By Daniel Kohn
By Imade Nibokun
By Arrissia Owen
By Lilledeshan Bose
By Sarah Bennett
By Adam Lovinus
By Jena Ardell
By Nate Jackson
Okay, people, we've been through this before: small New York City band forms and for a while is arguably unique—you know, clangy instruments, distinctive lead vocals, dance-y tunes. Band then releases their first full-length and people are surprised to actually like it. Next up is another LP, bundled with a killer single that you hear everywhere—even at your local Wet Seal. Band blows up. The hype machine goes full throttle.
Want to know what happens next? Ask the Strokes.
Or you could just wait a few months and see what happens to the Walkmen, who, much like their Jew-froed counterparts, just released third LP A Hundred Miles Off to lackluster critical (and fan) reception. But just because the whole backlash against the massively overexposed, neo-Manhattan music scene seems to render these bands unmentionable in certain circles—Interpol, you could be next—it doesn't mean you can't still harbor at least a little love for, say, those angsty, tumultuous drums on "The Rat." Admit it: It's. A. Good. Song.
And it's certainly okay if you go to the Walkmen's upcoming show at the Glass House. In fact, you'd be hard-pressed not to rekindle your passion while dancing to "Little House of Savages." Bottom line: who cares? Besides, if you really must maintain your indie cred, you can always just tell people you're going for Orange County's own Richard Swift.