We decided to scour the internet and find links to as many of the songs on the compilation so you can have a listen yourself. Please comment if you stumble across a broken link or if you have one that we are missing.

If you decide you like the album and would like support a really worthwhile cause, head on over to 4AD's website and pre-order the album. The compilation hits stores on 16th February '09 (17th in North America).

"THIS DISC":

1. "Knotty Pine" - Dirty Projectors + David Byrne
   (hosted by 4AD)
2. "Cello Song" (Nick Drake) - The Books featuring José González
3. "Train Song" (Vashti Bunyan) - Feist and Ben Gibbard
4. "Brackett, WI" - Bon Iver
5. "Deep Blue Sea" - Grizzly Bear
6. "So Far Around The Bend" - The National and Nico Muhly
7. "Tightrope" - Yeasayer
8. "Feeling Good" - My Brightest Diamond
9. "Dark Was The Night" (Blind Willie Johnson) - Kronos Quartet
10. "I Was Young When I Left Home" (Bob Dylan) - Antony with Bryce Dessner
11. "Big Red Machine" - Justin Vernon + Aaron Dessner
12. "Sleepless" - The Decemberists
13. "Die" - Iron & Wine (live version)
14. "Service Bell" - Grizzly Bear + Feist (live version sans Feist)
15. "You Are The Blood" - Sufjan Stevens

"THAT DISC":

1. "Well-Alright" - Spoon
2. "Lenin" - Arcade Fire
3. "Mimizan" - Beirut
4. "El Caporal" - My Morning Jacket
5. "Inspiration Information" (Shuggie Otis) - Sharon Jones & The Dap-Kings
6. "With A Girl Like You" (The Troggs) - Dave Sitek
7. "Blood Pt. 2" (The Castanets) - Buck 65 Remix (featuring Sufjan Stevens and Serengeti)
8. "Hey, Snow White" (Destroyer) - The New Pornographers
9. "Gentle Hour" (Snapper) - Yo La Tengo (live version)
10. "Amazing Grace" - Cat Power with Dirty Delta Blues
11. "Happiness" - Riceboy Sleeps
12. "Another Saturday" - Stuart Murdoch
13. "The Giant Of Illinois" (Handsome Family) - Andrew Bird (live version)
14. "Lua" - Conor Oberst with Gillian Welch (Bright Eyes version)
15. "When The Road Runs Out" - Blonde Redhead & Devastations
16. "Love Vs. Porn" - Kevin Drew

UPDATE 2/9/09 4:37pm: We were contacted by websheriff.com and were asked to remove the links to the above songs. We're not giving into the man; this is for a good cause! Go out and buy it!

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To hype up that Neon Bible documentary frontman Win Butler told us about, you can download an instrumental version of "Burning Bridges, Breaking Hearts", an unreleased song they played on the Funeral tour. Simply go to miroir-noir.com/download, enter a valid e-mail address, and they'll send you the download link.

Here's an mp3 of the original: Arcade Fire - "Burning Bridges, Breaking Hearts" (Live) (thanks Stereogum)

Miroir Noir is available for instant download once you pre-order the DVD.

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In an interview with Pitchfork, frontman Win Butler reveals a bunch of info about Miroir Noir and the other project he's been working on: writing the score for upcoming film The Box, produced by Richard Kelly (Donnie Darko), which Owen Pallett of Final Fantasy and wife/bandmate Régine Chassagne are also in on.

And in a super chilled-out fashion, the band has already started putting together tracks for their new album.

Pitchfork: Miroir Noir isn't a typical concert film. It doesn't capture a complete show or contain any sort of narrative, instead stringing together bits and pieces of performance and behind-the-scenes footage with all kinds of arty miscellany. Why did you choose to create the film this way?

Win Butler: I always find live shows on film kind of boring. Even my favorite ones, I kinda zone out for most of it. It's just so different seeing a band in the flesh and then watching a film of it, even if you have a hundred cameras and it's shot from every angle. There's just a communal, visceral thing that never translates very well. We were just trying to pick some bits of the live show. [Directors] Vincent Moon and Vincent Morisset were the only people really filming, so a lot of it was one-camera shoots, so the bits that were the most interesting are the ones we used.

Pitchfork: There are very few full songs in the film. Was that just the way the footage turned out?

WB: Not necessarily. That just wasn't what we were going for with the film. We were more into trying to capture a little bit of the energy. I find that if there are too many full performances, it doesn't really do that good a job of capturing the energy of the show.

Pitchfork: The film certainly captures that energy, but it can be frustrating when a song starts or stops in the middle.

WB: I know what you're saying. It just really wasn't what we were going for. I think, sometimes, it's better to be a little frustrated than to be bored.

Pitchfork: Miroir Noir features a lot of footage of the recording sessions for Neon Bible. Why did you include that in the film?

WB: There's a lot of home movies from when we were making the record. 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. Those are the only moments I ever really find exciting.

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?

WB: Yeah. There were thousands and thousands of them. We checked the phone bill about six months in. It was pretty staggering, the amount we were paying.

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.

WB: Yeah. 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. The BBC always does a really good job, there's actual audio engineers. They actually really know what they're doing on the sound front. There's also this kind of infomercial thing that one of my good friends, Josh, made for us, that's pretty funny. It's kind of a video form of the 800 number. There's a longer clip of when [Arcade Fire multi-instrumentalists] Tim [Kingsbury] and and Richie [Reed Parry] went to "The Price Is Right". Our manager deserves a lot of credit for clearing that one. It blew my mind that he could actually get it cleared.

Pitchfork: So what's next for the Arcade Fire? We've heard you're working on a new album.

WB: Basically, the last five years have been pretty insane for the band. When we were recording [2004 debut album] Funeral, we didn't have a record deal or anything. We just kinda went in to make a 7" at the beginning. We recorded "Wake Up" and "Power Out" and the rest of it, we would kind of raise a bit of money and record. We never had a rehearsal schedule or anything, people would just come over to me and [Butler's wife and Arcade Fire co-founder] Régine's [Chassagne] house and we'd play in small groups and work on arrangements. 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. It's been pretty cool, the past couple months, the guys have been coming over to me and Régine's place. We have instruments in the living room, and we're just playing. It's a really exciting time. The first time you play a song is kind of the best part of the whole experience. It feels like a really natural process is happening.

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 to spend three years making a record. 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. You can feel that in the music now. And fucking hell, what a crazy time to be living in. I think we're all really excited.

Pitchfork: Speaking of which, do you have any plans to perform at any Obama inauguration festivities?

WB: I don't know. 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. I'm not sure what's happening with it. We would obviously be totally stoked to play, but I'm sure there are a lot of political considerations. We were in Haiti about a month ago, Régine and I, which was a really mind-blowing experience. It was a couple days after the election. We were in Chicago for election night, and let me tell you, in rural Haiti, they were just as excited as in downtown Chicago.

Pitchfork: You contributed a song, "When Lenin Was Little", to the the forthcoming Red Hot benefit compilation Dark Was the Night. Is that a new song?

WB: No, that's actually the one song that didn't make it on Funeral that was recorded at that time, but it didn't really fit in with the rest of the songs.

Pitchfork: Are you working on anything else, besides the very beginnings of a new album?

WB: Not really. We finished that movie music, I'm not sure when the film's coming out, the Richard Kelly film, which was interesting.

Pitchfork: Wait a second! You did end up contributing music to The Box!?

WB: Yeah. So that will be out at some point.

Pitchfork: Did you write the entire score?

WB: Yes, me, Régine, and Owen [Pallett] from Final Fantasy. It's kind of Hitchcocky, movie, orchestral, Mellotron stuff. It's instrumental music. No songs. It's interesting. We didn't really think we were going to do the whole thing, and then it just kind of was easier once we got in. It was like, "Oh well, we'll just keep going." It has so much to do with the editing, and your job is just to help the director. It's a very different experience.

Pitchfork: What attracted you to this project?

WB: I could really imagine what he wanted for the music. It's based on a "Twilight Zone" episode set in the 70s. The guy works at NASA. It's got this kind of sci-fi, kind of Alfred Hitchcock feel. Those Hitchcock scores are some of my favorite movie music. We have a Mellotron, and since it's the 70s, it really seemed to fit. It was just really easy to imagine the type of music that would help the movie. It was a very ego-less project. The goal was to kind of bang some music out and not be, like, slitting our wrists over if the tambourine  is too loud. That was a good experiment.

Pitchfork: "My Body Is a Cage" was recently featured in a commercial for the new movie The Curious Case of Benjamin Button. Why did you agree to license the song for that?

WB: It was one of the fist things that's come down the pipe where... it didn't even really have that much to do with the movie, but just the trailer was very appropriate. Usually, people send us stuff, and if the song wasn't in there, it wouldn't really matter that much. It could really be anything. For this one, it makes sense. It's about a guy trapped in a wrong body...It was artistically done and it worked with the theme of the song. It wasn't a big deal. Everyone was like, "Yeah, it looks good." Most of the time, you get sent some commercial for something and it's just like, "Insert band here." It's not that interesting.

Pitchfork: Do you have anything else going on that you'd like people to know about?

WB: In the very short term, I have to go to the police department because someone broke into my car last night, smashed out the back window, and stole my iPod.

Pitchfork: Oh no! That sucks! I hope they catch the person!

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They've kept it hidden until now, but an Arcade Fire tour documentary entitled "Miroir Noir" is coming to a computer near you whenever you decide to download it: pre-order the DVD from the Miroir Noir website, you'll get an instant download.

The 70-minute film "follows Arcade Fire through the making and touring of their 2007 album Neon Bible documenting the band at their Montreal studio, the making of promotional films and videos, along with live footage and a few short films made on the road," according to a press release.

A deluxe edition of the DVD is also available, "contain[ing] bonus material including Arcade Fire's live performances on [UK television show Friday Night With] Jonathon Ross, Saturday Night Live and at [BBC studio] Maida Vale.

As of November, the band was demoing a tracks for their next record but aren't planning to hit the studio for at least a few months.

In related news, ex-Beirut new-Arcade Fire member Kelly Pratt and a few others (including Pat Mahoney of LCD Soundsystem) have put together a new album as Team B. It's available for download at their MySpace.

Video: Arcade Fire: Black Mirror [from the Neon Bible LP]

[via Us Kids Now]

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The band was formed last year and they have been playing a few concerts here and there. According to the band's website Villa Villa Nola, "Clues [has] fully regrouped, closed ranks & cloaked, gained momentum, retreated to secrecy, and begun work on new recordings". These new recordings will materialize into the band's first full-length album under Constellation Records due sometime in April.

According to Brooklyn Vegan, the band's shows are quite exuberant, containing multiple drummers, unique instrumentation, and a bent circuit Commodore 64 set for some live synthesizing. From what we've heard, the Clues sound is closer to something The Unicorns would make, only slightly more refined and with a touch of epic from their Arcade Fire roots. Feel free to take a listen to Perfect Fit, a sample from the upcoming album.

Clues live at Pop Montreal
Part One:

Part Two:

[via Stereogum and Elbo.ws]

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Here is your line-up:

• Brian Chase, drummer for the Yeah Yeah Yeahs
• Colin Stetson, touring saxophonist for the Arcade Fire
• Stuart Bogie, tenor saxophonist for Antibalas
• Jordan McLean, trumpeter for Antibalas
• Jeremiah Lockwood, guitarist for Balkan Beat Box

Already wondering what they'll sound like? Download their first leaked track HERE or simply stream it:

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