12 items found for your search. If no results were found please broaden your search.
Cage The Elephant released their fifth studio album, Social Cues, on Friday, April 18. Cage The Elephant consistently impresses me with the range of music they put out. There are songs I absolutely love, songs I cannot stand listening to and songs that I simply forget. I’ve found that it’s difficult to take in an entire Cage The Elephant album at one time because their music is so high-energy and intense that it’s hard to figure out which tracks I actually enjoy. Social Cues is no exception in that many of the songs blend together on first listen. However, the album definitely has some standouts, and Cage The Elephant never fails to prove their musical prowess.
The return of the spring season always seems to bring with it two things: better moods and better music. In this past week, Vampire Weekend, Khalid and Kevin Abstract have all released much anticipated albums (not to mention Anderson .Paak, but he gets his own article).
The Barnstormers finished their opening weekend of their 100th anniversary spring musical, Cabaret, in Swirnow Theater. Directed by Max Hunter, the artistic director of The Bridge Production Group, and produced by senior Julia Zimmerman, the show centers around a Berlin cabaret called the Kit Kat Klub and the lives of those involved in it.
It first came to Instagram. Perhaps the three brothers were all sitting in the same room and pushed the “share” button all at the exact same time. Perhaps Nick wanted to reinforce the dominance he’s been slowly establishing since 2013, and he posted the first picture. Even more likely, perhaps Kevin wasn’t even told about their new song coming out until he saw the other posts. But no matter how it happened, what matters is that it did: The Jonas Brothers are reunited, and they’ve released a new single called “Sucker.”
If you’re like me, then you probably spent the majority of not only your winter break but also the entirety of Intersession dedicating yourself to exploring the depths of every streaming service out there. If you, indeed, are like me, then you watched You, the confusingly-named Netflix original series featuring Penn Badgley, who played the infamous Dan Humphrey on Gossip Girl.
Bird Box, a post-apocalyptic Netflix original starring Sandra Bullock, suffered an unfortunate fate that seems to befall more and more projects everyday: It became popular as a meme before it was respected as a film. Based off a relatively successful novel of the same name by Josh Malerman, the film set out with high hopes that were met with mediocre critic reviews. However, because of its massive internet popularity, the film did very well amongst Netflix users, and its 15 minutes of fame undoubtedly brought Bird Box the success it needed.
If you’ve never heard of Anderson .Paak, or at least don’t know how to pronounce his name (read: Anderson Pack), you should invest a solid amount of time in getting to know his music. On Nov. 16, .Paak released his fifth studio album, named Oxnard after his hometown in California. He first gained major recognition when he was spotted by Dr. Dre. He was featured on Dre’s album Compton (2015) and subsequently worked with the legendary MC for the rest of his own albums.
Travis Scott, one of the most famous names in music right now, began his widely anticipated Astroworld tour last Thursday, Nov. 8 at Baltimore’s Royal Farms Arena. Students on campus, and most likely every campus in Baltimore, have been buzzing since the tour was announced this summer.
I went to the Senator Theatre in Baltimore’s Belvedere Square on Friday, Nov. 2 to watch Bohemian Rhapsody, the recent musical biopic of the epically famous rock band Queen. The film, as expected, focused on the most well-known aspect of the band: the incredible, exuberant and creative life and mind of the lead singer, Freddie Mercury. Rami Malek, most famous for his lead role in the TV show Mr. Robot, portrayed Mercury to well-deserved critical praise. Malek gave an absolutely compelling performance as Mercury, whose complicated life intersected inevitably with his musical genius in Queen.
On a fateful Tuesday, Oct. 16 to be exact, I skipped my one class of the day and went to a concert in Washington, D.C. with two of my friends to see Brockhampton, one of our favorite bands, for their I’ll Be There tour. I had been to a Brockhampton concert several months before, so I thought I knew how wild and uncontrollable both the fans and the general admission pit would be. Little did I know that The Anthem, the D.C. venue where they performed, would feel about five times larger than the venue in upstate New York where I saw them perform last May.
R. House hosted a Halloween-themed vintage market to support the Women’s Advocacy Coalition in Baltimore on Sunday, Oct. 14. The market, located in the garage right next to the bustling Remington food court, is home to many flea market-type events throughout the year. Its wide open space and natural light is an ideal setting for the cute, homemade goodies that vendors often sell there.
Brockhampton’s fourth studio album, iridescence, was released as the band’s first label-produced album on Friday, Sept. 21. A self-proclaimed American boy band, Brockhampton is a collective of rappers, producers, designers and creators who have put out four studio albums and one mixtape in less than two years (three of which — the Saturation trilogy — came out in 2017). Despite their impressive track record, Brockhampton had much to prove on this latest release. Since SATURATION III, the band kicked out one of their founding members, Ameer Vann, due to sexual abuse allegations; signed to RCA Records despite protests and resistance from their fan base; and repeatedly pushed back the release of the album.