A major debut for Major and the Monbacks
The eight-piece rock ‘n’ roll band known as Major and the Monbacks, featuring U.Va. alum Cole Friedman, his twin brother Neal and several other Norfolk natives, offers a sound reminiscent of 1960s rock.
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The eight-piece rock ‘n’ roll band known as Major and the Monbacks, featuring U.Va. alum Cole Friedman, his twin brother Neal and several other Norfolk natives, offers a sound reminiscent of 1960s rock.
Indie-rockers Modest Mouse released their newest album, “Strangers to Ourselves,” following an eight-year gap from their last studio album, “We Were Dead Before the Ship Even Sank.” Over the course of six albums, Modest Mouse has established itself as a constantly changing band. Their first few albums were jagged, brilliantly-crafted alternative gems that helped define the generation of indie rock musicians who followed in the group’s footsteps. With the releases of 2004’s “Good News for People Who Love Bad News” and 2007’s “We Were Dead…,” their sound remained unique, but tinged with radio-friendly pop aesthetics.
Stephen Malkmus, former lead singer and guitarist of Pavement, is at it again with his new album “Wig Out At Jagbags.” Frequently cited as one of the most influential indie bands of the ‘90s, Pavement was formed by three University graduates in the early 1990s and went on to release five incredible albums. Since Pavement’s disbandment in 1999, Malkmus has released six albums with his solo vessel, The Jicks. Though Malkmus’ work with The Jicks sounds quite different than the sound found on his noise-laden lo-fi Pavement masterpieces “Slanted and Enchanted” and “Crooked Rain, Crooked Rain,” Malkmus has consistently been able to churn out indie-rock gems without the rest of Pavement.
For fans of Midlake, their newest release “Antiphon” may not feel too familiar. Following the departure of lead singer and lyricist Tim Smith, the group has transformed its once recognizable indie folk sound into a progressive rock style more reminiscent Pink Floyd.
Arcade Fire’s follow up to the Grammy Award-winning 2010 album “The Suburbs” turned out much different than expected — at least for me. Given their previous albums “Funeral,” “Neon Bible,” and “The Suburbs,” I anticipated grandiose indie rock anthems streaming from my stereo system; not the dreamy haze of funky beats and intense sound effects that characterizes “Reflektor.” But I wouldn’t say this album was a downgrade — the euphoric tone provides a new depth to Arcade Fire’s typical repertoire.