Performed on a crowded stage with an austere set at the Bowery, Barcode has the handmade, bootstrap feel of a musical hoisted together by sweat and toil at an Occupy encampment, and in context it works.
The Smiths were the misfits of pop music and the misfits of rock and roll and their audience ate it up. The band's jingle-jangle sound and catchy songs have never been forgotten and still feel as vibrant and as inventive today as they did back then.
That sound. I'd never heard anything like it before. I had no idea who The Strokes were or what they looked like but it was immediately obvious they probably dressed a little differently to Fred Durst.
The continued mainstream success of artists like Foster the People, Gotye, Fun., and their peers suggest that we may be on the precipice of a broader willingness to embrace more varied and eccentric music, the music we used to think of as exclusively "indie."
It transports you back to great loves, crippling breakups, perfect summer nights, endless road trips, or the birth of a child. There is nothing in this world that even comes close to the associative power carried in song.
In 2003, Jeffrey Cain, formerly of Remy Zero, met one of his music idols, Steve Kilbey. The two subsequently teamed up as "Isidore." Isidore's long-awaited second album, Life Somewhere Else, comes out this week.
As Leonard Cohen's new album, Old Ideas, diffuses its way into the pop-culture universe, Columbia Records is prodding it along with Old Ideas With New Friends, a compilation of artists covering their Cohen favorites.