Toro Y Moi's Chaz Bundick is a rising star in the music world with two albums set to be released in 2010. He talks about his music and his current tourmates Jemina Pearl and Islands.
Banhart's seventh album finds the freak-folk artist in a period of transition.
The raddest part of this album is the cover art, and it’s got as much ’tude as Hannah Montana’s latest.
Anticon genre-bender Yoni Wolf defies the odds with all his music. Here, he talks about songwriting, kinship and more.
The New Moon sountrack feels just as fake as Kristen Stewart’s acting.
The Hood Internet are playing at Raleigh's Cherry Bounce festival. Steve Reidell, one half of the mash-up duo, dishes on his art.
The Real Feel only confirms that Kannberg’s grip on the direction of his genre is slipping.
Logos is an exploration above all else, interesting and impressive enough to get away with the occasional meandering.
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.
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.”
Internationally renowned piano virtuoso Murray Perahia, a recent honorary degree recipient from Duke, is coming to Page Auditorium for a one-night only stint with Duke Performances.
A lot of the songs, though often beautiful and usually masterfully crafted, don’t pass muster on their own, instead serving as the film’s emotional reinforcement.
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.
“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.
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.
The xx aren’t trying too hard, and that might be the most refreshing part of their eponymous debut.
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.
Goodnight Unknown will not disappoint Barlow fans familiar with his particular style. It meets expectations as an improvement on Emoh but only perpetuates the routine instead of breaking from it.
Leaving behind contemporaries, such as Rhett Miller and the Old 97’s, the Avett Brothers have outdone themselves.
Taking the reins of a jazz band numbering over a dozen musicians is challenging enough. But Marshall Allen faced a unique obstacle after eventually replacing the deceased Sun Ra as director of his...
