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(10/14/20 11:45pm)
On the morning of Oct. 8, the 33rd annual Virginia Film Festival released its program list for 2020, consisting of an abundance of events in both virtual and drive-in formats. The festival will be presented on its originally scheduled dates, Oct. 21 to 25, and features a diverse offering of feature-length, documentary and short films along with panel discussions, Q&As, and a series of conversations with today’s top film artists. Notably, more than half of the filmmakers, experts and guests in this year’s festival are women or represent Black, Indigenous or people of color communities.
(10/04/20 4:34am)
With each Sufjan Stevens release, one can expect a few given qualities — deeply personal songwriting, flawless production and highly conceptual experimentation. Looking at his discography, which spans for nearly 20 years, it’s quite clear Stevens has transformed his sound extensively. The last decade has indicated a massive change in Stevens’ music, shifting from his positive, indie-folk beginnings to a more reflective and inward disposition. On “The Ascension,” released Sept. 25, Stevens is richly intimate and careful with each and every one of his words, pondering the world and his faith with an ambitious perspective. His second release of 2020, this record has Stevens at his prime — a visceral, electronic album that feels appropriate for all of the insanity this year has brought.
(08/25/20 1:41am)
Throughout his seasoned, fulfilling yet entirely too short life, David Berman touched countless lives across the world. A songwriter, musician, cartoonist, author, poet and U.Va. graduate, Berman tragically passed away on Aug. 7, 2019, just weeks after releasing an exceptional self-titled album with the group Purple Mountains.
(03/03/20 4:56am)
In 2017, Archy Marshall — the man behind the King Krule project — released “The OOZ.” In doing so, he pronounced himself as one of the most perceptive and challenging songwriters of his generation. “The OOZ” was confessional, vicarious and more refined than any of Marshall’s previous work, offering listeners a corrosive look into the London-based artist’s existence. Since this album, fans across the world have yearned for more music, only to learn that Marshall and his partner, photographer Charlotte Patmore, had a child together in March 2019. With all of this culminating in the background, Marshall released “Man Alive!” Feb. 21, an existential follow-up filled with dark thoughts, gloomy instrumentation and Marshall’s irresistible vocals. Though the new album may not reach the same heights as “The OOZ,” Marshall sounds at one with himself, and his tone is more confident and self-assured.
(02/14/20 6:19am)
Last year proved to be an exciting one for Chilean-American artist Nicolas Jaar, having scored the soundtrack for Pablo Larraín's latest film, co-produced FKA twigs' album “Magdalene” and debuted a collaboration with Patrick Higgins. Yet even after all of these accomplishments, Jaar shows no point of stopping. Regarded as one of the best electronic artists of the last decade, Jaar broke into 2020 with his newest project “2017-2019” under the alternate moniker Against All Logic — or A.A.L. — Feb. 7. The album follows the 2018 release of his critically acclaimed “2012-2017,” which was a fun record filled with disco and house grooves that shocked the indie music world. “2017-2019” serves as a contemporary continuation and a more emphatic notion of electronic music’s capacities, particularly in the way it combines elements of old-school rave and trance with industrial techno and house.
(04/30/19 12:18am)
After last year’s performance by Anderson .Paak & The Free Nationals for the University Programs Council’s Springfest, it’s safe to say that students were anticipating a concert of the same caliber. Grammy-nominated singer-songwriter and R&B artist Daniel Caesar headlined this year’s Springfest Friday night, bringing his wonderfully soulful music to Grounds. Though inclement weather forced the UPC to hold the concert inside Memorial Gymnasium instead of the Amphitheater, the atmosphere of the show remained unchanged, and students were serenaded by Caesar’s amazing musical talent.
(04/24/19 1:55am)
Psychedelic music has come a long way since its origins in the ‘60s. In the present day, more and more artists have infused psychedelia into other genres such as hip-hop or pop, creating the same state of trance once captured by artists such as the Beatles or Steely Dan but in different ways that may not fully be considered psychedelic. On his sophomore effort “Raw Honey,” released April 19, Michael Collins — aka Drugdealer — returns with a blast of modern pop and classic psychedelia that resembles a tribute to the past.
(03/05/19 3:35am)
Pond, the Australian psychedelic rock band that’s typically been labeled as a Tame Impala sound-alike, has always appeared to be on the verge of finding their signature sound. The band certainly doesn’t keep their listeners waiting — since their founding in 2008, they have released eight albums. Each release indicates a leap from different styles and influences, ranging from garage rock to glam rock to psychedelic pop. On their latest release — which came out March 1 — Pond has once again landed in new territory. “Tasmania” is without a doubt their poppiest effort yet, which is a vast change from the more intense psych/garage rock embedded in their older albums.
(01/15/19 3:53am)
In “Nowhere2go,” a pre-released single off of Earl Sweatshirt’s newest record, the rapper says “tryna refine this s—t, I redefined myself / First I had to find it.” Between a long battle with depression and anxiety, as well as the death of his father, uncle and close friend and collaborator Mac Miller, the past three years have been particularly hard for Thebe Kgositsile, the 24-year-old artist who goes by the name Earl Sweatshirt. Amidst all the personal struggles Earl had gone through between the release of his critically-acclaimed album “I Don’t Like S—t, I Don’t Go Outside,” and late 2018, he still found the time to work on his music. In “Some Rap Songs,” the long-awaited album which dropped Nov. 30, Earl has managed to distinctly redefine his sound. This shift charts a transformation from the provocative lyrics and simple production of his debut mixtape “Earl” — impressively released when he was just 16 years old — to the experimental production and emotional lyrics of his return to music with his newest release.
(10/29/18 4:42am)
Over the course of their discography, garage rock band Cloud Nothings has experimented with numerous producers to create different variations of their sound. After tuning down their typical thrashing forces and focusing on a quieter, introspective view on last year’s “Life Without Sound,” the band returns to form in their latest album, “Last Building Burning,” in an aggressively energetic manner.
(09/27/18 11:36pm)
After their 2016 release, “Cody,” there was never any doubt that Joyce Manor would continue to evolve their sound to be more poppy and mainstream. Their fifth LP, “Million Dollars to Kill Me,” is exactly what to expect from the California four-piece punk group — an album that indicates a full-fledged transition similar to that of Weezer’s discography. This change in music is easy to miss considering the fact that almost all of their releases are short, sweet and energetic. Their fifth album sees the band at their most practical pop rock — but also at their most mature. Though many fans will miss the reckless and youthful style that was so incredibly addictive in their earlier music, it would be quite strange if the band did not move on from their initial teenage exuberance.
(07/27/18 4:44am)
Since its birth, experimental group Death Grips has released numerous projects with incredibly odd and obscure intentions. Each album seems to have its own unique sound, with the band slowly changing shape throughout their discography. Its newest record, “Year of the Snitch,” is one where the group’s sound opens up into foreign grounds. Listeners can expect the same chaotic noise the band is associated with, but each song tends to expand on various aspects of the music. Hooks are extended, vocals have eccentric highs and lows and drummer Zach Hill’s incredible talent is amplified tenfold.
(05/01/18 4:19am)
For anyone who didn’t get to experience the wonderful event that was Friday’s SpringFest, here’s a quick depiction of what went down — a cloudless blue sky, arguably the best weather of the semester and an abundance of good eats and activities. These pleasant elements set the scene for the festival’s main event — Anderson .Paak & The Free Nationals’ nighttime concert. Held at the Amphitheatre, .Paak and crew had an exciting and wonderful charisma, making for an excellent conclusion to the University Programs Council’s event.
(03/21/18 4:51am)
For a veteran band like the Decemberists, “I’ll Be Your Girl” is quite a disappointment. The Portland joint has always produced an excellent combination of clever lyrics, enticing melodies and a vibrant indie folk sensibility. Sadly, their latest album, released last week, possesses none of that intellectual and colorful charm. On the surface “I’ll Be Your Girl” still sounds like a Decemberists record — with a tad more synth influence this time around — but the new influences that are introduced fail to create a lasting impact, and the album falls into a monotonous rut.
(03/13/18 1:53am)
Ten songs, an hour and 11 minutes of playtime and an unbelievable variety of emotion, wit and musical talent. That’s what Car Seat Headrest has given us in their newest record, “Twin Fantasy (Face to Face).’’ A re-release from Will Toledo’s 2011 solo project with the same title — recently changed to “Twin Fantasy (Mirror to Mirror)” after the 2018 version was released — their new reboot matches its predecessor’s excellent tone and passion while topping on invigorating production value and a newfound innovation. Some of these innovations include spoken-word samples at ends of tracks, reworked melodies and clearer vocals. The band indicates its willingness to stand out from the crowd and try new things.
(01/19/18 2:51am)
It’s quite uncommon for a band to post a debut record that lives up to the hype and shows great promise. For Shame, the young five-piece post-punk group based out of South London, all expectations were met. Their first release, “Songs of Praise,” immediately sets 2018 off on a good start as an album consisting of 38 minutes filled with ranging emotions and innovation. The band brings back reminiscent sounds of 1980s punk (with admitted influences of Iggy and the Stooges and The Fall) while combining them with the newer wave punk bands like FIDLAR and The Drums. It results in a surprisingly excellent record.
(11/26/17 1:53am)
On Nov. 18, Modest Mouse’s breakthrough album “The Lonesome Crowded West” celebrated its 20th anniversary. The record is frequently overshadowed by its follow-ups, like the indie rock band’s major label debut “The Moon & Antarctica” and the immensely popular “Good News For People Who Love Bad News.” While those albums are merit-worthy in their own way, they unfortunately conceal the shine of “The Lonesome Crowded West” — a stunning classic in its own right.
(10/27/17 3:29am)
Just five months after his previous group The New Pornographers released their own comeback album, Dan Bejar, the mastermind behind Destroyer, has come out with another extravagant and captivating record titled “ken.” Under the name Destroyer, Bejar hasn't put out one bad album in the past 20 years. His music is filled with atmospheric synths, a heap of pleasurable instrumentation, and rambling lyrics that leave the listener with a crossover of ‘80s post-punk and modern day indie rock. This mixture is always enjoyable, and “ken” continues to prove that Bejar is one of the most talented musicians of our time.
(09/24/17 7:06pm)
After already proving himself as one of the most innovative and daring hip-hop artists of the last few years through a series of impressive LPs and EPs, it is no surprise Open Mike Eagle has continued the trend of putting out excellent music with his latest album “Brick Body Kids Still Daydream.” Eagle, a 36 year-old originally from the south side of Chicago, is one of the few artists who now classifies himself as an “art rapper.”