While the album doesn’t necessarily break new ground for the band, it’s an exemplary display of what they do best.
Bartees Strange attempts to carve out a sonic palette of his own on much of his second studio album.
The album is an enjoyable, if predictable, outing from an effortlessly reliable songwriter.
The album is the band’s widest-ranging and most surprising effort to date.
Big Red Machine feels like a collection of off-the-cuff experiments between friends.
The National continues to display highly polished craftsmanship of simmering balladry on Sleep Well Beast.
The album narrows the scope to Cincinnati and the local music scene that captivated Berninger as an adolescent.
Adds up little more than an anguished man using the hook of following his famous brother in order to gaze, however critically, at his reflection for 75 minutes.
The latest track from Gang Gang Dance’s Brian DeGraw (a.k.a. bEEdEEgEE) features CSS’s Lovefoxxx on vocals.
Macklemore, the National, Swans, Edward Sharpe and the Magnetic Zeros, Action Bronson, & Kacey Musgraves.
Watching Dirty Projectors open for the National is both annoying and edifying.
There’s something inherently stultifying about this otherwise well-crafted and satisfying album.
Sundance Film Festival 2013: Shane Carruth’s Upstream Color and Michael Polish’s Big Sur
Vivid, striking, and methodical in its approach, Upstream Color’s visual aesthetic is both provocative and beautiful.
Brooklyn quintet the National has found a balance on their fifth album, High Violet.
Like The Flaming Lips, Andrew Bird’s a musical existentialist: Lyrics of doubt and worry against a reassuring musical backdrop.
As soon as I can, I’m going to stop using “indie” as a modifier ever again.
Top 10 lists are an exercise in futility, scenester-ism and dick-measuring.
As wraithlike as Air’s moon-rock, Boxer is also as focused and rugged as a great punk record.