Solange Knowles’s searingly powerful and meditative new album “A Seat at the Table” opens with “Rise,” a smooth jazz opus that packs a major punch in its two-minute run time.
If the intention of directing is to leave a unique fingerprint on a film, then director Jared Hess’s mark would be unmistakable: tonally deadpan, visually drab and awkward in every sense of the word.
Jimmy Page has had enough communication breakdowns in his life. He must have, because with the latest Led Zeppelin reissue includes not one, but two versions of the proto-punk song—bringing the album’s total up to five, out of only 33 tracks.
Elephant Revival is a band hailing from Colorado that covers a wide range of musical genres, with strong folk, bluegrass and indie rock influences in their music.
You shouldn’t have to wait to watch horror movies until October. There are only so many films you can actually fit into 31 days, and why would you want to wait when we’re in the midst of one of the absolute best decades for new and inventive horror movies since the 1980s?
Americans, do yourselves a favor and watch “Citizenfour.” If you have never seen it, do so now; if you have already seen it, do so again.
You might be wondering whether television drama has been having an identity crisis over the past few years, or if society is just becoming increasingly entertained with dark, bleak cynicism.
Following up a successful debut album is an incredibly difficult task. The best artists have used their sophomore effort as an expansion on the characteristic sound they established on their debut.
In the photoshoots promoting her new album, Angel Olsen reportedly gave one directive to her publicists: no trees. For an artist whose name is typically accompanied by words like “earthy” and “folksy,” distancing herself from nature, like many of the aesthetic choices of “My Woman,” is emblematic of a transformation in Olsen’s career. However, to toss off “My Woman” as merely a coming-out party would be to minimize both the depth of its emotional core and its continuity with her previous work.
While West Union looks sleek and fancy, much of the food made there is aesthetic as well. But does West Union food taste as good as it looks?
It’s an easy pun, but “AIM,” the latest and possibly last album by the Sri Lankan pop provocateur M.I.A., is a little aimless.
2016 is a strange time to be Ms. Britney Jean Spears. It’s the seventeenth year of a storied career, the turbulent likes of which haven’t yet been replicated in the twenty-first century.
The Duke Common Experience is one almost every student has endured; it is common, after all. This year’s common experience was “Just Mercy” by Bryan Stevenson, an emotional novel about the author’s experiences working as a lawyer with underprivileged people on death row.
Instead of following up 2012’s “channel ORANGE” with another concept masterpiece, Frank Ocean opted for something simpler—and better—with his new album, “Blonde.” The scope of “Blonde” is far more intimate than that of “channel ORANGE,” which touched on themes ranging from Ocean’s bisexuality to race and class divides to prostitution to drug abuse. “Blonde” instead focuses, for the most part, on Ocean’s feelings following a breakup with a person whose gender is intentionally obscured by a lack of pronouns, and feels much more personal, an impressive feat considering the emotion poured into every track on his previous effort. The album opens with “Nikes,” which is easily the track least focused on the album’s general theme of love. A cold critique of the trappings of wealth and those who wish to take advantage of Ocean’s success, the tune features Ocean’s pitched-up voice singing a rambling verse over a hazy trap beat.
Dreading the start of classes on Monday? Can’t wait to reunite with friends you haven’t seen in months? Whatever your feelings about the new school year, Recess has a grade A playlist guaranteed to get you through endless hours in Perkins.
With their second full-length LP “SremmLife 2,” rap duo Rae Sremmurd—who performed at Duke’s Last Day of Classes concert April—proves that their brand of poppy, party rap is not limited to the catchy hooks which characterized their earlier work. The Atlanta natives received relative acclaim for their debut “SremmLife,” with critics praising the pair’s energy and distinctly unabashed approach to writing bars for parties.
“Green Party in the HOOOOUUUUUUSSSSSEEEEE!!” As I sat in the front row of a small auditorium in the University of Houston’s student center, it did not occur to me that David Cobb, the loud, bald, bespectacled emcee who spoke with a charming southern twang, had once received more than 100,000 votes in a campaign for president of the United States.
Ever since media has existed, so has media bias; the two go hand-in-hand.
Last week, the third season of the Netflix original series “BoJack Horseman” was released, continuing the chronicle of the show’s titular character BoJack Horseman.
