its extreme difficulty) embedded in the term REFLEKTOR can be engaged by this video for the title song. The scenario here pays homage to the quasi-Surrealist film, The Wages of Fear (1953) by Henri-Georges Clouzot ; and also the video, “Beside You,” by Mark Romanek, for Iggy Pop. https://www.youtube.com/watch?
Arresting aspects of the lyrics: “If this is heaven/I don’t know what it’s for…/ I thought I found a way to enter/ It’s just a Reflektor (It’s just a Reflektor)/I thought I found the connector/ It’s just a Reflektor(It’s just a Reflektor)/If this is heaven/I need something more/Just a place to be alone/Because you’re my home…”
The director of this video, Anton Corbijn, is also the director of the current film, A Most Wanted Man, the blog for which goes live tomorrow, Wednesday, September 3, 2014 at http://wondersinthedark.
Solitude and confluence—a delicate balance, excitingly celebrated by this plunge, taking so many ardent fans with it.
Audience participation going way beyond waving around precious little lighters.
The Toronto concert also brought to bear their first project, FUNERAL (2004). Here is their (so aptly termed for a slippery slope) “Rebellion (Lies).”
Doctor Atomic; Nick Heavican; 72” x 42 ¾”; A,P
One of our vintage graphics that links to reflections and funerals. Here it’s about an unequivocal avant-gardist, composer, John Adams. But the work of Arcade Fire is no less avant-garde than projects located in more august precincts.