Marina and the Diamonds (The Pageant, May 17 @ 7PM, $22.50) Marina and the Diamonds is not a band but rather the stage name of Welsh artist Marina Diamandis.
Brooklyn art-pop trio Yeasayer’s debut album, “All Hour Cymbals,” made the group one of the buzziest acts of 2007. Three years later and just four years after forming, the members were named the most blogged-about artists of 2010 by The Hype Machine following their sophomore LP “Odd Blood.
A cursory glance at the spelling of this band’s name might lead you to believe that it hails from England, but you’d be wrong. Based in Southern California, The Neighbourhood isn’t making the typical laid-back, beachy rock that you might expect, either.
Mat Kearney rose to prominence on the heels of his 2006 album, “Nothing Left to Lose,” a record that sold over 450,000 copies. He quickly became known for his soulful lyrics and polished vocals, with songs like “All I Need” and “Breathe In Breathe Out” featuring heavily in emotional television montages.
When pop-punk outfit Fall Out Boy announced its breakup (excuse me, “indefinite hiatus”) at the end of 2009, nobody was too surprised. Compared to its two predecessors, 2008’s “Folie a Deux” was kind of a flop, and the band dynamic had become tense.
Even a cursory glance at reviews of Yeah Yeah Yeahs’ releases proves that critics struggle to categorize the band neatly. Over its four full-length releases in the past 10 years, the band has been described as pure pop, pop-punk, alt-rock, indie, post-punk and any other hyphenated construction you could possibly think of.
Reviewing the new, festival-style line-up
So just over a week before the event itself, we finally have the full roster for this year’s spring W.I.L.D.
The first time I Googled “James Blake,” soon after the release of his stellar 2010 debut EP “The Bells Sketch,” I was surprised to learn that there was also a tennis player named James Blake and that he was significantly more famous than his musical counterpart.
Two years ago, I had a bone to pick with Kurt Vile. His breakthrough album, “Smoke Ring for My Halo,” was drawing significant critical praise, but to my ears his songwriting was lazy and formless, the product of a subpar musician hiding behind layers of hazy guitar and monotone vocals.
Sometimes, it’s nice to take chances. Other times, like in the case of Brad Paisley’s eighth studio album, “Wheelhouse,” it turns out to be a disaster. For his newest album, Paisley decided to cover topics that range from domestic abuse to racism and religion.