David Marchese reviews Arcade Fire’s The Suburbs | SPIN

Here are two excerpts from the SPIN article that really struck me – read it in full.

If Arcade Fire’s ragtag debut, Funeral, found its ecstatic force by celebrating the elusive comforts of community (hence four songs with the word neighborhood in the title), and 2007’s aggrieved, galvanizing Neon Bible powered forth in opposition to the hollow sparkle of church, state, and celebrity, then the harder, denser The Suburbs burns on behalf of the belief that modern culture is missing its heart — and to give up the search is to send one’s soul to oblivion.

Desperate to elude its own corrosive dread, [The Suburbs] keeps moving, asking, looking, and making the promise that hope isn’t just another spiritual cul-de-sac. After all, you never know who might be coming in the next car.

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