They were standouts at the party that I wasn’t invited to but suddenly wanted to crash.
#Reminisce magazine reviews tv#
But when the authenticity of hip-hop began to stagnate, bands like Interpol, TV on The Radio, The Strokes, Yeah Yeah Yeahs, and The Walkmen grabbed the spare attention. As someone who grew up on the Upper West Side of Manhattan in the ‘80s and ‘90s, immersion in hip-hop went with the territory. It was the mystery of all this that stoked my curiosity. They looked, sounded, and felt as cool as rolled-up short sleeves and a pocket comb through slicked back hair. transplants reanimated vintage sensibility and instrumentation through the restless energy of modern urban youth. Along with his little cousin with a big voice, Hamilton Leithauser, and lifelong bandmates Paul Maroon, Peter Bauer, and Matt Barrick, Martin and the Washington, D.C.
It is rare, and something that might only come along when you’ve followed an artist for many years, when the same figure encompasses that polarity.Īs co-songwriter of The Walkmen during the early 2000’s mass emergence of instantly vital New York bands, Walter Martin was right in the middle of a surge of post-rock and punk that re-established the city as the rock mecca it was when The Ramones, The Velvet Underground, Talking Heads, and The New York Dolls held sway.
The response to figures in art is strongest either when they are mysterious or when they are relatable when their opacity fascinates or their transparency disarms.
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