Conor Oberst has had a rough few years. Since his last release in 2014, the soft-spoken singer has weathered the storm of a false rape accusation and the diagnosis of a cyst in his brain.
Few filmmakers are able to convey the unaddressed tensions and subtle miseries of ordinary life as seamlessly as Kelly Reichardt.
Pensive, uplifting and hopeful for the future, Jamie Lidell’s latest album, “Building a Beginning,” showcases the singer’s versatility and willingness to experiment.
It has been quite a year for Jayceon Terrell Taylor, more commonly known by his stage name, The Game.
Following their 2014 tour, Irish indie band Two Door Cinema Club took an 18-month hiatus, essentially disappearing from the music world.
2K Games’ latest entry into the Mafia franchise has problems on the Xbox One — a lot of problems.
Nate Parker’s “The Birth of a Nation” opens around a fire. Around the fire sits a group of slaves cloaked in a thick blue light and spectral dust. The elder of the circle exhorts the slaves to follow young Nat Turner, who carried a birthmark deemed auspicious by ancient African tradition.
Filled with mystery, lust, obsession, alcohol-fueled passions and self-destruction, “The Girl on the Train” is a film that brings Paula Hawkins’ critically acclaimed novel to the screens.
In the eighth song of OneRepublic’s fourth studio album, “Oh My My,” lead singer Ryan Tedder sings, “everybody goes through moments of losing their clarity / at least I’m never boring.” And these lines actually describe the band’s entire new album.
Pop-punk is no longer relegated to the realm of teen angst. Coming off the heels of acclaimed 2014 third album, “Never Hungover Again,” Joyce Manor’s latest release finds the band moving past adolescence and into arrested development.
Shakespeare can be difficult to understand, but the actors of the Drama Department’s fall show, “The Comedy of Errors,” made following the play’s plot easy.
Ever since their humble beginnings in a crusty garage in Ohio, the members of Guided by Voices have strived for the grandiose. This is why it made total sense when lead singer Robert Pollard promised to play 50 songs before the set was over last Friday at the Jefferson Theater.
While we see new perspectives in this episode, there is almost a sense of stagnation with regards to the events of the pilot. Yes, the show does move the story forward, but the central characters from the first episode take a backseat here.
Two years ago, Banks snuck onto the scene with the release of her first full album “Goddess.” On “Goddess,” the singer established her distinctive style, marked by dark, rhythmic house beats, melancholic lyrics and melodically gritty croons.
Last year’s “Lice” EP, a 15-minute collaboration project between Aesop Rock and Homeboy Sandman, was a sign of things to come.
One powerful but simple secret allows Marvel Studios to stay in the forefront of modern entertainment — its larger than life stories appeal to a wide variety of audiences.
Apollo Brown is the London Perrantes of Hip-Hop. Perrantes is insanely talented, knows how to work as a team and gives his teammates great opportunities to deliver a slam.
The loose, slinky instrumental of “Atrocity Exhibition’s” opener, “Downward Spiral,” is as disorienting as it is revealing.
In her third full studio album, Solange offers a refreshingly intimate, yet powerful take on identity and blackness in America.
In spite of what their name suggests, The Growlers’ sound is more suave than snarly. Their fifth studio album, “City Club,” continues the retro-inspired energy of their last release, 2014’s “Chinese Fountain,” but cranks it up to 11.
