And Everything Is Going Fine is a fairly devastating gutpunch of a film.
The Mirror is an affectionate tribute to a way of life I’m not necessarily inclined to celebrate.
Like The Flaming Lips, Andrew Bird’s a musical existentialist: Lyrics of doubt and worry against a reassuring musical backdrop.
There’s a lot of controversy about how closely, if at all, From a Basement on the Hill mirrors Elliott Smith’s intentions for its final form.
The splendidly odd Neko Case has the looks of a pin-up girl and the voice of an “American Idol” champion.
Last year, for reasons I don’t entirely understand, Gucci Mane suddenly become a rap critic favorite.
Mellow’s name was a lie: Perfect Colors, their second (and seemingly final) album proper, is breathlessly sarcastic.
After Moon Safari, Air were (at least briefly) mandatory entry-level indie listening.
RJD2 eventually went in some poorly-reviewed direction or other I didn’t follow; apparently things got a lot whiter and clumsier.
Textbook blog-hype band: first album praised beyond (but only a little beyond) its merits, automatically slammed by same for their follow-up.
Arguably, the aughts traveled through three or four distinct phases of journalistically notable indie rock trends
Hello, and welcome to my much-delayed project to annotate my top 100 songs of our not-so-dearly-departed decade.
Bored to Death isn’t a very good show unless you can’t get enough of the cast, in which case it’s more than good enough.
In the end, the nightmare power of their imagery is the same.
The lack of stretching is deliberate.
Throughout, it’s hard to know what’s real and what’s not.
The film never leaves France, but it’s implicitly global.
Indie 500: Metric, Cymbals Eat Guitars, Doves, M. Ward, Julie Doiron, & Dennis Wilson
Metric’s instrumental members are pretty much impeccable.
Franz Ferdinand seem to have conceived their third album with the express intent of annoying people.