Arcade Fire – Funeral (2004)

Today is the 15th anniversary of the epic Funeral, the debut album of the Canadian band Arcade Fire. What we have here is one of those very rare cases in which a debut album turns out to be an instant classic, an explosion of superlative talent and creativity, a work that can’t be surpassed by their creators.

Initially, this album didn’t had any effect on me and its wide acclaim seemed like a lie. But something happened when I heard it repeatedly, I knew I had been tremendously wrong. There came a point where the songs began to feel deeply moving, and I found an exciting melancholy, a kind of enormous sadness, a feeling of emptiness, loss and helplessness… and precisely those are the themes of the album. And I also found hope, which is vital in each of the themes and becomes something essential and exciting in this album. Funeral is delicate, sensitive, beautiful, and at times brutal. But also full of joy and hope. And that is life itself.

Funeral is a monument to melancholy and the inevitable transition from childhood to adolescence. And above all, it is an ode to death, to the infinite sadness caused by the definitive departure of a relative or loved one. Several people close to the band died around the production of the album (Régine Chassagne’s grandmother died in June 2003, Win and William Butler’s grandfather in February 2004, and Richard Parry’s aunt in April 2004). Therefore, Funeral is impregnated with that deep affliction that involves the loss of a loved one.

David Bowie was a proclaimed fan of Arcade Fire since the beginning of the band. In a 2005 interview with the band, Bowie told the Rolling Stone: “There’s a certain uninhibited passion in the Arcade Fire’s huge, dense recording sound. They meld everything from early Motown, French chanson and Talking Heads through to the Cure in a kaleidoscopic dizzy sort of rush. ”

Musically, Funeral evokes the French-Canadian pluricultural essence of Montreal, Canada (the band’s hometown). The mastery, delicacy and incessant passion of instruments conforms their greatest virtue. All kinds of instrumental resources are included: pianos, violins, accordions, xylophones, synthesizers, double bass and percussion; all of this is used to create an unforgettable atmosphere, loaded with grandeur and peaks of excitement and enthusiasm.

‘Neighborhood # 1 (Tunnels)‘, is the first song on the album, in which we have a snowy atmosphere that evokes a deep nostalgia: a couple of teenagers find themselves looking through their windows, as they plan to meet in the center of the city, through tunnels that connect their rooms. While the parents of one of them deal with a tragedy in the room next door, the young man escapes to meet his girlfriend in the center of the city, where they both make childish plans: to marry, let their hair grow, forget who they are, forget all they know, have children and give them strange names, and wonder what happened to their parents. A beautiful organ and piano rises gigantically with a distorted guitar, we have beautiful poetry inside the lyrics, with verses such as:

“You change all the lead,
Sleepin ‘in my head to gold…
Purify the colors,
Purify my mind.
And spread the ashes of the colors,
Over this heart of mine!”

This tremendous opening is already a warning that we are facing a memorable record, with a first approach to death in our lives, which contrasts with the idealized world we imagine inside our heads, and the confusing effect of the first true love.

Then comes ‘Neighborhood # 2 (Laïka)‘, which is a song focused on rock, with an orchestral contrast of sounds. The drums and guitars are in charge of giving a fierce atmosphere, but the accordion gives the nostalgic vibe. The meaning of the song is totally ambiguous. It can be interpreted as a metaphor to the current alienation of our technological era. Win Butler said that the song is about Laika, which was the first dog that went to space. The song itself is dramatic and also ends with an impressive crescendo, even more imperceptible than the one experienced in the first song.

The next one is ‘Une Année Sans Lumière‘. A song based on a beautiful arpeggio that floats throughout the song, beginning in major harmonics and ending in minor ones. The song paints a portrait of Montreal in English and French: describing its street lamps and streets. Also the title, ‘A Year Without Light‘ implies that a year has passed since death, but the presence is still haunting: “Hey, your old man should know, if you see a shadow, there’s something there.”

The next song, ‘Neighborhood # 3 (Power Out)‘ is very rushed and anxious, it has beat pop, a guitar with devastating effects, and a fluid and deep bass, accompanied by a delicate marimba. We have a lyrical ambivalence, based on the 1998 snowstorm that hit Montreal. From the outset, Win tells us that our parents have died: “Ice has covered up my parents hands”, and the song also focuses on the absolute loss of hope: “don’t have any dreams, don’t have any plans”, and the rage growing without knowing a specific reason: “went out into the night, I went out to pick a fight with anyone… ”

We continue with the song ‘Neighborhood # 4 (7 Kettles)‘, which has a very beautiful arpeggio that is repeated throughout the song. We have a section of screeching strings. A beautiful song, almost a gospel, with an industrial beat in the background. Lyrically it is one of the most ambiguous. Time has passed, the old ones have died, new children have been born in the neighborhood.

The following ‘Crown Of Love‘ is one of the most outstanding songs. A ballad, based on a piano, that explodes in a choir full of melodramatic violins. The song is an ode to the fault of love, to that feeling of not being able to correspond to that person, of being in debt to someone who is no longer here: “If you still want me, please forgive me, the crown of love is not upon me.” In the middle, the song begins to gain great tension to culminate with an absolutely cathartic end.

Next, we got ‘Wake Up‘, which is a memorable song, with a rough riff, accompanied by impressive choirs by Régine. Large string arrangements collide with dirty guitars. Win Butler says: “Somethin ‘filled up, my heart with nothin’, someone told me not to cry,” and it seems that he is about to cry. The lyrics narrate how the magic of childhood is lost, and at times Win goes to the edge of hysteria. Finally, the song culminates with an harp arrangement loaded with joy. This is delicacy fused with a gigantic power.

‘Haiti‘ follows the first song where Régine Chassagne carries the lead vocals, and in a great way. The song is much lighter, with an acoustic guitar, adorned by lovely keyboards. Régine evokes the land where his parents were born, also combining lines in English and French and making a crude, violent and desolate view of the island.

‘Haiti‘ is linked to the magnificent song ‘Rebellion (Lies)‘. In this one, the sounds are cleaned, and a simple but powerful bass line begins, the opening reminds me of Peter Hook’s bass. A beautiful piano is added and then we suddenly have distorted violins and guitars. The song is growing monumentally, and suddenly Win is singing “Every time you close your eyes” with the rest of the group responding in falsetto “Lies, lies“. The lyrics are an allegory of the dreams and death, and of the way we intend to cover the reality of death to our children. It can also be interpreted as a revelation against the act of sleeping, emphasizing on the productive time we lose while we sleep: “Sleeping is giving in, No matter what the time is.” This is a tremendous song, and a clear example of the compositional intelligence of the band.

The album closes with ‘In the Backseat‘, where Régine shows us her voice at its best. The piano is sad and ethereal, but at the same time full of hope. Then comes the change, along with the powerful guitars, she reveals to us: “Alice died, in the night, I’ve been learning to drive, My whole life, I’ve been learn, Ohhh“, a thunderous burst finally closes. After a sonic orgasm, the rhythm goes down, little by little, the violins remain and then we go into absolute silence, a heart disintegrates and disappears, Funeral is over.

Funeral deals with the issue of death without falling into depressing atmospheres, it is surprising how sadness is always accompanied by incredible moments of hope, each one of those moments go through denial and confusion. Through 10 extremely exciting songs, your heart will pump blood continuously and incessantly. And in the end you will feel a warm hug from a loved one who is no longer there, a smile will come out from your face and you will feel happy to be alive.

by Octavio Carbajal González