As contemporary culture reappropriates the once-slandered ’80s, La Roux’s debut is an unashamed announcement of her and its arrival.
The duo is playfully aware of genre shtick and the chances that they’d be incorrectly labeled “proto”-something or other—instead, they’re delightfully “Post-Nothing.”
Back at the start of the research that led to The Jazz Loft Project, “13 years later” was not a part of the plan. Sam Stephenson didn’t know—couldn’t have known—that his investigation into the...
The majority of the album is fast-paced and intense, and this is where Florence shines
Bitte Orca proclaims that Dirty Projectors don’t need a unifying, rebellious aesthetic to blow the lid off of modern music.
Nothing since Arcade Fire’s Funeral has been as thematically engaging, but even that feels impersonal and unfocused by comparison.
At the Dec. 9 orchestral performance at Reynolds Industries Theater, ushers will hand out crayons and sing-a-longs will commence, and the audience will be encouraged to keep their phones on to...
Mayer’s fourth studio release, Battle Studies, is consistent with his previous works, replete with his unimpressive vocals and ridiculously repetitive lyrics.
Will Hackney and Martin Anderson, the heads of Trekky Records, love Christmas and community. It's something that becomes apparent with each iteration of the annual Christmas at the Cradle, this...