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Cloud Nothings storm back on their third LP Attack on Memory with a renewed sound and musical swagger that belies lead member Dylan Baldi’s sole 20 years of existence. A clear departure from their previous effort’s jangly, sprightly garage punk, the band suffuses their instruments with the heavy soul of Black Sabbath and a lyrical tightness intentionally akin to the seminal punk band the Wipers.
Best known for their triumphant 2009 single “Dominos,” the Big Pink return with their second LP, Future This. On their sophomore effort, the British duo takes their sound and subject matter to a new level of positivity. Even so, Robbie Furze and Milo Cordell never stray far from their poppy electro-rock and create a marginally more varied album that struggles to revitalize the band, an imperative for a British rock band that wants to stand out among its numerous peers.
With their debut album Astro Coast early last year, Surfer Blood broke into indie rock consciousness and made waves with a prolific world tour during the past year alongside groups like the Drums and Pains of Being Pure at Heart.
For the first time in history, works by three Duke faculty members appeared side-by-side at last weekend’s installment of the New York Film Festival.
An aesthetic reminiscent of In Bruges, a heavy dose of Irish nihilism and a finely balanced comedic tone black enough to make the Coen Brothers scream copyright infringement. All of these characterize John McDonagh’s first feature-length foray into directing. From the first scene of The Guard—where Sergeant Gerry Boyle, played by the underrated and always entertaining Brendon Gleeson, steals and then pops a tab of acid he got from the victims of a car crash he is supposed to be policing—the audience is set up for a ride riddled with the unexpected.
Establishing a consistently pleasing aesthetic treatment of your band’s sound is never easy, especially for LP number seven. Death Cab for Cutie has resolved to “mature” their sound—forlorn frontman and lyricist Ben Gibbard married Zooey Deschanel since their last album, after all—by expanding their use of electronic textures.
Coming off his critically acclaimed debut feature-film Moon, Duncan Jones thrust himself into the cinematic landscape as one of the new brilliant directorial minds in the science fiction genre. Laden with the onus of such lofty expectations, his second feature, Source Code does not disappoint.
Duke basketball in Cameron Indoor: It’s what every sports-conscious Duke student loves. But to documentary filmmaker Gary Hawkins, a son asking his father why the people in the bleachers painted their faces blue is just as interesting as Nolan Smith shouting out a set play to his teammates.
