The Feelies are a band which seem to defy classification even today. Through not being part of any “scene” as such, they followed their own idiosyncratic muses, incorporating influences both typical for alternative bands of their time (Velvet Underground, The Modern Lovers) and atypical (classical minimalism, incorporating found object sounds in their records). Coming out of the suburban village of Haledon, New Jersey in the late 1970s, the band were ensconced with their record collections and jamming with friends in garages, punctuated by occasional trips to the big city to see bands. Without the strictures of a set scene or predefined sound, however, they were able to dip into New York without ever being immersed in it, free to do what they liked, unencumbered by generic expectations or localized trends.
Almost 30 years after their first record (the seminal Crazy Rhythms) was released, the Feelies are, like so many bands of the post-punk era, on the reunion circuit, backed by the reissuing of their first two albums. The crowds they play to are aware of their music through the diversions of the rock canon, through downloading and a general tendency towards retrospection amongst modern music listeners. With the plethora of music easily accessible online, fans are more and more aware of the interrelatedness of music, and the reference points that bands make. If you’re doing it, chances are someone in the past has done it already, whether you know it or not (and the knowingness is quite likely). A current band that makes explicit its debt to its influences from the indie rock canon, Times New Viking, namechecks members of its favorite groups (the Clean, the Fall, Pavement) on its MySpace, as well as referencing Yo La Tengo in a song which sounds very like Yo La Tengo.