When “Book It to Fresno” blasts off to open Brendan Canning‘s return to a full band affair you realize how dearly Broken Social Scene has been missed in recent years.

On a Saturday night in Philadelphia, Garbage brought the rock.

Crafting a relatable image of a die-hard role playing game enthusiast can be a challenging task but that is the cinematic gauntlet director Josh Bishop snatched up when he began his latest documentary, The Dwarvenaut.

There are few more reliably exhilarating sounds in contemporary garage rock than this: John Dwyer’s indecipherable vocal delivery steeps in intensity, as does his echo-heavy guitar licks, there’s a vicious halt in the rhythm section for a split second before his band of garage-dwelling oddballs launch into a scorching psychedelic hotbed of distortion, feedback and utter, utter otherworldliness.

As a face of the American indie-film movement of the 1980s and the director of eighteen films over the last three decades, Richard Linklater is one of cinema’s most prominent living auteurs.

Thanks to the Facebook Memories function, I know that exactly six years ago—at my first OFF Festival.

In 1986, R.E.M. were riding high. Coming off three successive albums that made them a progressively bigger and bigger draw on the college circuit, they were looking to expand their sound and their audience.

Ellen Page is Taullulah, a nomadic, family-less young woman whose recent breakup with her boyfriend compels her to his hometown of New York City in hopes of finding him.

As band-formation stories go, nonkeen have one of the most quaint. While many bands formed in their school days, few can say they have been an item since elementary school.