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Neighborhood #2 (Laïka) 0:00 / 3:32
Arcade Fire Track 1/30
Neighborhood #2
by Arcade Fire
Alexander, our older brother,
Set out for a great adventure.
He tore our images out of his pictures,
He scratched our names out of all his letters.
Our mother shoulda just named you Laika!
Come on Alex, you can do it.
Come on Alex, there's nothin' to it.
If you want somethin' don't ask for nothin,
If you want nothin' don't ask for somethin'
Our mother shoulda just named you Laika!
It's for your own good,
It's for the neighborhood!
Our older brother bit by a vampire!
For a year we caught his tears in a cup.
And now we're gonna make him drink it.
Come on Alex don't die or dry up!
Our mother shoulda just named you Laika!
It's for your own good,
It's for the neighborhood!
When daddy comes home you always start a fight,
So the neighbors can dance in the police disco lights.
The police disco lights.
Now the neighbors can dance!
Look at 'em dance
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
by Arcade Fire
Alexander, our older brother,
Set out for a great adventure.
He tore our images out of his pictures,
He scratched our names out of all his letters.
Our mother shoulda just named you Laika!
Come on Alex, you can do it.
Come on Alex, there's nothin' to it.
If you want somethin' don't ask for nothin,
If you want nothin' don't ask for somethin'
Our mother shoulda just named you Laika!
It's for your own good,
It's for the neighborhood!
Our older brother bit by a vampire!
For a year we caught his tears in a cup.
And now we're gonna make him drink it.
Come on Alex don't die or dry up!
Our mother shoulda just named you Laika!
It's for your own good,
It's for the neighborhood!
When daddy comes home you always start a fight,
So the neighbors can dance in the police disco lights.
The police disco lights.
Now the neighbors can dance!
Look at 'em dance
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Watch artist interviews here.
chamber pop
Chamber pop is a genre characterized by an infusion of strings, horns, and piano in an indie rock or pop setting. It is strongly influenced by the orchestral pop of the mid 1960s (especially Burt Bacharach and the Beach Boys' Brian Wilson), the singer-songwriter era of the early 1970s, and the indie pop rockers of the 1980s.
The genre is often erroneously conflated with "baroque pop", which is more about the appropriation of Western classical music in a pop context. Read Full BioChamber pop is a genre characterized by an infusion of strings, horns, and piano in an indie rock or pop setting. It is strongly influenced by the orchestral pop of the mid 1960s (especially Burt Bacharach and the Beach Boys' Brian Wilson), the singer-songwriter era of the early 1970s, and the indie pop rockers of the 1980s.
The genre is often erroneously conflated with "baroque pop", which is more about the appropriation of Western classical music in a pop context. The term, which is usually deployed for late-20th century indie musicians, is also sometimes applied to certain artists of the 1960s, such as Scott Walker and the Zombies.
This style, with clear indie-rock inclinations, uses additional members on in the band to create a fuller-bodied, more orchestral sound. Sometimes traditional pop instrumentation is discarded entirely. Many artists often highlight songs with unique instruments not found in most modern popular music such as the accordion or harpsichord.
The genre is often erroneously conflated with "baroque pop", which is more about the appropriation of Western classical music in a pop context. Read Full BioChamber pop is a genre characterized by an infusion of strings, horns, and piano in an indie rock or pop setting. It is strongly influenced by the orchestral pop of the mid 1960s (especially Burt Bacharach and the Beach Boys' Brian Wilson), the singer-songwriter era of the early 1970s, and the indie pop rockers of the 1980s.
The genre is often erroneously conflated with "baroque pop", which is more about the appropriation of Western classical music in a pop context. The term, which is usually deployed for late-20th century indie musicians, is also sometimes applied to certain artists of the 1960s, such as Scott Walker and the Zombies.
This style, with clear indie-rock inclinations, uses additional members on in the band to create a fuller-bodied, more orchestral sound. Sometimes traditional pop instrumentation is discarded entirely. Many artists often highlight songs with unique instruments not found in most modern popular music such as the accordion or harpsichord.
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