Reflektor (Remastered) Arcade Fire

Album Info

Album Veröffentlichung:
2013

HRA-Veröffentlichung:
03.01.2020

Label: Sony Music CG

Genre: Alternative

Subgenre: Indie Rock

Das Album enthält Albumcover

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  • 1Reflektor07:34
  • 2We Exist05:44
  • 3Flashbulb Eyes02:42
  • 4Here Comes the Night Time06:31
  • 5Normal Person04:22
  • 6You Already Know03:59
  • 7Joan of Arc05:27
  • 8Here Comes the Night Time II02:52
  • 9Awful Sound (Oh Eurydice)06:14
  • 10It's Never Over (Hey Orpheus)06:43
  • 11Porno06:03
  • 12Afterlife05:53
  • 13Supersymmetry11:17
  • Total Runtime01:15:21

Info zu Reflektor (Remastered)

Die erste Single des Doppelalbums von Arcade Fire, ein Disco-Ausflug als The Reflektors feat. David Bowie war als Vinyl nach wenigen Minuten weltweit vergriffen. Das Debütalbum Funeral (2004) war eine Platte über diverse Schicksalsschläge, Neon Bible bedeutete zwei Jahre später den endgültigen Durchbruch. The Suburbs (2010) schoss in den USA und in England sofort an die Spitze der Hitparaden und zementierte den Ruf Arcade Fires als gleichermaßen erfolgreiche Künstler und Kritikerlieblinge. Am Ende gab’s sogar noch einen Grammy in der Kategorie Album des Jahres . Arcade Fire waren plötzlich die beste Rockband der Welt.

Wie aber behält man seine Relevanz, stellt seine Fans zufrieden, vermeidet aber kreativen Stillstand? Arcade Fire taten das einzig Richtige. Sie ließen sich erst Zeit und wählten dann James Murphy als Produzenten. Er arbeitete mit Künstlern wie den Gorillaz oder den YeahYeahYeahs zusammen und prägte mit seinem Label DFA den Klang der frühen Nullerjahre. Arcade Fire loten auf dem Album dieGrenzen ihres eigenen Klangkörpers aus, sie haben einen neuen Weg eingeschlagen, aber eines istnach dem Hören von Reflektor klar: Wir gehen sehr, sehr gerne mit.

"After stunning the mainstream pop machine into a state of huffy, new school e-disbelief by beating out Eminem, Lady Antebellum, Lady Gaga, and Katy Perry for the 2011 Album of the year Grammy, Arcade Fire seemed poised for a U2-style international coup, but the Suburbs, despite its stadium-ready sonic grandiosity, was far too homespun and idiosyncratic to infect the masses in the same way as the Joshua Tree or Achtung Baby. Reflektor, the Montreal collective's much anticipated fourth long-player and first double-album, moves the group even further from pop culture sanctification with a seismic yet impenetrable 13-track set (at 75 minutes it’s one minute over standard single disc capacity) that guts the building but leaves the roof intact. Going big was never going to be a problem, especially for a band so well-versed in the art of anthem husbandry, and they're still capable of shaking the rafters, as evidenced by the cool and circuitous, Roxy Music-forged, David Bowie-assisted title cut, the lush, Regine Chassagne-led “It's Never Over (Oh Orpheus),” and the impossibly dense and meaty “We Exist,” but what ultimately keeps Reflektor from sticking the landing is bloat. The stylistic shifts, courtesy of LCD Soundsystem's James Murphy, aren’t nearly as jarring as the turgid and Tiki-colored, almost seven-minute “Here Comes the Night Time,” the six minutes of rewinding tape that serve as the coda for the otherwise lovely “Supersymmetry,” or the unnecessarily drawn-out fountain of white noise that should seamlessly connect the Gary Glittery “Joan of Arc” with the Flaming Lips-ian “Here Comes the Night Time, Pt. 2,” but doesn’t because the songs are on separate discs. Flush with artistic capital, they went on a bender, and in the process lost some of the warmth, jubilation, and capacity for empathy that made their first three efforts so inclusive. Nevertheless, Reflektor is as fascinating as it is frustrating, an oddly compelling miasma of big pop moments and empty sonic vistas that offers up a (full-size) snapshot of a band at its commerical peak, trying to establish eye contact from atop a mountain." (James Christopher Monger, AMG)

Arcade Fire

Digitally remastered




Arcade Fire
has grown from being a widely praised indie band to a worldwide success. Their intense, anthemic and multi-layered vision of indie rock has made them cherished by both the aficionados and a general music-loving audience. They are constantly pushing the envelope and developing towards new sounds, and this has led to them being labelled as “the most important band of the last decade” in the media.

It all started with the seminal debut album Funeral (2004), which was released to great critical acclaim and featured in numerous ‘album of the year’ lists. Every release since then – and we’re currently counting four albums in total – has managed to do just the same thing. Some might remember the year of 2011 when Arcade Fire took home a Grammy for best album and all the social networks asked who these Canadians were. Now everybody knows!

It’s been three years since the sprawling success of the Reflektor album. The Montreal six-piece is currently working on a follow-up, and word has it that the band is looking towards a disco sound.

Renowned as being one of the best live acts around, Arcade Fire manages to make everything sound like a mirror-ball party while having lyrics freighted with anxiety. The band delivers stirring, mob-handed climaxes in song after song, they have colourful stage wear, and previously they have even had specific dress codes for their shows (that would work at Roskilde, we’re sure!).

10 years after their first visit here, Arcade Fire is ready to take on Roskilde Festival’s Orange Stage in 2017. Don’t miss the cathedrals of sound from this Canadian collective.



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