NFOmation.net - Your Ultimate NFO Upload Resource! Viewing NFO file: 00-arcade_fire-neon_bible-2007-debt.nfo 00-arcade_fire-neon_bible-2007-debt
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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Arcade_Fire-Neon_Bible-2007-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Arcade Fire ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Neon Bible █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Merge ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Alt. Rock ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-05-14 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2007-03-06 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 245 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 11 / 46:59 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 87.19 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Black Mirror 4:13 ████▓▄ ░
░ ▄▓████ 2 Keep the Car Running 3:29 ████▓▄ ░
░ ▄▓████ 3 Neon Bible 2:16 ████▓▄ ░
░ ▄▓████ 4 Intervention 4:19 ████▓▄ ░
░ ▄▓████ 5 Black Wave Bad Vibrations 3:57 ████▓▄ ░
░ ▄▓████ 6 Ocean of Noise 4:53 ████▓▄ ░
░ ▄▓████ 7 The Well and the Lighthouse 3:56 ████▓▄ ░
░ ▄▓████ 8 (Antichrist Television Blues) 5:10 ████▓▄ ░
░ ▄▓████ 9 Windowsill 4:16 ████▓▄ ░
░ ▄▓████ 10 No Cars Go 5:43 ████▓▄ ░
░ ▄▓████ 11 My Body Is a Cage 4:47 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 46:59 MIN ████▓░
░▓███████▄ TOTAL SIZE: 87.19 MB▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ When Montreal's Arcade Fire released Funeral in ║▀░▓████░▀▄
▄▀░████▓░▀║ 2004, it received the kind of critical and ║▀░▓████░▀▄
▄▀░████▓░▀║ commercial acclaim that most bands spend their ║▀░▓████░▀▄
▄▀░████▓░▀║ entire careers trying to attain. Within a year ║▀░▓████░▀▄
▄▀░████▓░▀║ the group was headlining major festivals and ║▀░▓████░▀▄
▄▀░████▓░▀║ sharing the stage with U2 and New York City's ║▀░▓████░▀▄
▄▀░████▓░▀║ "two Davids" (Bowie and Byrne), all the while ║▀░▓████░▀▄
▄▀░████▓░▀║ amassing a devoted following that descended upon ║▀░▓████░▀▄
▄▀░████▓░▀║ shows like sinners at a tent revival, engaging in ║▀░▓████░▀▄
▄▀░████▓░▀║ the kind of artist appreciation that can easily ║▀░▓████░▀▄
▄▀░████▓░▀║ turn to a false sense of ownership. On their ║▀░▓████░▀▄
▄▀░████▓░▀║ alternately wrecked and defiant follow-up, Neon ║▀░▓████░▀▄
▄▀░████▓░▀║ Bible, one can sense a bit of a Wall being ║▀░▓████░▀▄
▄▀░████▓░▀║ erected (Win Butler's Roger Waters/Bruce ║▀░▓████░▀▄
▄▀░████▓░▀║ Springsteen/Garrison Keillor-style vocal delivery ║▀░▓████░▀▄
▄▀░████▓░▀║ notwithstanding) around the group. If Funeral was ║▀░▓████░▀▄
▄▀░████▓░▀║ the goodbye kiss on the coffin of youth, then ║▀░▓████░▀▄
▄▀░████▓░▀║ Bible is the bitter pint (or pints) after a long ║▀░▓████░▀▄
▄▀░████▓░▀║ day's work. The brooding opener, "Black Mirror," ║▀░▓████░▀▄
▄▀░████▓░▀║ with its sinister "Suffragette City"-inspired ║▀░▓████░▀▄
▄▀░████▓░▀║ groove and murky refrain of "Mirror, Mirror on ║▀░▓████░▀▄
▄▀░████▓░▀║ the wall/Show me where them bombs will fall," ║▀░▓████░▀▄
▄▀░████▓░▀║ sets an immediate world-weary tone that permeates ║▀░▓████░▀▄
▄▀░████▓░▀║ that majority of Neon Bible's Technicolor pages. ║▀░▓████░▀▄
▄▀░████▓░▀║ As expected, those sentiments are amplified with ║▀░▓████░▀▄
▄▀░████▓░▀║ all of the majestic and overwrought power that ║▀░▓████░▀▄
▄▀░████▓░▀║ has divided listeners since the group's ascension ║▀░▓████░▀▄
▄▀░████▓░▀║ to indie rock royalty, but despite a tendency ║▀░▓████░▀▄
▄▀░████▓░▀║ toward midtempo balladry and post-fame cynicism, ║▀░▓████░▀▄
▄▀░████▓░▀║ they're anything but dull. It's the triumphant ║▀░▓████░▀▄
▄▀░████▓░▀║ orchestral remake of live staple "No Cars Go" and ║▀░▓████░▀▄
▄▀░████▓░▀║ the infectious "Keep the Car Running" -- the ║▀░▓████░▀▄
▄▀░████▓░▀║ latter sounds like a 21st century update of John ║▀░▓████░▀▄
▄▀░████▓░▀║ Cafferty & the Beaver Brown Band's "On the Dark ║▀░▓████░▀▄
▄▀░████▓░▀║ Side" -- that will most appeal to Funeral fans, ║▀░▓████░▀▄
▄▀░████▓░▀║ and when the bottom drops out a minute and a half ║▀░▓████░▀▄
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▄▀░████▓░▀║ "Black Wave/Bad Vibrations" and "The Well and the ║▀░▓████░▀▄
▄▀░████▓░▀║ Lighthouse" continue the band's explorations into ║▀░▓████░▀▄
▄▀░████▓░▀║ progressive song structures and lush mini-suites, ║▀░▓████░▀▄
▄▀░████▓░▀║ the thunder-filled "Ocean of Noise" is ║▀░▓████░▀▄
▄▀░████▓░▀║ reminiscent of Bossanova-era Pixies, and the ║▀░▓████░▀▄
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▄▀░████▓░▀║ classic rock & roll self-absorption so ║▀░▓████░▀▄
▄▀░████▓░▀║ effortlessly that it demands to be either turned ║▀░▓████░▀▄
▄▀░████▓░▀║ off or all the way up. Neon Bible takes a few ║▀░▓████░▀▄
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▄▀░████▓░▀║ (orchestra, harps, and gospel choirs abound), ║▀░▓████░▀▄
▄▀░████▓░▀║ it's as decadent as it is tasty -- theatricality ║▀░▓████░▀▄
▄▀░████▓░▀║ has never been a practice that the collective has ║▀░▓████░▀▄
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▄▀░████▓░▀║ Arcade Fire's singular vision, even when it blurs ║▀░▓████░▀▄
▄▀░████▓░▀║ a little. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════◄QUOTES►╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ There are never enough I Love You's. ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Lenny Bruce ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
░▄▄ ▀▀██████╟◄──────────────────────────────────────────────────►╢██████▀▀ ▄▄░
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▄▄▀▀██████╟────────────────────────────────────────◄GROUP NEWS►╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of SECURE affils ║▄▄███████▓░▀
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░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
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▀ ░████▓▄║ DeBT is dedicated to bringing ║░▓████░ ▀
▀░████▓║ ║▓████░▀
▄ ░░▓███║ you the best of the old, new and forgotten in a ║███▓░░ ▄ ▄
▄▄▀▀██████║ ║██████▀▀ ▄▄░
▄░▓███████▄║ variety of sections. If you think you have ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
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▄▄░▀█████║ C O N T A C T D e B T ║██████▀░▄▀
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▄▀░████▓░▀║ DeBTisSlaV3rYSTuPiD@GMail.com ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº When Montreal's Arcade Fire released Funeral in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº 2004, it received the kind of critical and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº commercial acclaim that most bands spend their ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº entire careers trying to attain. Within a year ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the group was headlining major festivals and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sharing the stage with U2 and New York City's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "two Davids" (Bowie and Byrne), all the while ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº amassing a devoted following that descended upon ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº shows like sinners at a tent revival, engaging in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the kind of artist appreciation that can easily ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº turn to a false sense of ownership. On their ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº alternately wrecked and defiant follow-up, Neon ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Bible, one can sense a bit of a Wall being ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº erected (Win Butler's Roger Waters/Bruce ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Springsteen/Garrison Keillor-style vocal delivery ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº notwithstanding) around the group. If Funeral was ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the goodbye kiss on the coffin of youth, then ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Bible is the bitter pint (or pints) after a long ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº day's work. The brooding opener, "Black Mirror," ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº with its sinister "Suffragette City"-inspired ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº groove and murky refrain of "Mirror, Mirror on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the wall/Show me where them bombs will fall," ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sets an immediate world-weary tone that permeates ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº that majority of Neon Bible's Technicolor pages. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº As expected, those sentiments are amplified with ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all of the majestic and overwrought power that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº has divided listeners since the group's ascension ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº to indie rock royalty, but despite a tendency ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº toward midtempo balladry and post-fame cynicism, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº they're anything but dull. It's the triumphant ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº orchestral remake of live staple "No Cars Go" and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the infectious "Keep the Car Running" -- the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº latter sounds like a 21st century update of John ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Cafferty & the Beaver Brown Band's "On the Dark ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Side" -- that will most appeal to Funeral fans, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and when the bottom drops out a minute and a half ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº into the pipe organ-led "Intervention" and Butler ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº wails "Who's gonna reset the bone," it's hard not ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº get caught up in all of the dystopian fervor. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "Black Wave/Bad Vibrations" and "The Well and the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Lighthouse" continue the band's explorations into ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº progressive song structures and lush mini-suites, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the thunder-filled "Ocean of Noise" is ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº reminiscent of Bossanova-era Pixies, and the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº stark (at first) closer "My Body Is a Cage" ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº straddles the sawhorse of earnest desperation and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº classic rock & roll self-absorption so ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº effortlessly that it demands to be either turned ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº off or all the way up. Neon Bible takes a few ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº spins to digest properly, and like all rich foods ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº (orchestra, harps, and gospel choirs abound), ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº it's as decadent as it is tasty -- theatricality ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº has never been a practice that the collective has ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº shied away from -- but there's no denying the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Arcade Fire's singular vision, even when it blurs ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº a little. ºß°²ÛÛÛÛ°ßÜ
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