It seems strangely appropriate that Cameron Crowe’s upcoming We Bought a Zoo is scored by Sigur Rós frontman Jónsi
Prince is once again an obvious touchstone on Lindstrøm’s latest.
“Doughnut for a Snowman” recalls gentler, laidback numbers like “Peep-Hole” and “King and Caroline.”
Charli XCX’s new single could be subtitled “Love in the Time of Radiation.”
Some of our great new horror movies look to the past for assistance, others resonate with bleak nihilism for our future.
Phantogram continues to evolve their sound, this time in a more straightforward pop direction.
“Not Growing Up” manages to be both friendly and explosive.
“Thankless Thing” could easily have fit alongside the magnificently theatrical Smother’s tender asphyxiations.
Th selections confirm the curators’ ability to gather together both heavily buzzed-about titles and lesser gems in one trim 27-film main slate.
Even if “Exit the Mine” hadn’t been cut on an iPad, it would still be noteworthy for its delicate, piano-driven structure and attention to detail.
Spank Rock’s track is an infectious slice of electro rap-pop ripped straight from the Theophilus London school of sleek, hip-hop hipsterdom.
There’s an undeniably sinister undertone to Purity Ring’s new single, “Belispeak.”
Male Bonding cleans up its ragged punk act ever so slightly on their second album.
We thought this was the best way to pay tribute to the video.
Jay-Z and Kanye West have actually managed to record a song that sounds like a coke-bender.
If only Lizzy Grant were actually born Lana Del Rey.
Girls’s single could pass for a classic chamber-pop ballad circa 1989.
The first glimpse into what Anthony Gonzalez describes as his most “epic” album to date paints a clear portrait of an artist re-engergized and at the height of his creative capabilities.
It’s quite a surprise to hear the surfy members of Real Estate take a feather duster to their garage-bound instruments.
Stephen Malkmus continues to make not-exactly-Pavement music with his band the Jicks.