All Time Low

These Warped-Tour era icons have been releasing albums consistently since 2006, their newest project “Everyone’s Talking,” released just a couple weeks ago on Oct. 17, diving straight into an immediate tour for the band starting out with When We Were Young Festival. I recently learned their name derives from the song Head On Collision by New Found Glory, so I have a new found trust in their dedication to the craft. Throughout the decades, fans have been loyal to this Baltimore pop-punk boyband for a reason, they’ve been putting out consistently exciting music backed up by their playful humor and personalities, they’ve maintained their popularity and have stood out in the genre for decades. All Time Low has collaborated with artists like Demi Lovato, Blackbear, and Vic Fuentes, while this new album features JoJo and Ruston Kelly. They maintain their hold on the pop-punk scene, and are sure to put on a great show in Waukee. They’ll likely play a good chunk of their newest album this time, with a few select tracks featuring from across their greatest hits.

Mayday Parade

Another pop punk legendary act, Mayday Parade returns with their album Sad in 2025, following a seven year break since their last album. The band formed in Tallahassee in 2005, and celebrates their 20 year anniversary as a band this year with Sad, amazingly with nearly all of their founding members still together. They have upcoming plans to release 2 more parts of the Sad album in the upcoming months, much to look forward to from them. I’m anticipating a pretty even mix of their classic hits and tracks off their newly released album tomorrow evening, drawing into a classic pop punk experience.

The Cab

Best known to me for having a song in Rockband 2, this Las Vegas-based band returned in 2025 with a reuniting following a decade long hiatus. This year, they released their long-awaited EP, Road to Reign: A Prelude. It’s a catchy pop EP, supported by a bit of their grittier punk background seeping through into something that could’ve been featured in a early 2000s romcom movie. It’s a strong, and characteristic follow up after 11 years of a break, they’ve managed to come back still sounding like The Cab that we remember. Expect to relive their biggest hit tracks at the show, with a new song or two in between.

The Paradox

This up-and-coming pop punk band out of Atlanta might be young, but are putting out music that sounds like a skatepark in 2005. Their recent and rapid rise to popularity has them opening for icons like Green Day and Jack White, and recently also performed at When We Were Young Festival in Las Vegas. They’ll play at this show with high energy, and bring fun to pop punk at Vibrant Music Hall tomorrow. They have multiple singles out now, and are currently in the works getting together their first EP released.

Tickets for the event are for sale from First Fleet Concerts here.

The post Concert Preview: All Time Low, Mayday Parade, The Cab, & The Paradox at Vibrant Music Hall on Oct. 29 appeared first on KRUI Radio.

Hawkeye fans are all too familiar with the last time their team played the Golden Gophers at Kinnick in 2023, when a controversial invalid fair catch call overturned a potential game-winning punt return touchdown by Cooper DeJean. Luckily for them, this game did not come down to a last-second call; it was over long before the final buzzer sounded. 

Iowa came out of the gates firing in all three phases of the game with touchdowns from the offense, defense, and special teams. Quarterback Mark Gronowski led the offense to scores on each of their first three drives as he ran one in on the ground and threw a beautiful pass to wide receiver Reece Vander Zee through the air. 

Defensive back Zach Lutmer scored for the defense as he broke tackles and weaved through Minnesota’s offense on a 34-yard interception return for a touchdown. In addition, Kaden Wetjen got revenge for DeJean as he returned a punt 50 yards for a touchdown, his third return touchdown of the season so far. Oh, and all of these touchdowns happened in the first twenty minutes of action. With 11:23 remaining in the second quarter, Iowa already had a 31-0 lead.

Iowa Receiver/Return Specialist Kaden Wetjen returns a punt during the first half of the game against the Minnesota Golden Gophers on October 25, 2025, at Kinnick Stadium in Iowa City, Iowa (Julia Hansen / Iowa City Press-Citizen).

Absolutely nothing was going right for head coach P.J. Fleck and his squad all day, as they did not muster a single first down on offense until they were down by 31 points. Their only points of the day came on a 34-yard field goal in the third quarter on a drive where two out of their three first downs came off of Iowa penalties. The Gophers had as many turnovers as they had points, with quarterback Drake Lindsay having a rough day, throwing three interceptions. 

After Iowa’s dominant first half, the team put the game in cruise control in the second half, even allowing backup Jeremy Hecklinski to have a moment by rushing for a touchdown of his own. Despite scoring 41 points, the Hawkeyes only had 274 yards of offense, very evenly split between the air and ground attack, but with a suffocating defense and a lethal special teams unit, the offense doesn’t always need to march far. They are one of those teams where, even in games that they absolutely dominate, all of their players will still have mediocre stats. This is the Iowa Hawkeye way. Always has been. Always will be. 

This win also means that Iowa will be going to a bowl game this season for the thirteenth consecutive year and the 23rd time in 27 seasons under head coach Kirk Ferentz. Not every throw is a strike, but best believe the Hawkeyes are always bowling.

Iowa Hawkeyes Head Coach Kirk Ferentz watches his team play against the Minnesota Golden Gophers on October 25, 2025, at Kinnick Stadium in Iowa City, Iowa (Julia Hansen / Iowa City Press-Citizen). 

They get to rest next week with a bye week before a monster showdown on November 8 against the currently No. 6 Oregon Ducks in Kinnick. If this team wants to be on the Top 25 Poll, they’ll have to prove they can beat the best of the best, and Oregon is certainly in that conversation. Can this team get it done and get the fans to storm the field? We’ll see in two weeks. 

The post The Pig Stays Home: Iowa rolls Minnesota, 41-3 appeared first on KRUI Radio.

Obviously, this ended up not being the case. After feeling ostracized by his own music, Trevor Powers, the man behind the Youth Lagoon project, decided to return to it as he was recovering from a mysterious and drastic health condition that left his vocal cords damaged, and his body weakened. However, from this whole incident, he had an epiphany of self-discovery, and documenting this is the album Heaven is a Junkyard, the first Youth Lagoon release since 2015, and the cause for their first tour in over five years. 

Nina Keith leaning over an array of synthesizers. Image via John Glab

Nina Keith opens for the first two weeks of the Junkyard tour, playing her glassy, minimalistic ambient pieces. The brisk air from the incessant rotating fans, and the cold blueish-white light blanketing the stage amplified the icy atmosphere that the music built. Standing there it felt like being surrounded by frozen walls in an ancient glacial cave. Rocks clambering against the metal on a vibraphone sounded like icicles breaking off from the ceiling. Quick lush noises flashed over classical soundscapes and low surging reverberations. In a reoccurring move by Keith and her bandmate Massima, they would strum the ends of the bars on the vibraphone to create chilling ethereal swells.  

Youth Lagoon began the set with the tracks “Rabbit” and “Prizefighter,” both off the new album. On the right, Trevor Powers sat surrounded by three different synthesizers, and a small tower that housed drum machines, other electronic instruments and a laptop with a neon orange duct tape cross. A drum set sat on the left side of the stage being sparsely used since most of the songs’ percussion came electronically from the press of a button. Powers’ bandmates, Tchad and Logan, occupied the middle, and swapped roles between playing guitar, drums and bass. Despite Gabe’s smaller performance space, they still managed to include drenching RGB LED lights, setting them angled on the ground.  

Trevor Powers among his set up. Image via John Glab

The third song of the night was “Cannons” from 2011’s The Year of Hibernation. When Powers played the glimmering synth lead, the audience stirred with excitement. A faint echo of “I have more dreams than you have posters of your favorite teams” from voices singing along backed Powers’ vocals. That echo grew with intensity as the instrumentation became more engulfing, before ending with its biting guitar solo. Youth Lagoon didn’t abandon the older tracks that Powers grew to feel detached from, and played multiple other classics including “Montana” and “17,” which further stimulated the crowd. These tracks followed the calm, reflective, stripped back structure that built up into flooding zeniths, and elongated, indie power-pop jams.  

Following “Cannons” was the song “Deep Red Sea” which had a very loungey feel from plinking piano licks, and light plucked basslines, but still intwined with a course synth part during its end. The setlist was dominated by tracks from the new album. Fitting for the Junkyard tour. The jazzier arrangements of these songs allowed for more people to shuffle along with the music, giving the audience a livelier radiation. The lyrics on these songs had a lot of clarity and personal elements, like with “Trapeze Artist,” which Powers briefly spoke on the tumultuous state he was in while writing it, before playing the song. Tracks like “Idaho Alien” had smooth hooks with lingering, memorable flows. Even though those in the audience were more unfamiliar with the songs because of their novelty, many were still able to find themselves mouthing along to them.  

Image via John Glab

Powers interacted with the audience a lot during the performance, talking back with different people. In one instance, Powers had asked for Tchad’s bass to be turned down in his headphone monitors because the reverb was too much to handle. After himself feeling bad for the request, the crowd started chanting Tchad’s name to seemingly boost his spirits. They then cycled through Logan and ended with Trevor’s name. Youth Lagoon then played what they claimed to be the last song “Mercury” ending with its forcible chorus.  

The three members then walked off the stage and out the back door unconvincingly for a predictable encore. Most of the people in attendance still stood around, either because they too saw through the game of peek-a-boo or were still left buzzing from the performance. Somewhat sheepishly, the band walked back on stage and played the songs “Posters” and “Dropla” for the encore. Afterwards, Powers expressed his gratitude towards the audience, and seemed genuinely humbled by the reaction throughout the night.  

You can listen to Heaven is a Junkyard and all the other Youth Lagoon releases on their Bandcamp and other streaming services. Youth Lagoon continue their tour for another week before taking a break and returning again in September. 

Full Setlist: 

Rabbit 

Prizefighter 

Cannons 

Deep Red Sea 

The Sling 

Afternoon 

Trapeze Artist Mute 

Little Devil from the Country 

Idaho Alien 

17  

Mercury 

Posters 

Dropla 

The post Youth Lagoon Remerges from Hibernation at Gabe’s appeared first on KRUI Radio.

During that time Trevor Powers released music under his own name, with 2018’s “Mulberry Violence,” a more glitched-out, experimental rendition of the flooding power-pop he did as Youth Lagoon, and 2020’s “Capricorn,” an ambient, minimalistic electronic album much akin to Brian Eno, or Mort Garson’s work. These albums were made from his attempts to grapple with his own self-perception.  

Near the end of 2021, Powers was faced with a sudden medical emergency. A drastic bad reaction to an over-the-counter medicine had his stomach acid bubbling upwards. The vapors from that eruption lingered on. His throat was coated in acid leaving Powers unable to speak for extended periods of time. Powers described the experience as a “mini death” that resulted in him having this feeling of rebirth. Having his body destroyed, and then being forced to reassemble all those pieces, it allowed him to transform into a person he better recognized.  

Image via Lightning 100

That led to the creation of “Heaven is a Junkyard” and a return to Youth Lagoon. Powers’ tender damaged voice tells stories of characters with parallels to his experiences over the past few years. From that pain there comes a sense of comfort, from the growth of working through it all and striving to come out the other side. It feels free of anxiety. “Heaven is a Junkyard” has a loungey feel to it with creaking basslines, shallow pianos and light, serene instrumentation. The album has a clean production value to it and ripples, like drops of water into a puddle. This is in contrast to the lo-fi, gushing climaxes in previous Youth Lagoon releases. 

The Youth Lagoon show at Gabe’s in Iowa City marks the fourth show on his new tour for “Heaven is a Junkyard,” the first one in over five years. Since it has been so long, it’s kind of a mystery what the performance will be like. It won’t be the glammed-out, bathed in colorful LED light indie pop concert that was the archetype in the early 2010’s. Powers has grown out of that. Besides Gabe’s can’t really fit that. Yet, will Youth Lagoon pull out a song like “Cannons” or any other one from that era, or have they been permanently laid to rest? Likely the performance will reflect the growth and change that Youth Lagoon has found itself in. 

Youth Lagoon will be at Gabe’s in Iowa City on Tuesday, July 18^th as his fourth stop on his first tour in over five years. You can listen to “Heaven is a Junkyard” and the rest of his discography on Bandcamp and other streaming services.  

The post Show Preview: Gabe’s Hosts One of the First Youth Lagoon Performances in Over Five Years appeared first on KRUI Radio.

The night started off with the six-piece band Saint Silver. They gave off the vibe of laid-back bluesy rock commune band to the likes of the Grateful Dead or Fleetwood Mac. The energy started off slow but built up with the interjection of a man joining them on stage to sing a freestyle. 

Worst Impressions made their first impressions that night playing their first show ever as a band. Their style was defined by hard rocking riffs interchanging with slower sauntering moments backed by chords that bordered on being arpeggios. The performance felt shaky, but such are the growing pains of playing with new people. Nonetheless, the band put on a fantastic performance and set up the momentum for the rest of the night to come. 

The next set was Fishbait, who ditched dressing in hardcore fashion for something more maritime. The bassist wore a captain’s coat and hat, the guitarist wore a shark onesie, and the drummer wore only a life vest. The trio played well organized, convulsing math rock, with a punching punk edge that would switch suddenly from deep grooves, to light whimsicality, to outright ripping. With their skill, demeanor, and all-around stage presence it made for an exciting and dynamic show that left many people buzzing throughout the rest of the night. 

Dolliver went next, with a very instrumental heavy performance. Uncharacteristically, the crowd erupted into a chaotic mosh pit for the psyched-out laid-back surf rock band, rather than the faster paced bands that played before them. The venue’s hectic energy contrasted the mellow, grooving bass and shimmering, overlayed guitar tones. The band functioned well as an experienced cohesive unit and put on an enjoyable set. 

Critical Mass followed them and performed their set to a still-frenzied crowd. This time, though, with their more hardcore style and metal sound, the moshing felt more fitting. Callous, hard-hitting sounds blasted from their amplifiers, then transitioning to chugging, sludging riffs. Laced between these were moments of somber resolution from ringing guitars and bellowing lyrics. The sounds encouraged the audience to head bang. The band finished their set with an appropriate Deftones cover.  

Kobe Williams and the Fantasy played the final set. The energy had died down as many people had left after the previous set, along with less thrashing melodies. Williams, the front man, dressed as a 70’s rocker with a tasseled leather jacket and high heeled pink suede boots. The band played jangling, classic rock music with the occasional flair. 

By the night’s end, the proctors of the battle of the bands were hastily counting votes. Instead of picking a favorite band, I folded my ticket into a paper plane, and threw it past the two men counting. It landed in an unknown location before I went downstairs. I left before finding out who won.

The post Local Iowa City Artists Celebrated in a Battle at Gabe’s appeared first on KRUI Radio.

Walking across the broad lawn and up the to the looming old doors, I pulled the handle to ring the bell and was let in. Immediately to the right upon entry was an old tandem dining and living area that has been repurposed as a part time performance space. Both areas lined with folding chairs, theater seats, and couches that looked towards the performers. A chandelier hung above. A window lay behind the room, glazed over in light, looking out onto the street. The wall to right hosted a ten-foot lobster leftover from the Dada Prom, which PS1 hosted in December. 

Joe Kenkel was the first to perform. A transplant from Nashville, this was his first show playing in Iowa City after moving here about a year and a half ago. He sang, and played soothingly mellow, chilled out songs from a clean, reverberating guitar. The sound was backed by a drum machine he laid on the ground, his feet plucking at it with careful precision. 

The second set brought Brennan Wedl and their full band. With their alternative country sound, the songs they played were a very stark change. They were much more energetic, with a hard rock sound characterized by an effortless twang. The galloping, driving sound was occasionally elevated by a searing, hissing guitar sound that tore through the room. Other noise rock elements enriched the wonderfully raucous atmosphere. The lyrics in each song told a delicate personal story, laced with turmoil.  

Finally, Dan Wriggins, sporting a hoodie with a lobster crest, closed out the night. Swapping out his typical guitar, he played his songs on a piano modulated through a smaller synthesizer. The melodic, somber chords seeped through the room, backing up his gravely echoing voice. The words wavered with emotion as he recited lyrics that contained poetic snapshots of experiences.  

Wriggins played the title track “Mr. Chill” from his most recent EP. His only song of his that doesn’t rhyme, but still it works. He also performed songs from his band Friendship, including “I Don’t Have to Imagine Your Love” and “Clairvoyant” from the album “Dreamin.” He ended the set with the song “Hex on the Barn,” discussing whether some images have symbolism, comparing the recent ink on his arm to the Dutch hex symbols found throughout rural Pennsylvania. All while the lobster loomed over, listening.  

Brennan Wedl and their band are still touring through spots in the Midwest. Joe Kenkel and Dan Wriggins will to continue to play around the area.  Below are links to all of the artist’s Bandcamp pages.

Joe Kenkel

Brennan Wedl

Dan Wriggins

Friendship

The post A Night of Lobsters and Alt-Country at Public Space One appeared first on KRUI Radio.

Two albums deep, the band began as the solo project of Joe Stevens, self-released and recorded in his apartment. Once Stevens signed with a label off of the success of his debut Modern Meta Physic, Stevens brought in a fuller band lineup for the 2020 release Agitprop Alterna. Instrumentalist Kelly Winrich, vocalist Jo-Anne Hyun, and drummer Brian Alvarez fill out the lineup. 

The recent release 2021 Moral Panics continues the additions of Agitprop Alterna—the dual male and female vocals call to mind The Pixies or The Magnetic Fields, fused with the soundscapes of Ultravox and The Cocteau Twins. Peel Dream Magazine’s music invites the listener to take a trip through sunny synth and intimate drum machine beats. Currently touring with fellow Mission Creek artist, Soccer Mommy, Peel Dream Machine offers retro sounds that fit in well with the heyday of 90s college rock—fitting with the band name’s homage to BBC Radio DJ and indie music promoter John Peel.

Peel Dream Magazine will perform April 9th at Trumpet Blossom Cafe as a part of Mission Creek Festival.

The post Mission Creek Preview: Peel Dream Magazine dreamily lands in Iowa City appeared first on KRUI Radio.

Head Coach Rick Heller and the Iowa Hawkeyes opened their season this past Friday with a 12-2 win down in Charleston, South Carolina against the Air Force Falcons. Air Force is predicted to finish third in the Mountain West, after securing their first ever winning season in conference play last season. 

South Dakota State transfer and redshirt sophomore Adam Mazur started on the bump for the Hawks. After giving up a solo shot in the bottom of the first, Mazur went six innings with nine strikeouts, retiring the final 16 batters he faced. Mazur had a breakout season last summer in the Cape Cod League after an inconsistent first 2 seasons with the Jack Rabbits. He recorded a 1.55 ERA while chalking up 34 strikeouts in 29 innings during this time. Despite racking up attention from schools such as Alabama and Purdue, Mazur stayed certain Iowa was the right fit for him. Mazur is rated as the no. 89 player on MLB.com’s top 100 draft prospects while being the no. 2 prospect in the Big Ten. Hawkeye fans, stay on the lookout for #33 as expectations are high for Mazur this season. He has become a crucial piece in the pitching rotation, with Saturday’s performance showing exactly why. 

 LHP Cam Baumann, a returning weekend starter, came in for relief and got five more strikeouts in two innings. Baumann is a seasoned veteran whose experience will be valuable in the success of the team, whether he is a consistent weekend starter or not. West Des Moines Valley alum, Benjamin Detaeye, made his first collegiate career appearance when he entered in the ninth inning. Things didn’t go smoothly for Detaeye, who recorded only one out and loaded the bases before redshirt sophomore Jacob Henderson came in to finish the deal. Even with a few opening day jitters, there’s not much else you could ask for as a fan or coach as the Iowa pitching staff combined for a one hitter.

Offensively, Iowa produced 15 hits including two, two-run home runs in the ninth from freshman Sam Petersen and first baseman Peyton Williams. After battling injuries throughout last season, Williams led the way on Friday with four hits and three RBIs, plating two runs himself. Iowa’s other eight runs came in the fourth and sixth innings with RBIs from pinch-hitter Anthony Mangano, shortstop Michael Seegers, center fielder Kyle Huckstorf, and left fielder Brayden Frazier. 

Saturday

The Hawkeyes clinched their second win at the Swig & Swine Classic, defeating Ball State 11-1 after another strong team performance.  Ball State finished runner-up last season in the Mid-American league and is projected to finish there this season as well. Starting on the mound was right-handed graduate transfer Connor Schultz, who went 2-5 at Butler last season. As key pitchers Drew Irvine and Trent Wallace were selected in the most recent MLB Draft, Schultz looks to fill the role of “next man up” this season. After missing fall practice due to the same hip surgery as Hawkeyes Jordan Bohannon and Connor McCaffery, Schultz had a solid first outing. He went four innings with nine strikeouts while surrendering one run off two hits. 

True freshman Brody Brecht out of Ankeny, Iowa, had his collegiate debut when he came in at the start of the fifth inning. Brecht, who just recently hit 100.7 mph and is rated as the no. 1 MLB prospect in the B1G 2024 class, was absolutely lights out. Brecht recorded seven strikeouts propelling him to his first win of the season in just four innings. Brecht showed no signs of regression Saturday morning despite being a two-sport Iowa athlete and it seems he is just as untouchable as he was in high school. 

To close out the game, Michigan State transfer and redshirt sophomore Will Christophersen came in and recorded a rare four strikeout inning. Christophersen had a solid year out of the bullpen with the Spartans last season, registering a 2.45 ERA with 39 strikeouts. He will be a huge arm moving forward for the Hawkeyes.

Iowa had another strong offensive performance as right fielder Keaton Anthony led the way with four hits (two of which were homers!) and five RBIs. Brayden Frazier also had a great game at the plate going 3-5 with two RBIs and scoring two runs himself. 

Sunday

The last day in Charleston came with a matchup against Bucknell, who is projected to finish fifth out of the Patriot League. The Hawkeyes edged the Bisons 3-0, completing an opening weekend sweep. True freshman and Iowa City native, Marcus Morgan, started on the hill for Iowa. By the time Morgan finished his senior year, he had Division-1 offers in baseball, basketball, and football. But, the 2021 Gazette Athlete of the Year chose to pursue baseball at Iowa and has already amped up his fastball velocity to a consistent 93-94mph since the fall. Morgan, who is the first true freshman to win a spot in the starting rotation this early in the season under Heller, looked confident in his Hawkeye debut. Morgan went four innings with six strikeouts, yielding one hit.  It will be exciting to see his progression throughout the season as he works to maintain his weekend starting spot. 

Sophomore Ty Langenberg out of Urbandale, Iowa, came in at the start of the fifth inning. Langenberg totaled four strikeouts before he got into a little trouble late in the eighth, as Bucknell had the tying run up to bat with two outs. No harm was done though, as closer Dylan Nedvad came in to finish off the Bison, retiring their last four batters. Nedvad played both infield and outfield last season, but has switched to a permanent bullpen guy after leading the team with nine saves. We could definitely see Langenberg try out a mid-week starting position at some point this season, as Heller is exploring all options for the most efficient rotation. The resiliency of the pitching staff was nothing but encouraging this weekend, and it looks like the young newcomers are fitting right in.

Iowa had a slower day offensively, but third baseman Sam Honjar had a solid day going 3-4 and plating one run. With the offense struggling early, it allowed Iowa’s pitching staff to battle in a tight game, which will only make them better. Brendan Sher also had a strong day at the plate, going 2-3 with two RBIs, with the last RBI coming from catcher, Brett Mcleary. 

The Hawkeyes will be in Corpus Christi, Texas next weekend for the Kleberg Bank Classic where they will face off against Pepperdine, Texas A&M CC, and Wichita State. 

The post Iowa Baseball Opens the Season with a Weekend Sweep appeared first on KRUI Radio.

On the newest album from Earl Sweatshirt, the rapper continues his streak of thoughtful and melancholic bars–this time with a slightly more approachable selection of beats, supplied by the likes of The Alchemist and Black Noi$e. Avant jazz is still a key piece of the production, though some of the pianos here have a midi sheen to them, and some of the trap-influenced drum tracks will be familiar to fans of contemporary hip hop. One such track featuring this style of production is “2010”, with a bright, yet off-kilter synth loop. Here, as with many spots on the record, Earl sounds more confident than he has across his entire discography, looking forward while holding reverence for the past–he spits, “Foot shook ground when I stepped on it / Didn’t look back when I broke soil / Cause every time I did it would hurt more.” “Tabula Rasa” with rap duo Armand Hammer acts as a centerpiece for the album, and an excellent one at that. The poignant soul sample like a skipping record provides a groove for each rapper to do their thing, recalling moments of pain and passion with large doses of metaphor. This along with “Lye” and “Fire In the Hole” find Earl rapping some of his best bars over jazz samples. “Titanic” may feature the freshest production on the record, which he matches with an unconventionally catchy flow. Na-Kel’s infectious ad-libs thrown into the mix make the track an all-time great in Earl’s catalog. SICK! is an excellent addition to the rapper’s discography as he continues an ethos of quality over quantity in his output.

–Jaden Amjadi

FKA Twigs – Caprisongs

Experimental pop sweetheart FKA Twigs is known for her heart-wrenching and enchanting songwriting that stands just as firmly in the pop camp as it does the alternative. On her last full-length release, 2019’s MAGDALENE, Twigs made use of a haunting production style with soft and sweet layered vocals as well as daunting undercurrents of reverb or feedback-infused synths. On her new mixtape, CAPRISONGS, she continues some of the trends of soft, feminine vocals and a nocturnal production palette, though this time around Twigs is arguably more concerned with mainstream pop aesthetics than those of her experimental back catalog. On tracks like “ride the dragon” or “honda”, Twigs’ typically softened vocal performance feels hyper-feminized and playful rather than painfully delicate. These songs also exhibit bassy club beats, and swaying, seductive synths. The mixtape frequently highlights its uncut and emotionally raw ethos by utilizing a number of interludes of recorded conversations about relationships and self-help monologues. There are also a plethora of impressive features across the record including Pa Salieu, The Weeknd, and Shygirl to name a few. Despite taking an obvious turn towards a sound that is arguably less experimental or groundbreaking than her previous work, FKA Twigs manages to retain her ability to write undeniably, palpably human songs that are at once catchy and endearing.

–Sydney Sjobakken

foxtails – fawn

On their latest release fawn, Connecticut post-hardcore outfit foxtails shatter whatever expectations any listener may have had going into it. Lead vocalist Megan Cadena-Fernandez delivers unforgettable performances from the front to the back of this album and everywhere in between, often sporting a signature hellish wail that is second to none in pure intensity. Their vocals shine powerfully over the gloomy and murky chord progressions and basslines. While the band employs traditional instrumental aspects of post-hardcore screamo, melodies from a violin serve to add a remarkable layer of richness and beauty to the music while simultaneously stripping down the emotion into raw, gut-wrenching angst. While the record may be most notable for the peak of its intensity, the more mellow moments, such as the intros to “gallons of spiders went flying thru the stratosphere” and “life is a death scene, princess” are masterfully placed and surrenders none of the haunting, soul-crushing darkness that the rest of the record displays. The themes of the album open a window into the excruciating realities of depression and trauma. While this is a common theme in many forms of popular music, so few artists capture it so well both with lyrics and the music itself as foxtails do on this album. foxtails carve an energetic and forceful work with fawn, and hold a bright future in the world of post-hardcore screamo.

–Evan Weidl

Wylie Hopkins – On the Way Out

In a rather soothing and reassuring fashion, pioneering singer and producer Wylie Hopkins stuns with his very first EP release, On The Way Out. Before this tape, releases from Hopkins have been slim – with only 3 singles being dropped until this point. Tracks from this period, songs like “honey, i just” and “Cut”, guided listeners into a wave of euphoria and unexplainable nostalgia in their seamless blend of indie, folk, and pop rock. Serene drum loops, soft and smooth guitar tacks, and Hopkins’ sweet and rich voice created a lovely and entertaining couple of releases, both satiating and creating a thirst for more among the still-young fanbase. Hopkins continues to develop on this fun and memorable sound with this 8-track EP. His reliably catchy and organic melody lines coupled with heartfelt lyrics–ranging from relationship experiences, the ups and downs of online dating, personal uncertainty, depression, and COVID, provide the audience with a cohesive, yet adorable project. With a very strong EP under his belt right from the get-go, one can only wonder what else this solemn, yet ambitious musician has in store for the world next. I for one, am rooting for him!

–Russel Hanneman

Anxious – Little Green House

On the debut album from Connecticut emo band Anxious, they meld hardcore energy with catchy melodies to achieve a pop punk opus. Songs center around the change that comes with aging, love, and heartbreak–nothing unexpected for the genre, but there is a confident acceptance showcased on many tracks here that makes them exceptional. Vocalist Grady Allen reflects on regrets, yet the emphasis is on moving forward. On the opener, “Your One Way Street”, Allen trades between tender croons and aggressive screams before arriving at a heartfelt chorus: “No one’s to blame / We both have changed.” Singles “In April” and “Growing Up Song” have the melodic genius of some of the better Mark Hoppus songs circa ‘97, now granted heavier production and screamed supporting vocals. When the band does choose to lean into their hardcore roots, such as on “Call From You”, they perform excellently as well. Emo fans get the twinkly riffs they crave, but none that ever disrupt the momentum of the song. Even more impressive, is the seamless flow of one song to the next across the entire project. The closer, “You When You’re Gone” is a welcome surprise that finds Stella Branstool of Hello Mary taking the reigns on vocals. The song is stunningly beautiful in how it deals with the grim subject of death but somehow also manages to be deeply comforting. On Little Green House, Anxious kicks off the year in music strong

–Jaden Amjadi

The post The Best Releases of January: Music Staff Picks appeared first on KRUI Radio.

Loopable Experience

Story’s blips and tones usher you forth upon entry. It feels like a post-show vibe session with a group of tech-heads taking turns sharing tunes. Each speaker displays sounds you swear you recognize while simultaneously feeling fresh and exciting. The installation is a cacophony of smaller songs easing in and out as one edge of the 8-sided circle. At times it is a communication between two sounds. Other times it is a duet between you and a single emitted noise. And further into the experience, it becomes a dance between you and other spectators as you weave in and out of the physical boundaries of the environment.

Though the audio of the sound installation does indeed loop (I was told the album consisted of about an hour of looped audio), the placement of the spectator changes these loops for each listening session. I first found myself wandering around the space, wanting to experience every position or perspective I could think of to fully understand the piece. I stood next to active speakers, listening to sheets of metal produce horn-like washes. I tuned into speakers not playing any noise at times for a bubble of calm between two whirs of electronica. I crouched and laid down to get a sense of the verticality of auditory sensation. I stood outside the ring of speakers to observe the blending of lights and colors along the walls. I played with shadows. I sat and watched how other spectators were interacting and responding with the piece.

I noticed other listeners who couldn’t sit still. Folks who gravitated towards a specific corner of the stage. The occasional glance and whispers of contact. These loops of interaction I found embedded within the soundstage as well as the physical environment of the install. Audio feedback, bleeps, and bloops all shaped the peppered pulsing of the beat over washes of sound. Springs of textured tones influenced feedback between spectators as their bodies created washes of color. I felt the need to close my eyes at points and just experience the piece with my body. Allowing legs, feet, arms, shoulders, head to all follow along with the rhythms. You name it, it grooved. And as soon as Elbow 1 entered the stage, you know my elbow felt the need to respond.

I was also surprised by how much info a merch table can give you about an artist. Maybe the groovy album art resonates with your aesthetic; Perhaps past collabs with audio authors you’ve been listening to for years; or the staff helping run the merch. I commend everyone who had a hand in helping put this installation together and for how welcoming and informative the merch lobby came to be. It acted as a fantastic introductory space not only to the exhibit but as a fun info booth regarding the legacy of Story. I, as a relative newcomer to the world of Story, greatly appreciate this inclusion of clearly passionate staff. Bravo good chaps!

Reflections

I was also able to sit in on the discussion and reflection panel Friday evening (led by the lovely Lauren Lessing) which provided insight into Story’s workflow and intentions. Being that this was paying clear homage to the late Dieter Moebius, it drew sound recordings directly from his backlog. Story explained how he placed himself in the ‘Moebius Mindset’ through converging unorthodox sounds or unremarkable noises with underlying rhythmic beats. How unorthodox and unremarkable you ask? There was a playful anecdote regarding Moebi arriving at Story’s house many moons ago to record a squeaky door for a piece. This became a melodic aspect of an album which a listener later experienced as a soothing saxophone. What was once simple foley now paints melodic symphonies and interesting tonalities, a splendid capture of Moebius’ thought process.

When asked how he reads an audience, Story said he rarely gets the opportunity to witness live interactions with his pieces. The majority of his previous audience engagements were from folks explaining how their relationship with a piece had changed over time. His work is a literal auditory amalgamation of loops as well as a cycle of listener perception as they re-experience it. It is a piece changed by outside experiences and perspective. Story has become increasingly aware of this symbiotic relationship between listener and source media, articulating how particular emotional textures resonate with different folks at specific moments in their life. The idea of sound developing new meanings throughout an individual’s life creates a fascinating, dynamic, and living relationship with loopable media.

When prompted on his typical workflow and how the pandemic has changed the process, Tim said he’s been privileged in that regard. Most of his time spent noodling and crafting sounds is usually been in isolation. Sending files back and forth every so often for collabs when not in-person has been something he’s done for a while. He’s cognizant of how ambient music doesn’t necessarily rely on live audience engagement. This has allowed him to continue working in a very similar fashion, sometimes spending months on individual works to get the feel just right. One thing that drives Tim is his personal interest in the piece and whether it can hold his interest for more than a few days. As for what’s next in Tim’s Story, readers and listeners should gear up for an upcoming piano collab with Roedelius.

You can find Tim’s music over on his site!

The post Moebius Strips and Subsequent Reflections appeared first on KRUI Radio.