At this point in their career, Arcade Fire is very much settled into the role of being an “important” musical act. Their releases are events and fodder for the endless hype and discussion cycle that structures much of modern music writing on the Internet. They play SNL and even did a short and entertaining special on NBC directly following the taping. Arcade Fire’s albums are a big deal and their latest, Reflektor, being touted as a step forward and real stylistic shift. Produced by LCD Soundsystem’s James Murphy, Reflektor sees the group heading in a more rhythmic direction with songs driven more by percussion and bass than on their first three albums. This is certainly a gamble following the success of their last album, which won them a Grammy. In many ways this is a laudable step forward for a band that could easily settle into a set style and remain successful. However, at the same time, Reflektor suffers from issues that have plagued the group since the beginning and I am left ultimately ambivalent about an album that I feel could be so much more.

The album is broken into 2 discs and opens with the single, “Reflektor.” This track immediately signals the shift and may be one of their best songs to date. “Reflektor” maintains an uneasy groove that carries the song through a series of agonized peaks and valleys with lyrics that point only to the futility of trying to find any real meaning, only your reflection. David Bowie’s guest appearance is one of the genuinely hair raising points on this record, alongside the breakdown in “Here Comes the Night” and the chanting of Orpheus’s name in “It’s Never Over (Oh Orpheus).” These tracks, and to a lesser extent, “Afterlife,” represent points where the record stands out, where Arcade Fire capitalizes on their strengths and reshapes them into a new context. However, these are only points on a record that has trouble holding together on repeated listens.

It is incredibly easy to point out that this group takes itself very seriously despite their seemingly jokey public persona (the large masks, the small shows under an assumed band name, their SNL appearances, etc.). And if anything, Reflecktor is them trying to crack away at that image. Whether or not it succeeds however is at issue here. Where they do reach out to be a little more “unhinged,” the opening of “Joan of Arc” and all “Normal Person,” ultimately falls flat. These moments feel strained, like a fake smile contorted in such a way to just make everyone in the room uncomfortable. “Joan of Arc” recovers itself quickly, and once again the group is back in the familiar and stronger reworking they develop over the course of the record. But it is hard not to notice how awkward these other moments are and they leave a lasting impression.

I have always wanted to like Arcade Fire more than I do, but I can never get past a very specific problem, their music can be kind of boring. And while this is a group we are told is important, it is becoming increasingly difficult not to wonder if Arcade Fire is merely important because we are told they are important ad nauseum. Throughout Reflektor, there is a pervading sameness to the tracks that becomes hard not to shake off. The record loses its way really quickly, especially by disc 2, which features tracks like “Awful Sound (Oh Eurydice)” a seeming rehash of their earlier work with its grandiose sweep but none of the impact of songs like “Wake Up” and “Crown of Love,” and “Porno,” possibly my least favorite song on the record. This is a record that is just too long for its own good.

In interviews, the band noted that it was heavily inspired by Haitian music during the recording of this album and that its influence pervades the record. And yet, it seems odd to be drawing from music often used in the context of events and rituals and try to convert it into a largely passive musical experience. The sort of rhythmic music they reference is often repetitive to fuel movement, and works best in this very public context. It can be difficult to sit and listen to this music privately; it becomes boring without the social anchors, and that is what happens here.

Overall, Reflektor is a record I like less the more I think about it. In the final instance, it falls flat. There is an element of sameness and joylessness that holds it back. And while this is, in my opinion, their best album since Funeral, it still suffers from an overseriousness that makes it difficult for me to ever really connect with the music. I am not one to dismiss music for being too glum or serious but Arcade Fire just never seems to click with its unshakeable pretentiousness. What is most unfortunate is it could have been much better if they just cut it in half. Arcade Fire’s new direction could be a good step in the longrun and the moments where they get it right give me hope. But Reflecktor is still a transitional record that shows a band trying to purge themselves of their earlier weak points but not quite succeeding.

Grade: C+