Death Cab for Cutie’s eighth studio album “Kintsugi” truly emanates the Japanese art it is aptly named after — the reparation of broken pottery with a lacquer mixed with precious metals, which ironically makes the broken object more valuable than fully intact ceramics.
Vocalist Danny Worsnop left metalcore group Asking Alexandria and formed an ‘80s rock band to preach motifs of fornication, ogling and countless other taboos into the ears of scene kids worldwide.
“American Candy,” the Maine’s fifth and latest album, is just as decadent as the Arizona-natives’ previous work.
MTV’s breakout summer hit “Finding Carter” returns right where the season one finale left off — Carter Stevens (Kathryn Prescott) has been abducted yet again by Lori Stevens (Milena Govich), who is fervently determined to resurrect the life that she had constructed for them both following Carter’s reunion with the Wilson family.
Fox released its pilot episode of its new sitcom “Weird Loners” last week. Unfortunately, based on the predictable plot and cringeworthy attempts at humor in the show’s “Weird Pilot,” the series doesn’t look promising.
“There’s only a shadow of me; in a manner of speaking I’m dead.” So remarks Sufjan Stevens on “John My Beloved,” the ninth track on his latest release, “Carrie & Lowell.” Although the line ostensibly pertains to Stevens’ Christian faith — the song acts as an exchange between Jesus and John the Baptist — it also serves as a fitting epithet for his current musical identity. At just under 45 minutes in length, “Carrie & Lowell” is Stevens’ shortest release, particularly in contrast to 2010’s “All Delighted People,” a so-called EP, which is stretched across a full hour.
The period between adolescence and adulthood rests on thin ice. It’s an awkward stage, burdened by nostalgia for simpler times and worries stemming from newfound responsibilities.
Sutton Foster and Hilary Duff inject new life into “Younger,” a TVLand comedy-drama. The two-episode premiere initially lacks the momentum necessary to captivate an audience, but the star actresses make good use of their given roles and put on a largely revitalizing show.
The men of Bombadil have returned to the forefront of the indie music scene with the release of their fifth studio album “Hold On.” Other than peppering their music with electronics, there’s little to distinguish this album from earlier material, and Bombadil’s renowned quirkiness and smooth instrumentation remain as wonderful and deep as ever. Bombadil will be performing at The Southern May 16 to support the release of “Hold On.” “Hold On” deviates strikingly from past Bombadil albums by slowly introducing electronic elements, a realm the band has not really delved into.
Luke Bryan’s latest 11-song release, comprised of five original songs and six from Bryan’s previous “Spring Break 6...Like We Ain’t Ever” EP, is the last in a line of seven annual EPs with the same theme.
With Netflix’s recent push to produce as much original content as possible, the entire first season of “Bloodline” was made available within just a month of the third season premiere of “House of Cards” and the new Tina Fey-produced comedy “The Unbreakable Kimmy Schmidt.” Many criticize the release of an entire season at once, citing viewers who “binge watch” and typically gloss over specific and important points of individual episodes.
The Apr. 12 premiere of the fifth season of HBO’s “Game of Thrones” has triggered a heartwarming reconciliation between the genres of hip-hop and metal.
Pop singer-songwriter Tobias Jesso Jr. is in a state of grieving. The gorgeous emotional reprieve that constitutes Jesso’s debut, “Goon,” targets pop album essentials such as broken hearts and failures to make it as an artist in Los Angeles.
Warning: This review contains spoilers. Fox’s high school musical dramedy, which was a brief but intense phenomenon six years ago, finished its episodic run to a fractional audience Friday with two back-to-back episodes, “2009” and “Dreams Come True.” “2009” was an hour-long flashback detailing the personal journeys that led to the club’s creation while “Dreams Come True” was a flash-forward, where everyone gets what they want and then some. Is the two-part “Glee” finale worth watching, though?
Indie-pop group Marina and the Diamonds’ new album, “Froot,” is a delicious surprise. Greek-Welsh frontwoman Marina Lambrini Diamandis has a syrupy, deep sound resembling that of Lana Del Rey, but Diamandis adds a discotheque twist.
The best thing about “The Lazarus Effect” is its sinister opening sequence. Grotesque shots of mysterious, oozing compounds bubbling in petri dishes and swirling through centrifuges set the stage for creepy laboratory antics to follow.
In Kendrick Lamar’s “To Pimp a Butterfly,” the Compton MC provides his fans with a new take on an old sound and alternative content. Lamar’s new album is both personal and universal, both a condemnation and a celebration.
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.
“The Royals,” the first scripted show from the E! Network, capitalizes on the American craze over British royalty and can best be described as a British version of “Keeping Up with the Kardashians.” While this premise has the makings of a great guilty pleasure, “The Royals” has struggled to find its footing and fails to live up to its campy, melodramatic potential. The show centers around a fictionalized version of the royal family, headed by matriarch Queen Helena (Elizabeth Hurley), who struggles to balance her royal duties with her role as a mother.
As a part of their sold-out American tour, indie folk band The Lone Bellow took to the stage at the Jefferson Theater Saturday and delivered a two-hour performance that gave the audience goosebumps.
