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(02/04/14 6:48am)
Broken Bells’ After the Disco is fun and enjoyable. However, people will lose interest once more daring, impressive works come out later in the year. The Shins’ frontman, James Mercer, employs his usual melodramatic lyrics and folk-twang while Danger Mouse produces more modern percussion and synths in order to give the album its own original, pop vibe. The album feels similar to the first Broken Bells album, but with a more polished and upbeat sound. A safe, enjoyable effort, After the Disco instills Mercer or Danger Mouse’s ability to make music that satisfies their existing fan base.
(01/27/14 8:12am)
Metallica and Lang Lang
(01/27/14 7:59am)
Record of the Year
(01/27/14 7:27am)
(01/27/14 7:26am)
During my prepubescent years, before I realized the inherent atrocities of consuming prescribed mass media and celebrity garbage, The Grammys meant something to me. Mostly because my mom would make kettle corn. Damn, I love kettle corn.
(01/23/14 3:53am)
Tom Brosseau’s latest release Grass Punks is everything that a folk album spanning thirty minutes should be. It isn’t exactly ground-breaking, it isn’t exactly “favorite album” material, but it is definitely worth a listen for anyone interested in folk.
(01/23/14 1:20am)
If you are an advocate of repetitive keyboard riffs, droning drumbeats and endless guitar solos, Mogwai’s Rave Tapes is for you.
(01/21/14 7:24am)
With the start of the so-called “spring” semester (though calling it spring is just cruel as it doesn’t feel like spring until at least April), there are plenty of music options—both live and recorded—for you to check out this mid-winter semester.
(01/21/14 6:51am)
This is Laura Jane Grace’s first Against Me! album as her new self. In turn, Transgender Dysphoria Blues feels less like a rebirth of the more-than-a-decade-old alternative/punk band, and more of a statement to fans that Against Me! is still the rebellious and vocal punk band of their early years. The only difference is frontwoman Laura Grace has found a new identity and would like to share how it affected her growing up in Gainesville, Florida.
(12/09/13 11:30am)
1. Kanye West—Yeezus
(12/06/13 5:52am)
Let me start off by saying that hardcore punk is not my favorite genre. In fact, according to Black Flag’s rendition of it on their new album What The…, hardcore punk is most likely the worst genre ever created.
(11/21/13 6:50am)
Nineteen-year-old Jake Bugg wowed the U.K. with his self-titled debut album in late 2012, but the indie grassroots rocker didn’t have as much success in the U.S. when he released the album here in April 2013. The most publicity he’s gotten in the States has probably been his recent Twitter throw-down with the pop sensation boys of One Direction, where he (being the angsty British punk he is) publicly insulted their musical abilities. They got really upset and he got absolutely butchered by teenage girls and the media. But, despite being number one on U.K. charts and no higher than 75 on the U.S. billboard charts, Jake Bugg decided to make a move to California and record his sophomore album, Shangri La (named after the Malibu studio where it was recorded), with American producer Rick Rubin.
(11/21/13 6:47am)
Gather ‘round folks, and I shall spin you a yarn. It’s a mighty tale that I’ve to tell. A tale of men. A tale of movies. A tale standing taller than the mightiest oak in the forest. A legend, more accurately—a legend about roller disco.
(11/18/13 5:46am)
I recently read Death Grips’ now almost year-old interview with Pitchfork in which drummer and noise auteur Zach Hill demystified the big throbbing member on the cover of No Love Deep Web—which, at the time and considering the circumstances, seemed more like a giant and peevishly immature “fuck you” to Epic Records. “It really has to do with acceleration—culturally, on a world level—of sexuality in general, and getting past homophobia,” Hill said. “People should be able to look deeper into something rather than just seeing some dick. It’s also a spiritual thing; it’s fearlessness.”
(11/11/13 4:59am)
Less Than Jake are like the more serious Reel Big Fish. Well, they are on their new album See the Light, at least. It’s hard to imagine that the same band that was featured on the “Good Burger” soundtrack for a song entitled “We’re All Dudes” is the band that created See the Light. Less Than Jake’s music is generally known for its fast tempo and genre fusion. Like Reel Big Fish, Less Than Jake mixes electric guitar with wind instruments such as the trumpet, trombone and saxophone. While Less Than Jake digs a little deeper on this album than any of their nine full-length studio albums, the band demonstrates absolutely no versatility on See the Light.
(11/05/13 7:09am)
When Avril Lavigne opens her self-titled new album, she proclaims “We’re still Rock ’n’ Roll.” While this might be a great way to start off an album, weaving her familiar pop hooks and rough guitar sounds into an all around rock album, this proclamation falls flat.
(11/01/13 5:34am)
FIDLAR is currently on tour with The Orwells and have a show coming up in Madison at the High Noon Saloon next Friday, Nov. 1. The Daily Cardinal got the chance to catch up with the drummer, Max Kuehn while they were on the road “drivin’ around in Salem, Massachusetts.”
(10/29/13 4:25am)
Arcade Fire is not a terrible band. There, I’ve said it. It’s not just the post-post-(post?)-irony speaking up in me either—I legitimately think, for all their cloying earnestness, poached influences and downright dumb lyricism, there’s a golden band buried somewhere deep under all the pseudo-intellectualism and indier-than-thou posturing. Funeral is proof; even now, some nine years later, it still mostly rings true, thanks largely to the now distinctly non-Arcade Fire lack of polish, as well as nostalgia that wanes on the far side of preachy. Maybe it’s just that death is a less furtive muse than how lame the suburbs are or, god forbid, the Bush administration.
(10/28/13 4:43am)
It was not the news I was expecting to wake up to Sunday morning: Lou Reed dies at 71.
(10/18/13 3:16am)
It’s a general rule that an artist grows and evolves as they get on in age. A tenth album almost never sounds like the debut – and this is almost always for the better. I mean, we wouldn’t want our bands stuck in some perpetual stage of angst, would we? Especially not if their members are well into their forties. Pearl Jam is no exception. Lightning Bolt, their most recent album, is definitely an evolution from the oxymoronic grunge anthems of 1991’s Ten.
