With Troika evolving, so has Birds. The band, started by guitarists and married couple Cheetie Kumar and Paul Siler, formed in 2005 with vocalist Craig Tilley. The group eventually picked up...
Sainthood is yet another offering that showcases the immense talent of Tegan and Sara.
Banhart's seventh album finds the freak-folk artist in a period of transition.
The raddest part of this album is the cover art, and it’s got as much ’tude as Hannah Montana’s latest.
Toro Y Moi's Chaz Bundick is a rising star in the music world with two albums set to be released in 2010. He talks about his music and his current tourmates Jemina Pearl and Islands.
Anticon genre-bender Yoni Wolf defies the odds with all his music. Here, he talks about songwriting, kinship and more.
Logos is an exploration above all else, interesting and impressive enough to get away with the occasional meandering.
The Real Feel only confirms that Kannberg’s grip on the direction of his genre is slipping.
The New Moon sountrack feels just as fake as Kristen Stewart’s acting.
The Hood Internet are playing at Raleigh's Cherry Bounce festival. Steve Reidell, one half of the mash-up duo, dishes on his art.
A lot of the songs, though often beautiful and usually masterfully crafted, don’t pass muster on their own, instead serving as the film’s emotional reinforcement.
Internationally renowned piano virtuoso Murray Perahia, a recent honorary degree recipient from Duke, is coming to Page Auditorium for a one-night only stint with Duke Performances.
The opening track off Embryonic is a relief, if only because it’s nothing like the Flaming Lips’ last album opener, “The Yeah Yeah Yeah Song.”
With Christmas in the Heart, Dylan has achieved the near-impossible: releasing an album devoid of any true sentiment, sure to alienate even his most ardent supporters.
Former Ghosts' Freddy Ruppert talks about his new super group, his old project, the Smell and more as he embarks on a tour, stopping at the Duke Coffeehouse Oct. 9.
“Aisle 13,” the opening track from Built to Spill’s There is No Enemy, grandly reintroduces the Idaho-based band back onto the modern indie rock scene.
Musically, Life doesn’t stun as much as it shimmers. The arrangements are simple: steady acoustic guitar and piano occasionally paired with orchestration by Owen Pallett.
Brian Blade and his father come to Durham to perform, worship and celebrate the pastor's ministry, gospel, jazz and the history of it all.
The xx aren’t trying too hard, and that might be the most refreshing part of their eponymous debut.
Goodnight Unknown will not disappoint Barlow fans familiar with his particular style. It meets expectations as an improvement on Emoh but only perpetuates the routine instead of breaking from it.
