Matthew J. Watson
“Overgrown,” Blake’s excellent sophomore outing, makes good on every promise of his debut. The album is both more immediate and more sonically lush; it moves away from the minimal dub of its predecessor into more standard pop territory even as it maintains an experimental sensibility.
The seven-piece band will play Brighton Music Hall on Friday. Singer Matt Bishop talks to The Crimson about the Seattle music scene, learning to write songs collaboratively, and big families.
Why do I put on Born to Die whenever I need guidance in my life? Why do I feel compelled to share this advice with others?
In another installment of a recurring feature, a 1963 Crimson review takes on one of cinema's most beloved epics.
The Pro Arte Chamber Orchestra, an ensemble unique in its democratic structure, delivered polished renditions of Beethoven's "Violin Concerto in D Major, Op. 61" and fourth symphony in Sanders Theatre.
Brazilian twins Os Gêmeos, whose surreal artworks are inspired by graffiti, are the subjects of a new Institute of Contemporary Art exhibits.
“Swing Lo Magellan” is Dirty Projector’s most accessible album yet, and they’ve sacrificed none of the thoughtful weirdness that characterized their previous releases.
“Centipede Hz” crushes you like a steamroller—its density and energy leave you feeling exhausted rather than invigorated.
I spent a good portion of my interview with Cameron Neal worrying about the ox head. It was huge, mounted on the wall right above my comparatively fragile skull, and sat slightly lopsided—surely someone had missed a nail somewhere hanging up this gargantuan specimen, and soon those frightening horns would be the last thing I’d ever see.
You probably haven’t heard of Denton, Texas. At just over 100,000 people, it usually plays third fiddle to its gargantuan neighbors Dallas and Fort Worth. Still, Denton is hardly a household name. Yet, despite its relative obscurity, Denton has a music scene that would prolific even for a town five times its size.
When the band started playing “Little Talks,” the audience went wild, matching each “Hey!” from the band and dancing energetically.
Mraz unfortunately settles for uninteresting cliché, resulting in a collection of love songs with no heart.
Why does the Hiphop Archive belong within the ivy-covered walls of Harvard?
Sleigh Bells has added depth to the blaring potency that made them famous. While “Reign of Terror” is not as instantly stunning as “Treats,” the sophomore effort exhibits a new maturation.