In the fall of 2004, a little-known troupe of Montreal musicians released an album called Funeral, which went on to sell over 500,000 copies worldwide (astronomical numbers for an indie record), yield five hit singles, and change the musical landscape in Canada forever. The band was called Arcade Fire, and their massive and surprising success had label reps scouring the frigid lands of the great white north for the next big thing.

Ironically, two of Arcade Fire’s key members–Richard Reed Parry and Sarah Neufeld–were already in Bell Orchestre, an instrumental group whose first album was put on hold when they embarked on a tour with Arcade Fire at the height of their popularity. It wasn’t until the summer of 2005 that Parry and Neufeld, along with fellow musicians Pietro Amato, Stefan Schneider, and Mike Feuerstack, finally released Bell Orchestre’s debut album Recording a Tape the Colour of the Light to ample critical praise but not nearly as much fanfare as their power-pop cousins who had so swiftly conquered the globe.

Industry veterans weren’t quite sure what to make of the band, with their lack of a lead vocalist and overt musical experimentation making them unique and hard to market in an industry obsessed with commercial success. Although it was clear early on that Bell Orchestre were not going to be the successor to Arcade Fire’s throne, their music shared anthemic, diverse and often childlike qualities, and there was no denying that Bell Orchestre’s profile was highlighted by their ties to Arcade Fire.

Flash forward four years; Bell Orchestre has finally released their sophmore disc and chimes of “featuring members of…” that dogged the band in their formative years may not have entirely disappeared, but they’re certainly not at the forefront like they once were. When I sat down with the band before their show at the Brooklyn Academy of Music, I decide to adhere to the trend, and forgo mention of Arcade Fire altogether; instead focusing on the sonic achievement that is Bell Orchestre’s new record As Seen Through Windows.

The talented group of musicians borrow elements of classical, post-rock, minimalism and pop to forge an orchestral sound that manages to soar at times and hypnotize at others. It’s clear that the band were intent on exploring new sounds and rhythmic arrangements on the new record, aided by Tortoise leader John McEntire who helped mix the record in Chicago. “It’s more concrete now in a way.” says Feuerstack. “There’s a wider variety of dynamics and musical ideas on it, and ways of approaching music than on the previous record. Sonically there’s a gauze over everything that ties it all together. It’s a lot of darker sounds, we tried to be more extreme with things.”

With elements of brass and strings dominating most songs on the album, Bell Orchestre seems comfortable without a singer, relying on their instruments to communicate ideas rather than lyrics. “Our songs are about everything all at once. We don’t really pick and choose. And that’s part of it. It’s not about nothing but it’s not about really specific things either. It moves in specific directions that will always have this open quality to them.” says Parry. “It’s kind of an abstraction–music for music’s sake, but all of us share this deep love of music that isn’t really just about music, it’s music as it fits into everything that we do and are interested in and how music relates to the rest of our lives.”

-Daniel Barna