After a tumultuous period that saw the resignation of bassist Carlos Dengler, a canceled headline tour and a label switch, New York City’s Interpol looks to find some security on their latest self-titled release.
Through brilliant songcraft and production, Atmosphere’s “To All My Friends, Blood Makes the Blade Holy,” reflects their status as one of the more recognizable rap acts for today’s college audience.
British shoegaze newcomers The Domino State have already exploded onto the U.K. music scene. The band recently unleashed their debut album, “Uneasy Lies the Crown,” and has made Britain its oyster with its we-shall-overcome mantras.
Following the abrupt termination of the garage-rock band Louis XIV, guitarist Brian Karscig tried his hand at record production. Before long, Karscig felt the need to be back on the other side of the studio mic and The Nervous Wreckords were born. Last week, the band released their debut LP, “Valuminium,” which treats listeners to a delightfully potent musical drug.
Sufjan Stevens’ “All Delighted People” stays true to his classic style yet still provides new material for those fans who have been craving something different.
Many expected Ra Ra Riot to craft a defining sophomore album that would overcome the “college rock” label that had been given to the starry-eyed pop-rock dreamers. “The Orchard” heralds this graduation. These kids are all grown up, but they still know how to have a good time.
Arcade Fire had an impossible task to face for its third studio album “The Suburbs.” In the last decade, the band released both a flawless, game-changing debut and an incredible sophomore
album. How could any band possibly live up to the hype and expectations generated by its first two records? By all accounts, “The Suburbs” should be terrible. Arcade Fire more than lived up to the challenge with the next addition to its near-perfect discography.
