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.
Zombieland: take Transformers, dial down the Michael Bay, sub in zombies, strip out the main plot, sprinkle in a faux Michael Cera, throw in a redneck.
One gets the impression that Gottesman’s documentation of Alemu’s life both facilitates and captures her shifting subjectivity.
Boasting a diverse and eclectic array of rising artists, organizations and downtown entrepreneurs, Carrboro is already well known as a hub for underground art and music scenes.
The circumstances vary. Everyone asks the same questions. But the past is unavoidable, bringing out the worst in the best of us.
David Gatten and Shambhavi Kaul both premiered short films at the New York Film Festival, both in the avant-garde section of programming.
“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.
Nocturnes, Kazuo Ishiguro’s latest book, is literature imbued with all the beauty of a Chopin composition.
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.
A self-indulgent writer, Gervais soon may be likened to Woody Allen in that they write of beautiful women falling in love with unattractive and poor yet witty men
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.
