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AA. VV. - THE CLASH - THE CLASH - Lorusso Publisher

by Laspro n.9
That was one of the most anticipated records of the year, this third work of Canadians Arcade Fire, it was also known to the layman. Yes, because
worship built by Win Butler and Co.

Funeral with the debut of 2005 - the most representative among the disks of the first decade of these years of zero - and the equally compelling Neon Bible
three years ago, had abundantly exceeded the boundaries of independent music. The Suburbs And with that the band adds a further element to a path that becomes more twisted and fascinating as it is able to stratify an offer already rich and abundant, without altering journey began seven years ago.
The Suburbs is a sort of concept album that revolves around

to places of memory: endless suburbs and alienating those who for many represented the context of his childhood and adolescence. The neighborhoods in question are those of Houston, Texas, where they came up the brothers Butler: abandoned cars, abandoned warehouses, shopping centers, dilapidated houses, dark and dirty streets. In short, any suburb of any Western country, where, for better or worse, a little 'we are all grown up. The lyrics, therefore, are as always in the work of an important group, full of charm and nostalgia. The idea of \u200b\u200bthe concept, after all, is not new, and a band like the Arcade Fire, is not interested in writing 2:00 to 3:00 and a handful of killer singles fillers, elected him as a privileged mode of expression. Even where, as is the case of The Suburbs, the rich sound that will leave you disoriented: less compact than its predecessors, even richer, in a set of music that ranges from everlasting

Neil Young - almost a key figure for the band - Radiohead, through lots of music "epic" and not forgetting baroquisms and excesses. It 's the case of the "wall of sound

" all guitars and strings of
Empty Room

, or elegy electro

Sprawl II (Mountains Beyond Mountains) , where Régine Chassagne mocks a Debbie Harry vintage hand, however, as in the verses winking the case of platinum frontwoman of Blondie, but a text pregnant and sore of the most successful of the disc: " Dead shopping malls rise like mountains beyond mountains / And there's no end in sight / I need the darkness, someone please cut the lights " . On the other hand, when the Arcade Fire decided that now is the perfect time to write two songs - in their gait, their arrangements, their communicative urgency - not then there is something for anyone and in this sense We Used To Wait
and Ready to Start
are literally monuments of contemporary rock, far from the clichés of mainstream rock , and so far the dall'inconsistenza very indie rock today. Just as is the superb ragtime of title track and equally fascinating are the arabesques traced by the violins in Rococo. Some may argue that those missing in The Suburbs generational anthem that had been Laika, Rebellion, No Cars Go, but the band today is different from that of a few years ago, and it would just repeat verbatim the honest formula.

Certainly, the risks are, first and foremost to disappoint those who expect their "those" Arcade Fire, or the jitters or the compact electrical Funeral Neon Bible epic. But the octet size of Montreal if you want is in this capacity: that is, actively evolving even choosing the road less easy. A progressive change and refreshing, then, with the group that while memorizing the lesson of many predecessors, shreds everything - including themselves - and returns a mush sound unmistakable flavor. All perfect then? No, The Suburbs, perhaps he would need to be dried at least a couple of songs were sacrificed on the altar of accessibility, since it does not add anything and, in contrast, weigh down the concept that by its nature is to be heard in full and all in one breath. But it is very slight compared to the musical substance and the heavy texture of most of these compositions. A corollary of this, a series of artistic choices that do not distort the content, but make it even more interesting is the proposal covers eight different images on the disk developed suburban, and a fascinating web project called The Wilderness through Downtown which it is possible that everyone, thanks to a program developed with Google, will set the video of We Used To Wait, in his own suburban childhood. And finally, of course, there is the aspect of live, yet unfortunately consumatosi in one Italian date on 2 September in Bologna, who returned fully the state of grace of the band. For those who were there, two hours of pure adrenaline and emotion.