No Age could’ve dropped bags of bricks onto the heads of their audience to a fair amount of success and critical acclaim.
Art movements often seem to be deliberately named to confuse students, with arbitrary blanket terms attempting to catchphrase something ineffable—impressionism? Suprematism? And “Dada?”
Deerhunter’s new album Halcyon Digest conjures a lush series of highly polished soundscapes that evoke both mystery and beauty.
Before his most recent stretch in prison, Gucci Mane made a name for himself with his blase twist on gangsta rap.
In a Duke Performances season devoted to music that characterizes “A Nation Made New,” no act might fit this epithet better than Dirty Projectors.
In recent years Durham has risen from its status as a junior partner in the Triangle music scene to a thriving music community that is home to indie bands with national followings.
The Carolina Chocolate Drops pursue an intriguing, almost paradoxical aim: to play in the traditional Piedmont folk style as modern musicians.
Weezer’s newest release and their first on Epitaph, Hurley, can’t help but stand out due to Jorge Garcia’s beaming face on the cover.
When, in 20 years, we look back on the Walkmen, Lisbon will probably occupy something of a holding pattern in their discography.
Here’s an example of a controlling market share: When Charlie Poole’s recording of “Don’t Let Your Deal Go Down” was released in 1925, it sold 100,000 copies.
Superchunk has been a fixture in the indie-rock scene for almost two decades. The release of Majesty Shredding ends their longest hiatus yet, nearly a full half of their existence.
The Triangle has no shortage of indie-rock bands, but you’d be hard-pressed to find a group that’s had more of an effect on the local and national music scene than Chapel Hill mainstays Superchunk.
Ethnomusicologist Alan Lomax’s 1961 release of southern field recordings, Sounds of the South, is an eight-disc extravaganza of delta blues, gospel and southern folk music entrenched in a rich...
“Welcome to fabulous/Las Vegas/Give us your dreamers, your harlots and your sins/Las Vegas/Didn’t nobody tell you the house will always win?”
There are no two ways about it: You either love or hate Of Montreal. False Priest should be no exception.
Since their 2002 debut Turn on the Bright Lights, Interpol has made their name with prominent bass runs, haunting vocals and jarring guitar lines.
Swedish songstress Robyn mostly lives up to her reputation as a diva of electropop with her newest album, Body Talk, Pt. II.
Listeners drawn to Mike Posner by way of his mixtapes are going to find a much different artist occupying 31 Minutes to Takeoff.
Many bands find themselves struggling to juggle the competing demands of innovation and marketability. Far too many albums are dragged down by this weight, losing the energy and drive that debuts...
The star-studded indie comedy The Kids Are All Right delves into the normalcy of unconventional family life.
