Chad A. Dubiel
Diplo, I love you, but you’re bringing me down.
Let me add that the album with it’s repeated allusions to Heaven and the afterlife is clearly intended to make a connection between Orpheus bringing Eurydice back from the underworld (he eventually loses her a second time because he fails Hades’ condition of her return on their journey. Wikipedia it.). I was struggling to make the connection between the myth and Arcade Fire’s critique of what they are calling the Reflective Age but it suddenly became very clear during “It’s Never Over (Oh Orpheus)” with the following lyric: “Hey Orpheus / I’m behind you / Don’t turn around / Wait until it’s over / Wait until it’s through.” It was discussed frequently and in many places that “Reflektor” was a critique of the digital age and our over-eagerness to place empty reflections of ourselves on social media. I believe what they are doing here is using the tragedy as a parable to just go through it and live out your life instead of going back and obsessing over these tiny moments and placing them on Facebook/Instagram/Twitter (just as Savages have been very loudly declaring “SILENCE YOURSELVES” and kindly asking the audience to turn off their phones.) After Eurydice had died he dared to go down and ask Hades to bring her back from the afterlife. Hades allowed it on one condition, that he never turn back and look upon her until they had both returned up to life. Orpheus in his anxiety and forgetfulness to not “turn around” and “wait until it’s over” looked back when he had returned to the surface but Eurydice had not made it through.
Personally, I feel that Arcade Fire has not only created a very pleasant album to listen to, but also one that is very lyrically deep and extremely clever.
Guy around 42 minute mark looks just like disko ball man covered in mirrors, ends up seeming to be analgous to the Satyr in the tall grass in the myth who kills Eurydice the first time around. Also there is a crazy meta thing going on here with the allusions to the Greek tragedy of Orpheus and Eurydice–two tracks reference them, and using Black Orpheus as the lyric video, and I think the guy who looks like disko ball man seems to be analgous to the Satyr in the tall grass in the myth who kills Eurydice the first time around.
The reverse music in the middle clearly ends with Reflektor in reverse–a reflected image is copy in reverse, SO MUCH GOING ON HERE and I just scratched the surface.
My short review of the first half: I CAN’T STOP DANCING.
World’s fastest reviewer.
Pretty sure this is their best album. Those live drums are so powerful.
Benji killed it when I saw them in Columbus and Cleveland. The show at the Beachland Ballroom in Cleveland was amazing. J. jived and gyrated all over the stage the whole show eventually crashing face first into a cymbal and having to leave the stage while the rest of the band finished Canned Heat’s “On the Road Again”. Ended up finding out later via social media that J. had to go to the hospital D: !!
Fear Fun most underrated album of 2012.
Typo: Father John Misty’s album is named Fear Fun, not Tramp.