Alex takes a look at Arcade Fire, nostalgia, Betty White, the Beastie Boys, Woody Allen, and Dawson’s Creek.<\/em><\/p>\n It has been almost a year since Arcade Fire\u2019s third album, The Suburbs, was released to almost universal acclaim, acclaim that was and remains wholly justified for mostly non-musical reasons. The title track is one of the better rock singles in years, and as a whole the album is musically and thematically interesting\u2026 and of course, most importantly, it rocks. Since The Suburbs\u2019 release, Arcade Fire\u2019s growing cultural presence has allowed us to see an incredible YouTube-sponsored Madison Square Garden performance<\/a>, frontman Win Butler offering to protect Jon Stewart from lunch money-thieving bullies, and a more-than-decent meme<\/a>. There are reasons this album has been so accepted by everybody but Bieber fans, but that reason is because The Suburbs\u2019 succeeds at reminding Arcade Fire\u2019s core audience of the time when they were the correct age to be Bieber fans. The album is as good as it is because it rocks hard enough for you to want to turn your stereo up to 11, but The Suburbs has resonated so loudly primarily because it allows its audience to turn their age back to 11.<\/p>\n <\/p>\n