The independent news organization of Duke University
The essence of Ed O'Brien's debut solo album “Earth” is reaching your purest self by getting lost in music, nature and the people around you.
“3.15.2020,” the fourth album by Childish Gambino, addresses the same fears that “Awaken, My Love!” did, but the approach couldn’t be more different.
Whether he’s experimenting with psychedelic rock, folktronica or house, Caribou makes music that is, above all else, fun.
On “The Slow Rush,” Kevin Parker’s fourth album as Tame Impala, he faces the idea of eternity head-on.
Coldplay’s first two albums played constantly in my dad’s car when I was a kid.
Earlier this year, Big Thief transported us to the lush mountain greenery of rural Washington.
The cycles of nature and ego are one and the same in the world of Bon Iver. So when the trailer for “i,i” likens the record to the arrival of autumn, we can just as well interpret the album as the completion of a long personal journey.
What’s most shocking about “Anima,” Thom Yorke’s third solo album, is that it really doesn’t try anything new.
The problem with “Doom Days” is that Bastille seems to have forgotten that playing to your strengths and taking risks are not mutually exclusive, and the result is a collection of almost entirely uninteresting songs.
It’s not often that an artist follows a song as big as “Take Me To Church” with four years of relative silence. Sure, Hozier toured extensively in the years following his breakout in 2014, but fans of the Irish multi-instrumentalist had to wait until 2018 for another release.