Writing a sophomore album is a tricky prospect, especially when a band has received a massive amount of buzz and critical praise in relation to their relatively short lifespan. Groups crumble all the time under the weight of these expectations – whether from themselves or from the media – and often are unable to recapture the magic of their first major release: the one that they had their entire lives to conjure, instead of just a few months between tours and promotion. The rapid pace of the blogosphere has magnified the effect of this pressure, churning out new acts by the day that are effective sonic replacements for any formerly beloved group that has failed to pass muster on a new release. Add in the democratic and anonymous nature of the Internet, which emboldens the opinionated to release the type of caustic criticism that most would hide in person, and it is understandable why many bands today would have some trepidation regarding the release of new material.
Local Natives seem like they may be aware of, if not certainly reactive to, these perils. In part, because their second release Hummingbird does not stray far stylistically from Gorilla Manor, the debut album that put the Los Angeles group on the map in 2010. The band’s chiming guitar parts and multi-part harmonies remain, as do their intricate percussion lines that often form the focal points of their studio compositions and their energetic live shows. For some bands, the re-creation of a uniform sonic profile reminiscent of a past release could be interpreted as an insurance against loss, a way to satisfy those listeners who are expecting more of the same from a band they already enjoy. For other groups, the preservation of the same style could simply signify their love of that particular sound, and their desire to wring it dry for all of its latent value.
In 1991 the Gulf War was raging, the youth of America were draped in flannel, and Irish indie rockers My Bloody Valentine had just released their second studio album Loveless, setting the bar almost impossibly high for future shoegaze records. Now, more than 20 years later, the band has finally released a new studio album entitled mbv, only their third in nearly three decades of existence.
In 2001, the romance of technology was still lighthearted. For Daft Punk, erstwhile pioneers in the world of mainstream electronica, the technologies that propelled their 
There’s never a dull moment for The Flaming Lips. Whether they’re filming 
Since 1998, Matt Pond has been releasing perfectly crafted indie rock albums under the moniker Matt Pond PA, but with his most recent release The Lives Inside the Lines in Your Hand, Pond has dropped the “PA,” indicating a definite shift in tone. We caught up with Pond to chat about the songwriting for the new record, what he loves about being on the road, and the allure of a career in academia – were he not to be in a relentlessly touring rock band.
Following her stunning win on the most recent season of The Voice, Cassadee Pope has wasted no time in capitalizing on her success, signing with Universal Republic Nashville. “I am so excited to be joining the very talented Republic Nashville family. I am so passionate about my music and I couldn’t be more excited to have this amazing team to back me as I embark on this next chapter in my career,” reads Pope’s statement. While fans might be saddened by the impact that Pope’s burgeoning solo career has had on her band Hey Monday, who are currently on hiatus, they needn’t worry about missing the singer herself in 2013. She will reportedly be working on a project that is supposedly a “edgier, less country” version of Taylor Swift.
Phoenix have just posted the mysterious image on the left to their 
From all accounts, the Yeah Yeah Yeahs new album, Mosquito, is going to be as weird as possible. To squash any doubts, the band has just revealed the bizarre album art, which features a terrifying purple mosquito preparing to impale a naked baby that has apparently been eating green goo. We’re not sure what the concept behind that one is, but “mosquito” seems to be the word of the day for the New York indie rockers, as their recent 
