Constantines + The Arcade Fire

Salvatore Ciolfi

The people were there for the Constantines, and any doubt of this was removed the moment the Arcade Fire began taking apart their instruments, as without hesitation the feet of people seemed to move instinctively a few feet forward, crowding the front of the stage area.

Constantines + The Arcade Fire

Constantines + The Arcade Fire

City: Montreal
Venue: Cabaret
Date: 2003-10-16

From the newly cold air of fall time Montreal, the crowd slowly made their way into the red glow of La Salla Rossa. One floor below, in the restaurant of the same name, a couple danced to Flamenco music and diners huddle over tapas to stay warm.

Upstairs, the bundled view seemed similar (minus the dancing), as the congregated mass did as they always unusually do in one of the city's most inviting and vital venues, crowding the back and avoiding the front near the stage unless ordered or properly swayed to move up. Hot Hot Heat managed to get them there, as did Trail of Dead, though many others have not.

Perhaps sensing this, the uniformly dressed (shirts and ties sans jackets) members of the Arcade Fire took it upon themselves to challenge the crowd. Forsaking the stage and taking to the audience with acoustic guitars and an accordion, the up- and- coming local band fought off the talking heads in the crowd with an inspired sing-along and slowly fell into a procession being led to the stage by their drummer, like a pied piper to the happy children of the band.

Fighting off some early sound troubles, the Arcade Fire proceeded to rip through a 45-minute set of songs from both their self-released EP and their upcoming album. If pressed to pick highlights from the strong set, "No Cars Go" from the aforementioned EP went over especially well, as did new song "Wake Up", which lead singer Win Butler dedicated to the relatively tame crowd still only slowly edging themselves up to the front. Far from an icy reception however, the Fire proved once again to be tightening and honing their fun live show with each opportunity, a fact lead Constantine Brian Webb later brought to light while dedicating his band's "Young Lions" to them. During the Arcade Fire's set he could be seen towards the back of the room, nodding his head in approval and dancing intensely though if not slightly restrained, and that is to say, like you would expect a Constantine to do. Nevertheless he later reassured the crowd, telling them they were "lucky to live in a city with one of the best bands in the world."

All this aside though, the people were there for the Constantines, and any doubt of this was removed the moment the Arcade Fire began taking apart their instruments, as without hesitation the feet of people seemed to move instinctively a few feet forward, crowding the front of the stage area. There would be no mistakes made, the Cons are a band designed for people to care about. There may be little truly original or new to their formula, no gimmick to their sound, no hook that brings people back, but this might be precisely the reason why they've struck a chord with many people. As many have said of Webb's voice, when he howls, he sounds like part Springsteen and part Strummer, yet wholly fresh in a ferocious new beast. While the comparisons could be grating, they do fit, though not only vocally but more specifically for the entire band. Too punk influenced (with Fugazi figuring prominently) to be mainstream or retro sounding, and yet too melodic and classic rock to be purely punk, and that is to say too much like the Clash to be like Springsteen and vice versa. In other words, they seem almost too good to be true.

Tighter than seemingly possible, the band erupted on stage with "Young Offenders" from their debut album and persisted to rip through an intense 85-minute set that included "Thank You for Sending Me an Angel" by the Talking Heads, and a two song encore that incorporated a reassuringly rocking version of Lou Reed's "A Temporary Thing".

Watching them gesticulate wildly and manically behind each of Webb's vocal yelps and tortured facial expressions, you get the feeling this band would disintegrate the Strokes, their clothes, equipment and all their fans if the bands were to play on the same bill. Maybe being from Guelph, Ontario doesn't allow room for glamour or fashionable poses, but the quintet's (rounded out now by keyboardist Whil Kidman) almost overly sincere attack on the senses makes thinking of the hype surrounding the aforementioned New York band a laughable thing.

Manoeuvring through much of their newest release, Shine a Light, with equal measures of their self-titled debut, the Constantines played as if they were to be stripped of their instruments by night's end. Especially inspiring moments were the group's tackling of title track, "Shine a Light", album standout "On to You", and first single, "Nightime/Anytime (It's Alright)".

With soul to burn and substantial swagger, the latter even managed to include a "Uh-huh, I feel alright" countdown, a nice nod to the once hardest working man in music, James Brown, which then erupted back into Webb's incessant howls of "It's hard not to surrender". Seeing the man sing with his eyes closed, the young crowd inches from him nodding along with pumping fists, it seems impossible to disagree with him.


The Best Metal of 2017

Painting by Mariusz Lewandowski. Cover of Bell Witch's Mirror Reaper.

There's common ground between all 20 metal albums despite musical differences: the ability to provide a cathartic release for the creator and the consumer alike, right when we need it most.

With global anxiety at unprecedented high levels it is important to try and maintain some personal equilibrium. Thankfully, metal, like a spiritual belief, can prove grounding. To outsiders, metal has always been known for its escapism and fantastical elements; but as most fans will tell you, metal is equally attuned to the concerns of the world and the internal struggles we face and has never shied away from holding a mirror up to man's inhumanity.

Keep reading... Show less

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

Two recently translated works -- Lydie Salvayre's Cry, Mother Spain and Joan Sales' Uncertain Glory -- bring to life the profound complexity of an early struggle against fascism, the Spanish Civil War.

There are several ways to write about the Spanish Civil War, that sorry three-year prelude to World War II which saw a struggling leftist democracy challenged and ultimately defeated by a fascist military coup.

Keep reading... Show less

Beware the seemingly merry shades of green and red that spread so slowly and thickly across the holiday season, for something dark and uncertain, something that takes many forms, stirs beneath the joyful facade.

Let's be honest -- not everyone feels merry at this time of year. Psychologists say depression looms large around the holidays and one way to deal with it is cathartically. Thus, we submit that scary movies can be even more salutary at Christmas than at Halloween. So, Merry Christmas. Ho ho ho wa ha ha!

1. The Old Dark House (James Whale, 1932)

Between Frankenstein (1931) and The Invisible Man (1933), director James Whale made this over-the-top lark of a dark and stormy night with stranded travelers and a crazy family. In a wordless performance, Boris Karloff headlines as the deformed butler who inspired The Addams Family's Lurch. Charles Laughton, Raymond Massey, Gloria Stuart, Melvyn Douglas and Ernest Thesiger are among those so vividly present, and Whale has a ball directing them through a series of funny, stylish scenes. This new Cohen edition provides the extras from Kino's old disc, including commentaries by Stuart and Whale biographer James Curtis. The astounding 4K restoration of sound and image blows previous editions away. There's now zero hiss on the soundtrack, all the better to hear Massey starting things off with the first line of dialogue: "Hell!"

(Available from Sony Pictures Home Entertainment)

2. The Lure (Agnieszka Smoczynska, 2015)

Two mermaid sisters (Marta Mazurek, Michalina Olszanska) can summon legs at will to mingle on shore with the band at a Polish disco, where their siren act is a hit. In this dark reinvention of Hans Christian Andersen's already dark The Little Mermaid, one love-struck sister is tempted to sacrifice her fishy nature for human mortality while her sister indulges moments of bloodlust. Abetted by writer Robert Bolesto and twin sister-musicians Barbara and Zuzanna Wronska, director Agnieszka Smoczynska offers a woman's POV on the fairy tale crossed with her glittery childhood memories of '80s Poland. The result: a bizarre, funy, intuitive genre mash-up with plenty of songs. This Criterion disc offers a making-of and two short films by Smoczynska, also on musical subjects.

(Available from Criterion Collection / Read PopMatters review here.)

3. Personal Shopper (Olivier Assayas, 2016)

In the category of movies that don't explain themselves in favor of leaving some of their mysteries intact, here's Olivier Assayas' follow-up to the luminous Clouds of Sils Maria. Kristen Stewart again plays a celebrity's lackey with a nominally glamorous, actually stupid job, and she's waiting for a sign from her dead twin brother. What about the ghostly presence of a stalker who sends provocative text messages to her phone? The story flows into passages of outright horror complete with ectoplasm, blood, and ooga-booga soundscapes, and finally settles for asking the questions of whether the "other world" is outside or inside us. Assayas has fashioned a slinky, sexy, perplexing ghost story wrapped around a young woman's desire for something more in her life. There's a Cannes press conference and a brief talk from Assayas on his influences and impulses.

(Available from Criterion Collection / Reader PopMatters review here.

4. The Ghoul (Gareth Tunley, 2016)

The hero (Tom Meeten) tells his therapist that in his dreams, some things are very detailed and others are vague. This movie tells you bluntly what it's up to: a Möbius strip narrative that loops back on itself , as attributed to the diabolical therapists for their cosmic purposes. Then we just wait for the hero to come full circle and commit the crime that, as a cop, he's supposedly investigating. But this doesn't tell us whether he's really an undercover cop pretending to be depressed, or really a depressive imagining he's a cop, so some existential mysteries will never be answered. It's that kind of movie, indebted to David Lynch and other purveyors of nightmarish unreality. Arrow's disc offers a making-of, a commentary from writer-director Gareth Tunley and Meeten along with a producer, and a short film from Tunley and Meeten.

(Available from Arrow Video)

​5. The Illustrated Man (Jack Smight, 1969)

When a young man goes skinny-dipping with a mysterious stranger (Rod Steiger) who's covered with tattoos, the pictures comes to life in a series of odd stories, all created by Ray Bradbury and featuring Steiger and Claire Bloom in multiple roles. Nobody was satisfied with this failure, and it remains condemned to not having reached its potential. So why does Warner Archive grace it with a Blu-ray? Because even its failure has workable elements, including Jerry Goldsmith's score and the cold neatness of the one scene people remember: "The Veldt", which combines primal child/parent hostilities (a common Bradbury theme) with early virtual reality. It answers the question of why the kids spend so much time in their room, and why they're hostile at being pulled away.

(Available from Warner Bros.)

6. The Hidden (Jack Sholder, 1987)

In one of my favorite action movies of the '80s, a post-Blue Velvet and pre-Twin Peaks Kyle MacLachlan plays an FBI agent who forms a buddy-cop bond with Michael Nouri while pursuing a perp -- a bodiless entity that plugs into the human id. In the midst of slam-bang action comes a pivotal moment when a startling question is asked: "How do you like being human?" The heart of the movie, rich in subtext, finds two men learning to embrace what's alien to them. In pop-culture evolution, this movie falls between Hal Clement's novel Needle and the TV series Alien Nation. On this Warner Archive Blu-ray, Sholder offers a commentary with colleague Tim Hunter.

(Available from Warner Bros.)

7. Twin Peaks: Fire Walk With Me (David Lynch, 1992)

Speaking of Twin Peaks, here we have a textbook example of a movie that pleased almost nobody upon its release but has now generated such interest, thanks in large part to this year's Twin Peaks revival, that it arrives on Criterion. A feature-film prequel to David Lynch and Mark Frost's original TV serial that answered none of its questions and tossed in a raft of new ones, the film functions as one of cinema's most downbeat, disruptive and harsh depictions of a middle-class American teenage girl's social context. Sheryl Lee delivers a virtuoso performance that deserved the Oscar there was no way she'd be nominated for, and she wasn't. The extras, including a 90-minute film of deleted and alternate takes assembled by Lynch, have been available on previous sets.

(Available from Criterion Collection)

8. The Green Slime (Kinji Fukasaku, 1968)

Incredibly, Warner Archive upgrades its on-demand DVD of a groovy, brightly colored creature feature with this Blu-ray. As a clever reviewer indicated in this PopMatters review, what director Kinji Fukasaku saw as a Vietnam allegory functions more obviously as a manifestation of sexual tension between alpha-jock spacemen competing for the attention of a foxy female scientist, and this subconsciously creates an explosion of big green tentacled critters who overrun the space station. While we don't believe in "so bad it's good," this falls squarely into the category of things so unfacetiously absurd, they come out cool. There's a sublimely idiotic theme song.

(Available from Warner Bros.)

If the idea is that earth, water, fire, air and space constitute the core elements of life, then these five songs might seem as their equivalents to surviving the complications that come from embracing the good and enduring the ugly of the Christmas season.

Memory will never serve us well when it comes to Christmas and all its surrounding complications. Perhaps worse than the financial and familial pressures, the weather and the mad rush to consume and meet expectations, to exceed what happened the year before, are the floods of lists and pithy observations about Christmas music. We know our favorite carols and guilty pleasures ("O Come All Ye Faithful", "Silent Night"), the Vince Guaraldi Trio's music for 1965's A Charlie Brown Christmas that was transcendent then and (for some, anyway) has lost none of its power through the years, and we embrace the rock songs (The Kink's "Father Christmas", Greg Lake's "I Believe In Father Christmas", and The Pretenders' "2000 Miles".) We dismiss the creepy sexual predator nature in any rendition of "Baby, It's Cold Outside", the inanity of Alvin and the Chipmunks, and pop confections like "I Saw Mommy Kissing Santa Claus".

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.