Contact Us

Use the form on the right to reach the DJ Booth


123 Street Avenue, City Town, 99999

(123) 555-6789


You can set your address, phone number, email and site description in the settings tab.
Link to read me page with more information.


Album Reviews

Arcade Fire: Everything Now

Hannah Morrison

By Luke Hunter James-Erickson

The new Arcade Fire record has a lingering bad taste to it.  Your mileage may vary, and at this point any hesitancy to approach a new Arcade Fire album could easily feel warranted, but their effect on the music landscape, both popular and independent, is undeniable.  Come with me as I make sweeping generalizations about their body of work in an attempt to understand how we ended up with an album like Everything Now (2007).

Arcade Fire has always been a band that made records with a certain directionality about them, a looking back, a looking around, or a looking forward, and a critique of what they saw.  Funeral (2004) looked longingly back at childhood, examining and reexamining situations remembered fondly, finding faults and fissures in their framework, but ultimately holding these memories up, reverentially, as formative and necessary to the development of modern young adults.  This is explored through lyrical conflations of fantasy and reality, swimming in winding compositions filled with traditional and classical instrumentation.  It’s a record, whose motifs were explored in the preceding Arcade Fire (2003) EP, that turns inward on the self, and tends to the roots buried in the soil of years.

Neon Bible (2007) turns this lens around, pointing these newfound tools of examination towards the world at large.  Expanding their instrumentalization 3 fold (if not more) in some songs, they came at the 2nd-term-G.W.Bush America and pulled back their field of vision to ask where we were at, how had we gotten there, and where were we going.  The album’s thesis statement, “Intervention,” embodies the hopelessness felt by many when GWB got his second term.  I mean, it doesn’t get much more bleak than the lyric “every spark of friendship and love will die without a home”.  But the album isn’t a dirge, it’s, as one might have already surmised, an intervention.  It was intended to be a (black) mirror at society, asking of their listeners the same introspection the band explored in Funeral (and possibly they asked this of the world at large?  Is rock and roll big enough to do that anymore?  I submit that it’s not, but good on them for giving it a shot).

Yes, 2010’s The Suburbs is a rehash of Funeral’s motifs but with fewer accordions and more synths.  That said, even though it has few stand out, actually-memorable songs, it’s still an album that points at something and attempts, with their Neon Bible level naivety (bless em), to examine it, and say something about it.  I wish I could say there’s a trajectory with the record, but the whole of the album’s lyrics can be summed up with the last few lines of “Sprawl I (Flatland)”, “Well, where do you kids live?” Well, sir, if you only knew what the answer’s worth”.  This is a real, visceral, cutting examination of growing up in middle class America in the 80’s/90’s. Other than the call to look forward and imagine possibilities in what is still probably the best track of the decade, “Sprawl II (Mountains Beyond Mountains)”, a track that acts is the hopeful ray of sunshine in this otherwise bleak rehash, The Suburbs sort of puts the car in neutral and keeps it running, never going anywhere.  Nevertheless, The Suburbs is an attempt at examination (you may be seeing a pattern here), and is still a pretty fine album to listen to while you’re listening to it. 

Reflektor (2013) looks to the future.  I say this not just because of the James Murphy-assisted production, the abundance of synthesizers and dancy tracks, and the fact that the track “Supersymmetry” was used in the movie Her (2013), but because of how the lyrics examine life and its inevitable end.  Not to get too much into it and delay the actual review portion of this review much further, the lyrics look forward in a refreshing way, be it the in songs that are (still) about growing up in the suburbs like “Awful Sound”, or the songs that are explicitly about the future (read: death) like “Afterlife”.  The songs on Relflektor don’t just end where the previous Arcade Fire songs did, with a statement of bleak reality and no hope for change, but instead exult in the city lights over the mountains, making good on the promise of the ending banger on The Suburbs.

And this brings us to Everything Now.  We can see in each album how the purpose of the songs and their respective albums is propped up by the instrumentalization.  The songs and albums focused on examining the past featured more piano, violin, accordion, and banjo.  Those focused on future used more synthesizers.  Clearly Arcade Fire used all the tools in their bag to get their message across.  Which leaves me with one burning question with Everything Now: what in god’s name happened?

First and foremost, most the songs on EN are just plain boring.  I can recall two songs off the top of my head after having just finished listening to it for maybe the fifteenth time.  The title track is one part well crafted pop song, one part guilt trip, one part childish complaint, and one part unintentionally ironic pretentious snobbery.  The last bit comes in with their sample of Francis Bebey’s “the Coffee Cola Song”, which I only recognized because some deep digging record collector blog put together a mix tape that I stumbled upon years back (email me if you want details, it’s a great blog).  This sample is the ultimate rebuttal to their own thesis of how having access to everything now is in some way bad, because without the internet and interconnectivity there is such a small chance they themselves would have stumbled upon such a sample.  The juxtaposition of their message and this super deep cut sample honestly makes me queasy.

The remaining songs are equally as brainless and naïve. A sample:

Some boys hate themselves

Spend their lives resenting their fathers

Some girls hate their bodies

Stand in the mirror and wait for the feedback

What are we even doing here any more people?

The real problem with the album is it doesn’t feel like a critique.  It feels like a complaint. And an unwarranted one at that.  Arguably Arcade Fire wouldn’t exist, or wouldn’t have the status they’ve got now without the internet.  So for them to call into question, in a boring, played out fashion, the merits of such a system feels pompous. To some degree it makes them into the old guard rock and rollers complaining about how the kids today don’t act right, they don’t make music and live the way Arcade Fire did when most people only had dial up and liked it!

There is a bleaker read of this album however.  And it’s that, with this record, Arcade Fire moved from discussing memories, nostalgia, hope, hopelessness, and social systems, to discussing actual, living, breathing people.  Not individual persons, but people as they are removed from systems.  Not social systems, but those trapped by them.  And this feels cruel.  I am of the opinion that someone can be dissatisfied with the way that they themselves are using the internet.  Fair enough.  But it’s an opt-in experience.  You don’t like how you yourself spend too much time on Instagram or Facebook.  Word.  Do what you need to do to change how you use them.  Arcade Fire, it’s not only inappropriate to tell other people how to live, it’s something that you yourself struggled with, growing up in The Sprawl.

So this is my review of Arcade Fire’s 2017 LP Everything Now: A nauseating, cruel, pompous complaint about how everyone is living wrong set to repetitive, largely boring hooks which rarely resolve before the next track fades in.  Oh, I guess “Put Your Money on Me” is a nice ABBA-esque track.  Check out that one maybe.  Maybe even “We Don’t Deserve Love”.  It’s got some pretty good lyrics.  Past those two, pass this one up.

Animal Collective - The Painters EP

Caden Marchese

by Sydney Britsch

The Painters: A New Canvas

Summer sounds and hypnotic hallucinations fill the air as Animal Collective plays on my speaker.  It seems all too fitting that Animal Collective’s new EP, The Painters, was released just as Boulder was in the midst of enjoying a heat wave that somehow managed to sneak itself into the mid-February breeze. Chilling mixtures of sound and music combine to create a beautifully strange style that few other artists have been able to achieve.

“Kinda Bonkers” is the first song on the EP.  It has a strong, yet playful African beat murmuring throughout its ever-morphing landscape.  The base sound is continuous and meditative throughout with a pulsing intensity that builds and lightens, almost as if it were breathing.  Combine the vocals on this track, which are more heavily emphasized, with the easily understood lyrics and you get a very catchy song that gets stuck in your head, even after just one listen.    This same type of playfulness also appeared on Painting With, the sister album to this EP. Both of these albums share an upbeat spirit that is somehow squeezed into a couple of minutes on each track. This is in sharp contrast compared to Animal Collective’s older, more traditional tracks, like “My Girls,” that usually run much longer.  At first, this strong distinction was bothersome because it almost seemed like a less genuine artistic expression. But if you get over the somewhat cheesy titles and puns, these songs still have an indisputable artistry woven within them.

At first listen, you probably wouldn’t realize that “Jimmy Mack” is a cover of a song originally performed by the Motown girl group, Martha & the Vandellas, because of Animal Collective’s cryptic style. This track transports me back to the 60’s because of its psychedelic intro with echoing sounds that transition this song into a dream world where anything is possible.  Fluid sounds of water quickly turn into an upbeat disco-like dance tune with a chorus that mimics the original girl group, but a melody that is distorted throughout.

While listening to “Peacemaker,” an echo of vocals stream into the ear’s consciousness, which creates the sound of two songs overlapped on top of one another.  The rate of the beat is like that of a heartbeat, which draws you in and makes you just want to sit back and hang out while taking in this relaxing melody.  But the echoing can be a bit bombarding at times with only a few breaks from the incessant noise of the vocals, which is probably what grants this as my least favorite track on the new EP.

Whereas “Goalkeeper” contains the same bright spirit found within Merriweather Post Pavilion, with layered and ambitious sounds, which almost forces me to listen to this track with a smile. Right away this track grabs my attention with its fast, ever-changing beat that is continuously pushing the song forward. At one point, the bass drops out and it’s suddenly like the song is taking place in space, floating around while shooting stars fly past.  When the bass comes back in, it sounds like the twang of a rubber band and there are two intertwining melodies introduced. This track is definitely the most complex sounding song on The Painters and because of this familiar and intricate sound, “Goalkeeper” is my favorite track on the new EP.

The beginning of all the tracks on this EP greatly resemble the group’s other worldly sound, but when combined with the vocals the tracks take on a more eclectic pop sound than the weird alternative fans have grown accustomed.  Although I have some mixed feelings about Animal Collective’s new sound, I still think they manage to maintain a brilliant resiliency that balances the unconventionally weird with the catchy and compelling melodies that surpass an artist’s struggle to create something new, which in this day and age seems almost impossible.