It's easy to be a snarky critic, but really, could Tokyo Police Club have been had been out all of three weeks could afford a reasonably classy (if utterly uninspired) LED stage set. Then they began to play, and we started to wonder what it is about Pitchfork and rest of the indie-rock, SXSW-obsessed crowd that gets their panties in a twist over a band that sounds like they started out aiming for Built to Spill but landed somewhere between Weezer and The Strokes. "Post-punk" is the label most often affixed to these Canadian rockers, which is apparently short-hand for: "They have long, drone-y, bass-heavy interludes between bleeding guitar/keyboard melody explosions, so that we can clearly hear the lead-singer's yearning, garbled singing." It's not that they're not a tight outfit or that they don't manage a few catchy hooks, but what's there to be so excited about over another band churning out an album of single-ready, three-minute pop songs? more ›