So much has been said about third albums it would be pointless for me to rehash the importance from the standpoint of the band’s career. So much has also been said, and written thanks to us, about Arcade Fire leading up to their third album The Suburbs, which will be officially released on the third of next month, so again it seems futile to mention the band’s recent or past history.

The Suburbs are two words that represent an idea which appears constantly throughout the album for those paying close enough attention to the lyrics. The 60 minute, 16 track opus is divided into three parts by the songs “The Suburbs,” “Suburban War” and “The Suburbs (continued).

At this point the majority of listeners are familiar with opening track “The Suburbs,” whether listening to all or parts of it through that snippet the band released awhile back. There’s no calm/soothing intro and instead they get right to business with a lengthy acoustic guitar/piano one-two punch announcing what’s to come in terms of the theme of the album. About halfway through, the string arrangements come in and by the end of the track we’re assured this sounds like Arcade Fire and eagerly anticipate what’s to come next. But before the strings let out and we can think about what we’ve just heard, “Ready To Start” is thrust upon us, quite possibly the most radio-friendly song on the album. It’s a strong track which is almost as epic as the opener. For this reason we can let the radio and its listeners have it.

Let’s make one thing clear, The Suburbs is an album that requires your undivided attention. Listening to the songs individually or whilst doing other things won’t quite cut it. Perhaps the band intended for it to be like this and if you take the time, one hour to be exact, you’ll be rewarded and see how each song is connected with one another. That being said, after the second track, the one they’re probably playing on the radio right now, things take a turn and the foot on the gas pedal is gently lifted for “Modern Man.”

“Let’s go downtown and talk to the modern kids/ they will eat right out of your hand using big words that they don’t understand,” Win Butler sings on the opening lyric for “Rococo,” a track that may or not be about the youth in the suburbs or in general. Either way the words are accompanied by some impressive, or shall I say baroque, strings and instrumentation that at some parts almost sounds haunting as if to say ‘these pretentious kids are coming to get you.’ The strings hit you fast on the next track “Empty Room” where Regine Chassagne takes the lead on vocals for the first time on the album with Butler backing.

A lot of the songs on The Suburbs are essentially stripped down. It becomes apparent the band want to deliver on their lyrics and to ensure the singer’s voice is heard, stick with guitars, bass and drums such as on the track “City With No Children.” It’s not necessarily a bad thing as they avoid being forced into anything and take their time hooking the listeners’ attention to the topic of “private prisons” that are sometimes prevalent in settings outside the city.

For those wanting to hear the atmospheric sound the band has delivered so perfectly in the past, then “Half Light I” is quite possibly the best track on the album according to your preferred taste. Chassagne and Butler share versus and at times it’s not quite exactly what they’re saying as to what moves the listener, but the beautiful instrumentation that’s taking place alongside their vocals. If the first part was the wistful escape into oblivion then “Half Light II” is certainly a descension back to reality, albeit still keeping that emotional swing appropriately concluding the first half of the record.

As mentioned before, the album is built around three songs and “Suburban War” kicks off the second half by re-introducing the theme of the album to the listener with the focus on Butler’s voice and lyrics, which includes versus from the opening song. In the latter half of the track it quickly turns upside down and becomes an anthem of sorts and perhaps wakes up the listener who may still be searching for the Half Light. It’s followed by “Month of May,” the band’s most Queens of the Stone Age “Go With The Flow” meets the Ramones’ “Beat on the Brat”-sounding track they’ve ever made, naturally.

Like previous songs on The Suburbs, tracks are once again connected with one another only this time the upbeat punk-esque “Month of May” is followed by the somber “Wasted Hours,” something kids generally incur while hanging around small towns looking for something fun or finding a “life that we could live.” Undoubtedly this song will resonate with the bored young-ins and the deep guitar sounds and soothing strings might provide the light at the end of the tunnel. The songs after, “Deep Blue” and “We Used to Wait” both evoke a sense of melancholy with the former relying on the strings and the latter focusing on staying patient through its lyrics leading into the second two-part opus on the album entitled “Sprawl.” The first part focuses on a very sad string arrangement and Butler’s teary vocals where you can almost picture him staring into this open landscape of apparent nothingness. This desolate sound is quickly put aside for “Sprawl II (Mountains Beyond Mountains),” which is a bit of a change compared to everything heard thus far. Change isn’t bad as this heavily ’80s influenced number is infections from the get go. Chassagne gets in your face with her almost shouting vocals and the irresistible throwback beats and synths will have you listening to this track over and over.

However all things must pass and closing number “The Suburbs (continued)” softly shuts the door on the album. Comparisons between the bands first two LPs, Funeral (2004) and Neon Bible (2007), can be made with individual songs however The Suburbs is an entirely new album by a band in no rush to say what they want to say nor provide the sound to go with it. Again as said before it clocks in at exactly one hour and is the longest effort they have released. Unfortunately when comparing it’s hard not to notice the omission of the accordion and organ, both featured heavily on the last two and something that could have been added to please the folks who enjoy the mood or sound those instruments carry.

The Suburbs is hands down one of the best albums of the year and although we are only fresh into this decade, it has a good chance of still being discussed when those ‘end of decade’ lists come out in nine years. The album can’t and won’t be recreated for live performances and I don’t believe was ever meant to. For the duration it’s just you and the music and despite being longer than other releases, the amount of time spent listening is worth it. Arcade Fire have done it again, only this time no radical experimentation with sound or profound lyricism was needed. For many, the suburbs may never be the same again.