To listen to Waka Flocka Flame’s debut album is to experience a new genre of music: guncore.
Senior Edie Wellman knows what it means to live life on the edge—or over it, in this case.
For a while, it appeared that KT Tunstall was going to be yet another busker with a record deal (albeit a highly talented one).
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.