Use the fields below to perform an advanced search of The Chronicle's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
49 items found for your search. If no results were found please broaden your search.
Prior to coming to Duke, you may or may not have scoured through college review websites, YouTube videos, blogs and so on to get the most questionable information on your soon-to-be alma mater. After sifting through the Internet and listening to what all your friends had to say about the Gothic Wonderland, you were probably left with a skewed vision of this place. I’m here to un-skew it.
The Sept. 21 execution of Troy Davis sparked an international outcry.
Remember when school used to be fun? Okay, remember when school wasn’t absolutely dreadful?
Duke's close football victory (20-19) against Boston College surprised many Duke students. The Chronicle's Andrew Karim asked Dukies what they thought of the elusive win.
Sophia Palenberg/The Chronicle
If anyone knows how to get over a breakup, it’s Jens Lekman.
Last spring Britt Daniel of Spoon, Dan Boeckner of Wolf Parade and Sam Brown of New Bomb Turks teamed up to form Divine Fits. Lots of critics have been going back and forth talking about whether or not this is a ‘supergroup’ but, if it’s all right, I’m happy to skip that part. Supergroup or not, they’re damn good musicians and the Los Angeles-via-Montreal electronic-rock group already has a solid debut album to show for it.
Sigur Rós front man Jón “Jónsi” Birgisson has altered the group’s sound with each album since 1997’s "Von." His solo debut Go featured more upbeat, marketable tracks (some even sung in English). Though Sigur Rós is known for their nondirectional song structure, 2008’s Med sud í eyrum vid spilum endalaust departed stylistically by utilizing the recognizable verse-chorus-bridge song structure. The Icelandic band’s latest album Valtari returns to their non-linear style with its long, slow-paced verses and gloomy, toned-down choruses.
For an album titled Cynic’s New Year, Horse Feathers’ latest release shouldn’t be this uplifting—I blame the banjo.
Alabama Shakes had made their way into just about every music blog’s pet list long before Boys & Girls debuted on Tuesday. Despite praise from the likes of NPR and Jack White, I wrote them off as the latest addition to the list of next big things, thinking they would milk their 15 minutes before seeping into last year’s hype archive. In retrospect, though, that was an overstep. This record constitutes one the year’s most promising premieres from a young artist.
Saba Barnard’s Technicolor Muslimah, now on view at the Carrack Modern Art, is a series of 12 portraits portraying Muslim women as she sees them. A response to contemporary representations of Muslim women as “exotic,” “oppressed” or “other,” Barnard’s collection sheds light on her own perception of what it means to be a Muslim woman in America.
Chamber pop groups seem to come in bulk these days. Lost in the Trees’ latest release, A Church That Fits Our Needs, arrives at a crucial time in their genre, which is witnessing unprecedented growth.
What’s to be anticipated from Bowerbirds’ third LP The Clearing? It has become common to expect bands to follow the all-too-familiar trajectory of releasing an exceptional debut, a disappointing sophomore record and a redemptive follow up. But this model doesn’t apply to Bowerbirds.
With 2009’s Reservoir, London-based Fanfarlo invigorated a well-worn sound with powerful narratives delivered through symphonic ballads. Their cult following evolved after signing with Atlantic, a deal that gave Reservoir a major-label re-release and Fanfarlo a serious recording budget. It’s been put to good use: with their sophomore effort Rooms Filled With Light, they have equalled (or surpassed) their rep-launching debut.
Damien Jurado’s “Maraqopa” put me to sleep, but at first I wasn’t sure if I could attribute this to the album’s monotony. It had been a long Sunday, and I had taken a hefty dose of cold medicine without reading the “suggested use” part of the directions—they were in French and I barely made it through 63.
What is it about Montreal that fosters good music? With the exception of Simple Plan (let’s pretend that never happened), the city has a history of cranking out gems like it’s New York City. Islands, a 6-piece indie pop group founded by Nicholas Thorburn (formerly of the Unicorns), is no exception. A Sleep and A Forgetting is an eclectic collection of road-trippy cuts that speak to loss. Yeah, this is a break-up album, but it’s not whiny by any means—I think we’ve had our fill of that. Thanks, Adele.
Nicolas Godin and Jean-Benoit Dunckel, a.k.a. Air, were both born in 1969, but something tells me they missed that moon landing thing.
Since the 2010 release of Shut Up, Dude and Sit Down, Man, Brooklyn-based Das Racist, have been dubbed “alternative hip-hop” by the masses for their pseudo-serious tone, conversational verses and cultural references. They’re situated smartly in a territory less self-serious than backpack or “indie” rap, with playful nods to traditional gangster and party rap. Members Heems (Himanshu Suri) and Kool A.D. (Victor Vasquez) have made a name for themselves in the rap world, and their respective mixtapes complement their repertoire of so-called “new Kool G rap”—some 21st century s***, whatever it is.
Robin Thicke attempts to reinvent his signature soulful sound in Love After War with a number of tries at nuanced theatricality, but with the exception of a few tracks, the album doesn’t depart much from 2009’s Sex Therapy.
Expanding financial aid beyond lower income thresholds is drawing criticism from education experts.
