![]() We have a Mellotron, and since it's the 70s, it really seemed to fit. Those Hitchcock scores are some of my favorite movie music. It's got this kind of sci-fi, kind of Alfred Hitchcock feel. It's based on a "Twilight Zone" episode set in the 70s. WB: I could really imagine what he wanted for the music. _Pitchfork: _ You contributed a song, "When Lenin Was Little", to the the forthcoming Red Hot benefit compilation Dark Was the Night. We were in Chicago for election night, and let me tell you, in rural Haiti, they were just as excited as in downtown Chicago. We were in Haiti about a month ago, Régine and I, which was a really mind-blowing experience. We would obviously be totally stoked to play, but I'm sure there are a lot of political considerations. There have been a couple emails going back and forth I don't know if we have too many curse words in our lyrics or something. _Pitchfork: _ Speaking of which, do you have any plans to perform at any Obama inauguration festivities? And fucking hell, what a crazy time to be living in. But after the whole wild ride the last five years, I think it's been super healthy for us to just stay at home, tend our gardens, and actually have a real life. I'm really relieved, because you get off the road after five years, and you're like, "Man, I don't want to play music anymore." But it's been really rewarding over the last couple months to not have to be like, "OK guys, we're gonna make a record, it's gonna take six months, we're recording in this studio." It's like, "We have no idea what we're doing, but I feel like playing with you this afternoon, so how about we have some tea and play songs for a little bit." I mean, I don't think any of us want to spend three years making a record. It feels like a really natural process is happening. The first time you play a song is kind of the best part of the whole experience. We have instruments in the living room, and we're just playing. It's been pretty cool, the past couple months, the guys have been coming over to me and Régine's place. I think our goal this year was to take enough time off that we would actually start playing together again because we were really dying to play together again. We never had a rehearsal schedule or anything, people would just come over to me and Régine's house and we'd play in small groups and work on arrangements. We recorded "Wake Up" and "Power Out" and the rest of it, we would kind of raise a bit of money and record. We just kinda went in to make a 7" at the beginning. When we were recording Funeral, we didn't have a record deal or anything. WB: Basically, the last five years have been pretty insane for the band. _Pitchfork: _ So what's next for the Arcade Fire? We've heard you're working on a new album. It blew my mind that he could actually get it cleared. Our manager deserves a lot of credit for clearing that one. There's a longer clip of Tim and and Richie went to "The Price Is Right"](/article/download/43543-the-arcade-fire-the-price-is-right "when Tim and and Richie went to "The Price Is Right"" ). It's kind of a video form of the 800 number. There's also this kind of infomercial thing that one of my good friends, Josh, made for us, that's pretty funny. They actually really know what they're doing on the sound front. The BBC always does a really good job, there's actual audio engineers. There's a BBC in-studio thing that we did with a bunch of full versions of songs that we shot at Maida Vale studio. Pitchfork: What are the extras on the deluxe edition of the Miroir Noir DVD? The press release mentioned that the DVD would include your "Friday Night With Jonathon Ross" and "Saturday Night Live" performances. It was pretty staggering, the amount we were paying. We checked the phone bill about six months in. There were thousands and thousands of them. _Pitchfork: _ There are also quite a few voice-overs throughout the film- these are voicemails left by people who called the Neon Bible promotional hotline 1-800-NEONBIBLE, right? Those are the only moments I ever really find exciting. The parts, like, in the Rolling Stone documentaries, the only parts that I really like are the parts where you see a microphone in the background, and you're like "Ooh, that's where the microphone was." I'm kind of a nerd in that way, I guess. WB: There's a lot of home movies from when we were making the record. Pitchfork: Miroir Noir features a lot of footage of the recording sessions for Neon Bible. I think, sometimes, it's better to be a little frustrated than to be bored. It just really wasn't what we were going for. Pitchfork: The film certainly captures that energy, but it can be frustrating when a song starts or stops in the middle.
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