At the beginning of 2022, Schwarz was a sophomore studying cinema and screenwriting at the university, but he was detached from his peers and the filmmaking community. It wasn’t for a lack of passion. Schwarz has been making films since he was 12, shooting stop-motion videos on a Nintendo DSi. But COVID-19 presented a huge challenge to his social life and health. He had his grandparents at home to think about, and an immunocompromised father.

Before returning home for spring break, he decided he wanted to submit something to Open Screen in April. Open Screen is a bi-annual event hosted by Bijou Film Board, a student organization at the University of Iowa. The competition is free and open to all university students and local filmmakers. Bijou screens the chosen submissions in front of an audience and a committee of judges at FilmScene, a local non-profit movie theater and a highlight of Iowa City’s arts community.

The Open Screen deadline came at a convenient time; he needed to shoot a documentary for one of his classes anyway. Why not just film both projects in the same week?

“Equinox” was filmed inside and inspired by Schwarz’ family home, a home whose history is almost impossible to believe. Schwarz describes it as a “weird, 19^th century building” rather than a “house.” The building originally functioned as a nursing home. Then, Schwarz said, roughly 60 to 70 years later, his grandparents bought the nursing home and turned it into an art school. Finally, Schwarz’ dad bought the building, making it a family home for Schwarz, his sisters, his parents, and his grandparents.

“We all have… strange, spiritual experiences being there,” Schwarz said. “Because, like, probably more than a hundred people have died there.”

One strange experience is a dream that Schwarz claims to share with his twin sister Sophie (21) and older sister Maggie (23). The dream, he says, involves a door appearing in a hallway inside their home.

Schwarz, with the help of his sisters, translated this dream into a nine-minute psychedelic and spooky short film. A red door materializes out of an empty space. Maggie emerges from the doorway, but the footage reverses and she walks right back in, seemingly into a black hole. Cut to two dark figures walking outside at night, an orange moon glowing in the distance. Cut to Maggie and an unnamed character dancing in a room splashed in red and purple light, with haunting vocalizations looping in the background. It’s no surprise that Schwarz lists David Lynch as one of his biggest inspirations.

Besides the mysterious visuals, one of the film’s most striking aspects is the music. This music is a product of Wave Guide, a band formed, once again, between Schwarz and his sisters.

“My sisters are everything in the world to me,” Schwarz said. “They’re such incredible artists and performers that I feel like I have to fit them in my films somehow, just because they bring so much to the table that I don’t personally have.”

Sophie worked as a private chef for a few years before taking on her current managerial position at a restaurant in Decorah, Iowa, Schwarz’ hometown. Maggie currently works for the Winneshiek County Conservation Board (also in Decorah), and is an independent artist, selling pieces at art shows and by commission. Maggie’s conservation work reflects the siblings’ childhood spent in nature, something that inspired Schwarz’ second film, “Spring Awakes.”

For his class documentary, Schwarz wanted to explore the transition between winter and spring. “Spring Awakes” combines footage from Decorah and Iowa City. There is no dialogue, save for audio from a pedestrian crossing (“Walk sign is on across Washington”). Snow falls across downtown Iowa City. Water flows over a rocky stream. Birds fly and dwell on tree branches. The film captures the sights and sounds of nature’s simple beauty, set to Schwarz’ self-composed calming synth score. Schwarz considers “Spring Awakes” his best work to date, and appreciates that it can exist as a piece of art without being tied to a narrative.

“Equinox” went on to win the judges’ Grand Prize and the Audience’s Choice award in the April 2022 Open Screen. Schwarz describes feeling shock, elation, and a sense that he shouldn’t have won. Prior to the competition, he didn’t think his work was on the same level as his peers.

Perhaps it was this sense of doubt, or the fact that he had just won a few months ago, that led Schwarz to believe there was no way that “Spring Awakes” would win the Grand Prize at the November 2022 Open Screen. He was just submitting it for fun. He thought it was his best work, but at the same time, he figured a quaint short film about “birds and stuff” would be less exciting than other submissions. And yet he won, again. And he still had trouble feeling good about his victory.

“I already had that moment, and other people deserve to have their moment in the spotlight too. So I probably won’t be submitting again,” Schwarz said. “But I’m very happy that I had that opportunity.”

Besides the material prizes he won from Open Screen (a projector and a GoPro that he is very thankful for and uses all the time), Schwarz gained community and new friendships, things he lacked since starting college. Even though he doesn’t plan on submitting, Schwarz will likely attend Open Screen again just to experience the exchange of art and ideas in a lively environment. 

“It’s incredible to be in a place that values art so highly,” Schwarz said of Iowa City. “Everybody is an artist here… you can talk to anybody on the street, and you can ask them about what they do, and they’ll tell you about what projects they’re working on.”

Speaking of projects, Schwarz has a new one up his sleeve. Aiming at a 30 or 40-minute runtime, the film features a main character that has lost his sense of self and starts seeing aliens in the sky. Schwarz said the film is inspired by his own growth. Forging strong friendships has allowed Schwarz to embrace himself in new ways, and he’s ready to take a step back and reflect on that journey.

“I’ve been so lucky,” Schwarz said. “My life has changed forever.”

You can watch both films on Schwarz’ YouTube channel.

The post Will Schwarz and the Tale of Two Open Screens appeared first on KRUI Radio.

Reid currently hosts “The ReidOut” on MSNBC, and was the first black woman to host a primetime cable news program. In her speech at Hancher, Reid led listeners through her life and explained how she got here. Being “here,” of course, meant being a nationally recognized and award-winning journalist and political analyst. Her story began with her adventurous, West Indies mother, who Reid said pushed her to learn about and explore her passions.

After her lecture, an audience Q&A, and a reception, Reid visited KRUI for an interview. The interview was conducted by KRUI editor-in-chief Lauren Asman, KRUI writer Sebastian Buchman, and Daily Iowan reporter Kate Perez. Also in the studio were Daily Iowan photographer Olivia Lapchick and DITV reporter Johnny Valtman. Alex Lenaers, KRUI’s production director, engineered the live interview and edited the audio for re-upload.

The internet has produced a lot of bite-sized information, Reid said, and as a result, people are reading less and not always absorbing accurate information. “I definitely think the narrowing of the American palette has been bad for journalism and bad for the country,” Reid said. To correct this, she said, mainstream media should practice transparency and try to lead audiences to a wide range of journalists and investigative pieces.

Reid urged new journalists to sharpen their writing skills, and to read as much as possible. The journalist shared her past affinity for Russian novels, including “War and Peace,” as an example. She encouraged listeners to branch out and explore new subjects. “Read the banned books,” Reid said. “Those are the first things that should be on your list.” She also recommends conducting interviews, and learning how to listen to interviewees.

The interview covered racial politics as well. Reid broke down the difference between racism on an individual level and racism on an institutional level. She also explained her thoughts on recent legislation to ban critical race theory. She explained how the phrase “critical race theory” is a law school program that has been negatively branded, primarily by conservative Christopher Rufo, and is now inaccurately associated with all race-related education. “Trying to ban critical race theory is dumb, because they’re still going to teach it in law school,” Reid said.

Reid’s final insights featured a humorous riff on getting her Jamaican godmother to eat steak medium-rare, and shoutouts to several journalists and political experts. She listed Rachel Maddow, Nicole Wallace, Ta-Nehisi Coates, Adam Serwer and David Folkenflik as examples of good reporters and writers.

Access the full conversation and other interviews at anchor.fm/krui.

The post A Conversation with Joy Reid appeared first on KRUI Radio.

“Mais je t’aime” – Grands Corps Malade and Camille Lellouche

This is the best love song, not only because it is sung in the language of love (French), but also because the heart-felt words are expressed through a combination of singing and speaking. The greatest thing about this song? It talks about real love – love that is not always easy due to past experiences. Love that burns, but sometimes burns too hot. Still, we try, we do our best, we love. We love with all that we have and know. We love, as much as we can.

Je ne suis pas parfait. Je suis brisé. Mais je t’aime.
[I am not perfect. I am broken. But I love you]. – Suzan van den Broek, Online Content

“True Blue” – Mark Ronson (feat. Angel Olsen)

In the next room over, someone tunes an old FM radio and you hear the sultry voice of a chanteuse. The song couldn’t possibly be from this era. Did the tuning of the dial  take us a century back? You walk into the next room to investigate the haunting yet beautiful noise. The audio is more high fidelity now, and it sounds like the hottest pop song of 1986, one your mom probably loves.

This is the best way I can describe the transportive experience Mark Ronson takes us on in the first minute of his excellent collaboration with Angel Olsen, “True Blue.” Although it has a vintage aesthetic quality, Olsen cuts through with her modern songwriting: “f*****g around, I’m falling in love.” What a perfect way to describe the foolishness and magnetism of new romance. 

One of my favorite songs in general, it’s an especially fitting love song for the romantics who crave a little sadness. It’s for those with a penchant for melodrama, those who aren’t just in love but in the mood for love. Among an expansive catalog of songs for yearners, Olsen may have peaked with this depressing bop. 

When she sings the vague but hard-hitting lyric “I ran to you and you know why,” you wonder her complicated love affair. What did it cost? What did she give up? (a lyrical callback to another phenomenal, very different  Olsen love song) But these questions never get answered. We’re left to ponder our own old flames, current loves, and the hopelessness of knowing why love is the way it is. – Sam Bowden, Online Content

“How Can You Live If You Can’t Love How Can You If You Do” – Wednesday

Love brings us some of the most joyous and blissful moments we can recollect. But when it’s gone, it brings the most excruciating, soul-shredding feelings a human can have. No song conveys this feeling better than Wednesday’s “How Can You Live If You Can’t Love How Can You If You Do” off their 2021 album “Twin Plagues.”

An album and a band that traverses many sounds from dramatic grunge to screaming shoegaze, this song embraces a country sound. The song opens with quickly plucked, twangy arpeggios, and the gliding sound of lap steel that invoke feelings of a wide open, lonely frontier. Karly Hartzman sings in a dejected somber tone over a staggering guitar.

The lyrics, formed around a James Baldwin quote from his novel “Another Country,” are about a cherished former lover who left long ago. Someone whom Hartzman is constantly reminded of. The line “Has shown me that I know your voice in every sound I hear” reflects how at any given moment in our waking lives we can be whisked away by one of our senses to a bittersweet moment. A deep nostalgia for what was once so loved.

The last lines of the second and third verses and the namesake of the song are a trio of the most brutal emotional gut punches. Love can put us through the worst experiences that makes us feel like life is too painful to live through. But what is not the point of living other than to appreciate those that we stumbled across and now adore with every essence of our mortal being? – John Glab, Music and Online Content

“I’ll be Here in the Morning” – Jason Molina (Townes Van Zandt cover)

“I’ll be Here in the Morning” is a slice of positivity in these both of these artists’ troubled careers. While Townes Van Zandt’s version features exquisite fingerpicking and a wavering harmonica solo, Jason Molina’s cover is a thoughtful and personal rendition. This is a heart wrenching song about the sacrifices we make for loved ones. 

The song originally appears on Townes Van Zandt’s self-titled album, a masterpiece filled with complex fingerpicking and intricate songwriting. Van Zandt’s writing evokes a powerful clarity with poetic imagery. Lines like “I like to lean myself against the wind and tell myself I’m free/But your softest whisper’s louder than the highways call to me” capture the song’s tenderness. 

Molina’s personal touch makes this cover stand out. “This is a… Townes song,” Molina clarifies at the start of the track. Chirping birds fill the silence before a warm guitar hums a bright riff. His jangling electric guitar matches his soft voice. Molina places his inflection on “morning”, choosing to drag out the vocal pattern. Molina used home studio. The production value is noticeably lower than Townes Van Zandt’s version recorded in Nashville. Guitar parts collide into a soupy mix in his verses. But there’s beauty in the homelier quality. As his guitar fades, songbirds chirp away on a ripe morning. 

Jason Molina’s version started when he met with visual artist William Schaff after a Chicago concert in the early 2000s. Molina led the group Songs: Ohia at the time. After Molina requested an art piece, Schaff said he would oblige if Molina sent the Townes Van Zandt covers from the show. Months later, Schaff received them along with demos from Molina’s upcoming album, “The Magnolia Electric Co.”, including his most familiar song, “Farewell Transmission”.   

This song stands out from his bleak catalogue of shattered stories and broken people. Molina and Van Zandt have eerie parallels. Both artists shied away from fame. Alcoholism ripped both Van Zandt and Molina’s genius from them. And both showed devout care for those who helped them through their hardships. – Nick Layeux, Online Content

To check out these songs and other alternative love songs, check out KRUI’s Valentine’s Day playlist. Happy listening!

The post Valentine’s Day 2023: The best alternative love songs appeared first on KRUI Radio.

The night kicked off with a triumphant fanfare in the IMU main ballroom. The space was lined with decorated pillowcases honoring past and current Dance Marathon patients. Opening performances included the Iowa cheerleaders and Hawkeye Marching Band. A group of doctors from the Stead Family Children’s Hospital led the crowd in a chant: “Kids Can’t Wait.”

Micah Marasch, 12, said Dance Marathon was a bright spot during his cancer treatments. His father Marek said DM volunteers played with Micah in the hospital and, in Micah’s words, “gave me something to do.”

“It made me happy,” Micah said. Micah expressed excitement for Saturday’s talent show, in which he planned to play Imagine Dragon’s “Believer” on his trombone, by memory.

After receiving a Rhabdomyosarcoma diagnosis in November 2017, Micah has been in remission since fall 2018. This fall will mark his five years of survivorship. When Dance Marathon patients (“kiddos”) reach five years of survivorship, they get to walk across the stage at the Big Event in a cap and gown. This year’s “Kiddo Graduation” took place on Saturday afternoon, Feb. 4, and 18 year-old Bailey Kotz was among the honorees.

“I just love being able to come here,” Bailey said about Dance Marathon. “It’s just a special place, I look forward to it every year.” Bailey’s mother, Ashlea, said her favorite part of the Big Event was meeting other families affected by cancer.

According to the American Cancer Society, over 9,000 children younger than 15 will receive cancer diagnoses this year. However, thanks to new medical advances, the 5-year survival rate is now 85%.

In addition to honoring cancer survivors, Dance Marathon remembers all the DM patients who died of cancer. A hallway on the third floor was lined with candles labeled with names of the 286 children who died of cancer, but are still “forever dancing in our hearts.”

The post University of Iowa Dance Marathon makes in-person return after three years appeared first on KRUI Radio.

It is hard to find something to dislike about “AFTER DINNER WE TALK DREAMS.” Coming from a six-person collective with four lead singers, the album feels like a group project with no slackers. The listener can transport themselves to a roundtable of vulnerability with their closest friends. Toxic relationships, inner confidence, self-isolation, sexual desires, and more are discussed with clever metaphors, soothing harmonies, and unforgettable instrumentals provided by Charlie Kilgore and Julian Kaufman.

MICHELLE hails from NYC and released their first album “HEATWAVE” in 2018 before ever meeting as a full group. The experimental nature of such an idea translated into the presentation. But their most recent release is what resonated with my style. It has more harmony, more cohesion, and catchier beats. The four leads are a great dynamic. Layla Ku, Emma Lee, Sofia D’Angelo, and Jamee Lockard have wonderful harmonies and powerful solos, the former best emphasized by the opening track, “MESS U MADE.” The song highlights empowerment from within and from comrades.

This track, along with other winners like “EXPIRATION DATE,” “SYNCOPATE,” “TALKING TO MYSELF,” and “HAZARDS,” coat the indie scene with fresh ideas and poetic vocals. If you love indie R&B and want to see what the future of the genre looks like, this album is a must. –Charlie Thomas, Online Content

Wednesday: Mowing the Leaves Instead of Piling ‘em Up (Album)

Wednesday’s sonic blend of country and shoegaze burst through my hazy summer morning in Milwaukee and introduced me to a new sound. The Asheville group released Mowing the Leaves Instead of Piling ‘em Up in March. A steel-lap and electric guitar start the album with a cresting wail that falls into a rising steel lap guitar line. 

The group’s cover of “She’s Acting Single (I’m Drinking Doubles)” by Gary Stewart hummed in my ears like a swarm of energetic bumblebees. The song starts as an up-tempo cosmic country tune and soars to a chorus as thick and rich as molasses. Lead singer and guitarist Karly Hartzman uses country singing techniques such as vibratos and a twang on her eccentric genre-blending vocals. 

This album ranges from country to indie covers. My favorite tracks in this album are the covers of Chris Bell’s “I am the Cosmos” and Drive-By Truckers’ “Women Without Whiskey,” a re-imagined alternative country song led by guitarist Jake Lenderman’s grounded vocals and jagged guitar. Each song shines with its unique, distorted glow. Originally by Greg Sage, “Sacrifice for Love” has grainy distortion and a hi-hat heavy drumbeat that give a modern touch to this heartfelt song. Xandy Chelmis’ steel lap guitar is the group’s sails, a winding guide through their soaring mass of sound. In a year of acclaimed releases, I often found myself returning to Wednesday’s album featuring the comforting cover of Gary Stewart’s lonely witticisms by a group putting a fresh take on beloved rock and country tunes.

The group ended the year with a single. The eight-minute powerhouse titled “Bull Believer” hints at a darker sound for their next album. Recently, Hartzman posted a Spotify playlist of covers they would choose for a subsequent cover album possible in the future. The list varies from the cosmic country group The Flying Burrito Brothers to indie rocker Ben Kweller. Some punk and heavy metal selections appear on the playlist too. With upcoming international concerts and festival appearances, this group is already on track for a stellar run next year. –Nick Layeux, Online Content

Beyond the Ghost: Sundown (Album)

Beyond the Ghost makes one of the best dark ambient and ambient electronic albums of 2022 with “Sundown.” A part of a series of albums about an apocalyptic war engulfing Europe, this album combines dark ambient melodies with electronic beats and noir jazz. In short, “Sundown” has it all.

Dramatic vocals in “Lives in Reverse” will lift you up to witness the continent ablaze. “No Way Out of This Maze” will cast you back down to escape the decrepit cities while its pulsing beat will goad you on. “Ghosts Marching Home” summons visions of what the world used to be, haunting you as you leave this cursed realm. The final song, “Obscuration,” is a fitting epilogue. The track sums up all the ominousness, dread, and anticipation that latches onto your mind in the album’s first minute and never lets go.

The album varies its melodies from melancholy to melodrama to horror as it tells its story. The album’s cover art and electronic beats make one usually think of cyberpunk when listening, but it can apply to other situations and themes just as much. Maybe you’re navigating a lonely desert, contemplating your existence. Maybe you’re wandering the cosmos in a comfy spaceship. It is an album you can listen to in good times and bad, being both therapeutic and inspiring. Dark ambient afficionados will greatly appreciate this album, but classical instruments and varying beats also invite newcomers to explore this obscure yet fascinating genre. –Jacob Siefke, Online Content

feeble little horse: Hayday (Album, Re-release)

One of the most notable developments taking place in American music scenes over the past year is the emergence of new, young, and exciting shoegaze bands. One of the best bands from this swell is Feeble Little Horse. Their album “Hayday” received a wider release through record label Saddle Creek in 2022.

Band members Lydia Slocum, Sebastian Kinsler, Jake Kelley, and Ryan Walchonski craft an excellent album showing the band’s personality. The album’s tone abides by the group’s ethos to create something fun and enjoyable, not worrying about whatever success comes from it. The songs interchange between somber, soul tearing rage, and quippy lighthearted fun. A song like “Termites” reflects the inner emotional turmoil that many of us feel. “Kennedys” represents the truth that there is always fun to be had in life.

This duality is mirrored in the album’s vibrant instrumentation. There are moments with mellow, staggering guitars which give an almost country sounding feel. Contrasting with this are the jangly swirling riffs, paired with blazing fuzzed out walls of sound. Overlayed vocals, and glitched out, digital distortion give off a cool overtone, prancing across a driving rhythm. Outtakes and recording samples interwoven within the songs further enhance the album’s character. The band’s personality shines through and becomes increasingly relatable. All of this contributes to what is my favorite release of the year. The short, 20-something minute album leaves the listener excited for what comes next. Give “Hayday” a listen, it’s worth it. –John Glab, Music and Online Content

Nick León: Xtasis (EP)

Miami’s Nick León shifted from working on Rosalía’s “MOTOMAMI” to an EP that stomped festivals all over the world: “Xtasis.” The title track was assisted by DJ Babatr, the genre defining Venezuelan with a unique raptor house touch. Released in July on TraTraTrax, “Xtasis” combines Latin tribal techno with a bassline/lead that resembles Robin S’ “Show Me Love.” With a series of carefully arranged snares that can only come from the master mind that is DJ Babatr, Xtasis brought ecstasy to countless festivals and night clubs. Pearson Sound’s stripped down yet equally energetic take on the track complements the exalted original perfectly. The infectious lead contains a white noise hit resembling a Venezuelan charrasca. 

Side B of this EP highlights “Grito,” a homage to the now well-known guaracha that sonically screams away from what you would usually hear on a car audio system by elevating its sound design. Doctor Jeep’s hyperactive mix blends perreo with drum and amp. The bass gives an intense and uplifting shift to the “edgy guaracha” track.

Claimed the best of the year by many, Nick Leon’s “Xtasis” gives a glimpse of what 2023 may sound like. The Miami artist has influenced many, while paying rendition to a well-deserved DJ Babatr, who is nothing else than a living legend in Latin and Venezuelan electronic music. –Andres V. Mora Mata, Music

Jakey: ROMCOM (Album)

Jakey’s “ROMCOM” was initially announced in December of 2021, alongside the release of the lead single “Pine Barrens.” After a delay, the record finally released on November 18, 2022. Jakey has released a few songs that showed promise, but “ROMCOM” really is amazing, considering that Jakey wrote and produced the album alone. 

Speaking of production, this album is special. The sampling is so great on this album, especially if you’re (and bear with me) 1. chronically online or 2. A fan of 90’s/00’s romcoms. Memes like the horrifying ADPi chant and the “I didn’t get no sleep cause of y’all” Vine are notable samples. The most common samples and references, though, come from romcoms like “Never Been Kissed” and “10 Things I Hate About You”. 

Despite the numerous romcom samples, this album is anything but romantic, or funny. It is deeply emotional, personal, and vulnerable. The album is about a breakup, from the anger to the sadness. Lyrics about lying in bed, wishing you had them again, and taking Lexapro all lay on the sadness heavily. The themes are something that almost everyone that has gone through a breakup can relate to. You can almost imagine Jakey turning his post break-up sadness into producing this album.  As someone who has been listening to Jakey’s music since high school, I was happy to finally hear this gem. If Jakey continues to produce like this, and refine his lyricism, he will quickly skyrocket to the top. –Mason Dunn, Music

ROSALÍA: MOTOMAMI+ (Album)

Despite being snubbed by the Grammys, ROSALÍA’s “MOTOMAMI” is truly one of the best, most versatile albums of the year. Ranging with eclectic musical influences like industrial production, minimalist pop, and processed vocals, “MOTOMAMI” is a bold, futuristic and feminist take on Spanish music.

The record dabbles in everything from bachata, salsa, hip-hop, flamenco, electropop, and reggaeton. Everything that ROSALÍA touches on this album turns to gold. Standout tracks include the avant-jazz and industrial reggaeton of “SAOKO,” and the beautiful balladry of “COMO UN G.” Additionally, “DIABLO” somehow manages to expand her already immaculate vocal range with the use of various vocal effects.

Despite the standard edition of “MOTOMAMI” being near perfect, ROSALÍA manages to further improve upon the album on the deluxe edition, “MOTOMAMI+.” The deluxe adds an even more energetic version of “CANDY” with rising Latin star Chencho Corleone, and a fantastic live rendition of “LA FAMA.” Plus, a bouncy Caribbean reggaeton bonus track, “DESPECHÁ.” All additions enhance and expand upon the original’s musical vision. 

Even though the production on this album is impeccable, the greatest feat is how ROSALÍA’s spectacular vocal performances stand out. This should not be taken for granted; many pop stars would be vocally “drowned out” by this level of production. While this album was not deemed worthy of a Grammy nomination, “MOTOMAMI+” has established ROSALÍA as one of the most versatile and exciting new voices in music. –Maurice Crawford, Music

Soul Glo: Diaspora Problems (Album)

Recorded in a warehouse, Soul Glo’s latest 12 track sucker punch album embodies the American diaspora in a passionate blend of hardcore and rap. Vocalist Pierce Jordan delivers lines regarding politics, anxiety, depression, and isolation in wicked fast scream poetry.

Jordan feels entirely genuine with a deep sense of self awareness underlined by a frustration that fuels the entire album. Production features tightly wound percussion, abrasive guitar, and gritty bass lines. The instrumentals stand out yet blend together into a wall of hardcore noise that flows and integrates within the vocals. 

The album features very subtle, yet fascinating blends of different instrumentals and production for the hardcore genre. Horn features brighten the tone without losing the power, entirely unconventional but wholly welcomed when combined with Jordan’s piercing vocals. Various electronic elements add blips and quirks making each track feel fresh and unique. It feels so energetic and passionately experimental. 

Genuine, devastating, and abrasive all around, Soul Glo released a standout album about the experience of growing up removed from your ancestry in a country that does not represent you. Expressing those experiences and frustrations into an incredible rap/punk/hardcore/whatever! album, the result is a standout release from the year and an exciting addition to hardcore. –Elizabeth Pauly, Music

The Mountain Goats: Bleed Out (Album)

The Mountain Goats are dead! Long live the Mountain Goats! This was one of my first impressions after finishing “Bleed Out”, the twenty-first studio album by singer-songwriter John Darnielle and bandmates Peter Hughes (bass), Jon Wurster (drums), and Matt Douglas (every other instrument imaginable…seriously, name one). 

The album’s more rock-focused electric guitars eschew the traditional acoustic accompaniment of the Mountain Goats classics like 2002’s “All Hail West Texas.” The record explores themes any fan of the band will find familiar (interpersonal violence, cyclical revenge, and disillusioned hero worship). However, a new meta-narrative may leave some on the back-foot: schlocky 80s action movies. 

Even though Darnielle’s seemingly put down the acoustic guitar and Panasonic (for now!), he’s still subverting expectations left and right. I think any fan of the Mountain Goats can find a song to love in “Bleed Out”, but many won’t share my opinions. So keep on the lookout! Next year might bring a jazz-swing album about lonely, toxic people. Or maybe a gospel concept album about futuristic robots. Whatever they get to work on, they’ll still reign strong in the hearts of their fans. Long live the Mountain Goats! –Case Fenner, News Director

See below for a playlist of music featured in this article.

The post Staff Picks: Best of 2022 appeared first on KRUI Radio.

Tennyson, engineered by artist Luke Pretty, was advertised as a solo act, but the touring band he brought with him seemed like they had been a group act all along. The band featured Luke’s sister Tess Pretty on drums, Beau Diako on guitar, and Akos Forgacs on bass.

After the excited rush of the opening song, the stage went black. Luke thanked the crowd, explaining that the band was on tour and this was their first time playing in a venue “like this,” presumably referring to the Englert Theatre’s size. “It’s nice to have some extra room on stage, to spread out a bit,” Luke said.

The interactive elements made the show fun and inviting, but of course the real highlight was the music. Tennyson’s studio music is very impressive on its own, but the addition of live instruments and acoustics took everything to the next level. Tess, Beau, and Akos all played enthusiastically while Luke delivered raspy, impressive vocals. He occasionally played with autotune, making his voice sound either inhumanly low or inhumanly high.

Luke and his sister Tess were very interactive with the crowd during their set, and Luke’s microphone often picked up his laughter between songs. At one point, Luke asked the band to stop playing just a few seconds after they began a new song. He had forgotten to start the instrumental backing track. “I don’t know, I guess I was spacing out,” Luke said, and the crowd laughed with him.

About halfway through the show, Tess remarked that the band was from Canada. The band, according to Tess, was sure that no place they visited on tour would be colder than Canada. “Is it always this cold in April?” She asked the crowd. “Yes,” the audience replied, their tone conveying a mixture of amusement and frustration with Iowa’s weather.

Tennyson continued with their energetic set, which was a mix of electropop and rock. Luke stopped the band a second time, saying there was an off-key feedback note in his ear that was distracting him. The band took a minute to try to solve the problem, but ultimately Luke waved it off. “I’ll just have to forget about it, I’ll just put it out of my mind,” he said.

If the feedback was causing Luke any issues, he didn’t show it. He was absorbed in his art, rocking back and forth as he sang, eyes closed, fingers perched on his keyboard. He and Tess often smiled at each other mid-performance, reveling in the experience.

They closed the show with audience favorite “Figure Eights,” which veered away from electropop and toward punk rock. Luke upped the vocal distortion, giving himself a brash edge that matched the gritty guitar riffs. Lots of headbanging ensued, both in the audience and onstage.

After their last song, Luke flashed the audience a peace sign and the band left the stage. The crowd continued cheering in their absence, wanting an encore, and the band obliged. They officially closed the night with a vibrant instrumental track.

The band thanked the crowd once again, with Luke hinting that they’d be back. Hopefully, this is not the last time Tennyson visits Iowa City.

The post Tennyson electrifies the Englert Theatre at Mission Creek Festival appeared first on KRUI Radio.

After a minute or two of quiet instrumentals, Alyx picked up the mic. He held the microphone a short distance away from his face, but his voice carried easily and filled the Englert with a rich, full sound.

It’s hard to describe just how good Alyx is at singing. It seems effortless to him, taking on various vocal runs and belting out his lyrics. He immediately captured the audience’s attention and soon everyone was swaying and nodding to the rhythm.

After the first song, Alyx stood up and introduced himself, thanking the crowd for coming. “I was really expecting like five people to show up, including my mom… hi Mom,” Alyx said, sheepishly.

After this short talk with the audience, he began his song “Runaway,” one of his few tracks available on Spotify. In addition to Alyx’s lovely vocals, “Runaway” featured an impressive guitar solo.

“Runaway” was followed by a spoken interlude that sounded like something you might hear on SZA’s Ctrl. This eventually transitioned into “Body Rock,” their latest single.

After “Body Rock,” Alyx performed a cover of Rihanna’s “Stay,” in which he invited the crowd to sing along. He also brought on special guest Jim Swim to rap a verse on a new song called “Trouble.” Alyx then announced that he and Jim Swim were working on a four-song EP together, aiming for a summer release.

He closed his set by performing “Gimme Life” from his upcoming EP. It featured strong drumbeats and a slightly more upbeat melody than the earlier songs, like something that might be played at a relaxed house party. Alyx’s show ended with standing applause from an impressed crowd. After a stressful week and a hectic day, it was a great way to spend a Thursday evening.

It wasn’t until after the show, though, that I witnessed one of the most striking qualities about Alyx Rush. While waiting for the next artist, Tennyson, to take the stage, Alyx came up to two audience members in the row behind me and thanked them for their energy during his show. He said that seeing them dancing in their seats helped him to be less nervous during his set. The audience members were flattered, and they giggled in delight as the singer walked away.

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Born and raised in Vinton, Iowa, a town of just over 5,000, Moen’s midwestern drawl is part of her signature sound. Her most popular song Headgear, a punchy indie rock song, is surprisingly different than what she has released lately. Headgear was released in 2019, and her music took a notable shift after the pandemic.

Like many others, several opportunities were taken from Moen when COVID-19 hit. She was scheduled to perform at the SXSW festival in Austin, Texas before it was cancelled. Despite this blow, she took her newfound free time and channeled it into creativity.

On her 2020 EP Creature of Habit, her vocals are much more stripped back and the muted production creates a softer, more introspective atmosphere. The EP is largely about dealing with loneliness and helplessness during pandemic isolation, and the song titles are cleverly titled to match the theme. The track list is: Creature of Habit, Eating Chips, It’ll Get Tired Too, Who Wants Takeout? and Studio Apartment, along with an acoustic version of the title track.

Moen’s most recent single, Is Heaven Just A Waiting Room? leans even further into the blues sound than her 2020 EP. The artist’s website says to expect a full-length album later this year and if this is an indication of what will be on it, listeners are in for a treat. See our 2016 profile on Moen to get an idea of her live presence. Elizabeth Moen performs at the Englert Theatre on April 7, at 7:45 p.m.

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Tennyson had been making music long before this event, but he wasn’t quite sure where he fit in in the world of electronic music. His 2015 debut EP Like What sounds like it belongs in a “lo-fi beats to study to” compilation on YouTube. The music is light, playful, and at times video game-esque.

On his 2019 Telescope EP, the lo-fi roots are still there, but slightly matured. The track list is largely instrumental, but he sings on You, a chill pop song that sounds like it would fit in on a  Khalid album.

Rot then, is a surprising yet pleasant contrast to Tennyson’s earlier work. He certainly mastered the nice, easy listening on Like What and Telescope, but Rot is slightly darker, slightly more emotive, and honestly far more interesting.

A playlist on Tennyson’s Spotify page, titled “ROT INSPO” and described as “songs that i stole ideas from for the album,” lists a rich array of artists including James Blake, Aphex Twin, Radiohead, Björk, SOPHIE, and more.

Now regularly singing on his tracks rather than only producing, Tennyson seems much more secure in his art. Rot is a mellow musical landscape, often bringing spring imagery to mind, like breezy meadows and rainy days. It’s a well-balanced album that signals a new era for the young artist. Join Tennyson’s new era with him at the Englert Theatre on April 7, at 9:30 p.m.

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He cites Frank Ocean as one of his musical influences, and that is most evident on his latest single Body Rock, a romantic R&B ballad. His 2018 debut single Minutes (Rewind), on the other hand, is an upbeat dance song that reminds me of the pop songs I heard on the radio in the early 2000s.

CNTRL is a passionate alternative pop track that features a rap verse from A. Barb. It’s his most intense song, with Alyx singing about letting his lover take control of him. Runaway once again proves his musical contrast by making things soft again. An echoey guitar riff pleasantly compliments his rich voice.

Alyx’s voice is the highlight of all these songs. His melodies effortlessly combine emotion, technique, and power. When he does allow some autotuned distortion, you can tell it’s for stylistic purposes and not a tool that he relies on.

Alyx’s versatility proves that while he may have been inspired by established R&B/pop artists, he is successfully creating art that is uniquely his own. He started his musical journey at 15 years old, teaching himself how to play guitar and then eventually began writing his own songs.

Performing at Mission Creek and booked for Des Moines’ 80/35 festival this summer, Alyx is a rising star to watch. If you like discovering artists before they get big, make sure to check out Alyx’s show at the Englert Theatre on April 7, at 6:30 p.m.

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