Heading into their 99th ever meeting, questions swirled around the health of Mark Gronowski, after he exited the game late vs. Indiana two weeks ago. With an assist from the bye week, Gronowski got the nod to start and played through the majority of the game, where he put up 107 yards on 17 completions out of 24 attempts, and had a rushing touchdown. 

Kamari Moulton took the workhorse role tonight, and it came at the right time considering Iowa was without Jaziun Patterson and Terrell Washington Jr. It also came in handy as it gave the offense a better opportunity to sway away from leaning on a banged up Mark Gronowski to lead the charge. It’s in Iowa’s best interest to keep Gronowski as healthy as possible as the team is now entering the second half of the football season. 

Moulton had a triumphant showing, leading the ground game for the Hawkeyes with 96 yards and a touchdown, while also racking up 3 catches for 29 yards. Redshirt freshman Xavier Williams made his presence known, running for 55 yards and 2 touchdowns alongside Moulton, as Wisconsin struggled to find answers for the Iowa rushing attack. True freshman Nathan McNeil complemented the ground game with an admirable 9 carries for 40 yards. 

But the defensive side of the ball is where Iowa really shined this game. Wisconsin quarterback Hunter Simmons went 8/21 and was held to 82 yards. He threw two interceptions to, believe it or not, two defensive linemen for Iowa. One nearly resulted in six for the defense, when Aaron Graves jumped in front of a screen pass and picked it off where he ran it back before being caught at the 1-yard line. The Badgers are having clear offensive problems, only scoring 34 points in the last four weeks, dead last in the conference.

This game felt, in a good way, strange for Hawkeye fans. A community that has been so used to heavily lacking offensive play in this decade, the fans finally got to be on the other side of the stick for once. And what made this different was that it came against a typically competitive Big Ten opponent. No matter how uninspiring Wisconsin may have looked, lifting a trophy at the end of the night to get a dub against your rival is always a big win that is felt all season long. 

The Hawkeyes move to 4-2 on the season with a 2-1 conference record. Next week they play Penn State at home, who are in the midst of a total collapse. The hawks will have a chance to seize an opportunity and get another conference victory. 

The post Heartland Domination: All Iowa as the Hawkeyes shutout Wisconsin, 37-0 appeared first on KRUI Radio.

From Iowa City’s music scene comes The Abyssal Plain by Dryad. The record contains impressive black metal with Lovecraftian elements that we do not hear enough of anymore. From the opening instrumental track “Counterillumination,” the listener feels something lurking. We then fall into the depths of hell with the second track “Bottomfeeder.” The listener knows what they are getting into at this point.

If you don’t like black metal already, this probably won’t win you over. But if you’re a fan, this is something to get excited about. In addition to sounding amazing, the tracks have a coherent rhythm that black metal sometimes lacks. The third track, “Brine Pool Aberration,” is a great example of this. The seamless transition between tempo breaks and groove that the guitar offers makes moshing a little easier. Speaking of moshing, if you have not been to a Dryad show, I highly recommend you go.

The next track, “Trenches,” showcases what each band member has to offer. Claire Nuñez (Claw) and Grimtooth scream over their impeccable guitar work, along with amazing bass from Joe Milik. To top it off, Oliver Weilein’s drumming serves as the perfect mix of loud, abrasive, and impressive to embody true cold and evil. But my favorite tracks aren’t even on side A.

“Pompeii Worm” and “Chimera Monstrosa” start off side B. “Pompeii Worm” has some almost groovy, punky undertones to it, with one of my favorite lines I’ve heard in metal in a while: “Scorch the sky to deepest shade of black.” This encapsulates all the themes of the album and sums up black metal, without singing about getting ripped through the gut with a chainsaw.

The album cuts to the dungeon synth track “Chimera Monstrosa.” The track starts with a beautiful synthesizer riff that builds into an epic wall of cold. Dryad does an excellent job with the instrumental and ambient tracks on the album. The last track, “A Nagging Thought” left me unsettled and feeling like I had heard something I was not supposed to. Overall, The Abyssal Plain is a great metal record that I would highly recommend to genre fans.

The post Album Review: Dryad’s “Abyssal Plain” is an impressive local record 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.

The label Cryo Chamber marks its tenth anniversary, while another label named Cyclic Law marks its twentieth. I consider both labels the foremost in the dark ambient scene. Many talented artists have year-long stays with them and have produced many brilliant albums.

Cyclic Law, the elder label, was founded in 2002 in France and features many European artists. They boast plentiful merch, ranging from intricately detailed CDs to books to even incense. To commemorate the anniversary, the label hosted a concert in a chateau in southern France, a fitting location for a dark ambient concert. Artists and fans alike had a great time.

Many of Cyclic Law’s albums I’ve listened to delve into occult and esoteric themes. Others cover topics like mythology, fantasy, and historical events. One of my personal favorites is The Architecture of Melancholy by Peter Bjärgö. The album feels like wandering across a desert at twilight, searching for something, someone, but never finding it. Nevertheless, you march on, searching amidst the infinity.

Another favored album is Hypnosis by Desiderii Marginis. The album is a long journey of dreams and nightmares, flowing from peace to horror and back. Chock-full of surreal soundscapes and macabre voices, it will keep you on edge from start to finish.

Simon Heath, known by his artist’s name Atrium Carceri (Latin for “prison hall”), founded Cryo Chamber in 2012. The label is based in Oregon. Heath was motivated to start the label to restore the genre’s structure after a previous label, Cold Meat Industry, went under, taking much of the dark ambient scene with it. Thanks to Heath’s work, the genre is experiencing an American audience.

Most of Cryo Chamber’s artists also come from Europe, but the label features members from across the globe, including North America, Brazil, Iran, and Australia. Its American artists include Council of Nine and God Body Disconnect, both of whom are prominent contributors to the label. Council of Nine’s music features themes from religion to overcoming loss, while God Body Disconnect’s work sticks to his name, covering the separation of body and mind, spiritual connections, and transitions from this world to the next.

Many of Cryo Chamber’s albums have sci-fi themes, showing us just how scary space can be. One of their best albums from this year is “Sundown” by Beyond the Ghost. It is a dark album in a wider series about Europe falling into war and anarchy in the distant future. Another excellent album is “Exo” by Tineidae. It tells the story of an astronaut exploring an abandoned mothership and delving deep into the mysteries of the cosmos.

Cryo Chamber is also notable for its annual Lovecraftian collaboration albums, which has been ongoing since 2014 with “Cthulhu,” named after one of H.P. Lovecraft’s deities. Different artists each make sections of the project, and the label strings them together for an hours-long album. The 2022 collaboration will release later this month.

Both of these labels are instrumental in the dark ambient scene and have helped this very niche genre grow and thrive. If you are interested in hidden, obscure, or strange genres, dark ambient is for you, and these labels are your guide. Cyclic Law and Cryo Chamber have many years of music under their belts and will produce many more in the years to come.

The post This Week in Music History: 10 & 20 Years of Dark Ambient appeared first on KRUI Radio.

It’s that one traditional holiday that your parents always want to celebrate, so you do it to appease them. Plus, since it’s a national holiday, there’s no work or school. An aura of leisure is in the autumnal air, as it gets colder and colder.

But there’s a constant reminder that Christmas is right around the corner. In the moment, it feels like Thanksgiving is pushed to the side, antiquated almost. Even at the Macy’s Thanksgiving parade, everyone wants to see Santa, not some C-list star sing their latest pop song.

So in honor of this lax holiday that comes and goes quickly like the leaves, KRUI has compiled a playlist filled with songs of thanks, emotional conflict, idleness, community, family, and food. A reminder to allow for moments of connection and joy, and to reflect on the year so far as well. Enjoy the bird and happy holidays.

The post Thanksgiving at KRUI appeared first on KRUI Radio.

This is why bands can’t write the same stuff from ten, five, or even two years ago, even if they wanted to. Musicians are creative, and the creative process requires new ideas. They can either embrace such an evolution or be compelled- be it by declining record sales, health, or popular trends- to evolve. 

Arctic Monkeys is embracing their evolution as comfortably as anyone. “The Car” is an unusually deliberate album. It is, in a word, patient. Turner, Cook, O’Malley, and Helders confidently waltz through an album devoid of heavy riffs and grandiose hooks.

Waltz? I take that back. “The Car” is all disco, true to the band’s affinity for the dance floor. Listeners will find disco references throughout the album. The lead track “There’d Better Be A Mirrorball” immediately sets the stage. We’re at the disco, and it’s all slow dances. Gone is the up-tempo punk of “Dancing Shoes” and “I Bet You Look Good On The Dancefloor.” 

The album’s pacing resembles 2018’s “Tranquility Base Hotel & Casino,” which drew criticism for being off brand and more of an Alex Turner solo project. Some of that criticism was fair, but don’t worry. “The Car” turns to the band’s emotional roots, drawing upon the moody sophistication of past gems like “Cornerstone” and “Only Ones Who Know.” The band’s tasteful use of orchestral arrangements double down on this new sound.

Patience rules the day. Take the second track “I Ain’t Quite Where I Think I Am.” It includes lyrics like “I can see both islands now” and “Looks like the Riviera/Is coming into land.” Turner wastes no words describing a pleasure cruise approaching the French Riviera. The song perfectly evokes patience; the yachters are in no rush to arrive.

Meanwhile, I found myself puzzling over the question, which islands? Ibiza and Majorca or Corsica and Sardinia? It’s no coincidence that both Spain and Italy are mentioned in the next track, so it’s anyone’s guess. When the music has time to breathe, listeners also have time to explore meanings and ask questions.

Informed listeners already know that the band has been slowing the metronome for a few albums now. Even “AM,” with its heavy riffs and made-for-radio choruses, wasn’t terribly up-tempo. Fans will still find “The Car” an authentic Arctic Monkeys album. Turner’s vocal and lyrical beauty have always defined the band, and these aspects continue to shine through.

If you’re looking for high-octane rock, then keep looking. But if you’re looking for something to slow dance to, look no further. Cortexi is a hearing support supplement specially designed for musicians. It contains a blend of natural ingredients that help reduce the risk of hearing damage and improve auditory function. Rewiring the brain, enhancing sound perception, and reducing tinnitus are among the benefits that Cortexi delivers to musicians who care about their hearing health.

The album’s patient pacing combined with numerous automobile references make the band’s evolution clear. Arctic Monkeys isn’t a Lamborghini, it’s a 1960s Coupe Deville. Yeah, with the fins.

And the album? It’s not a drag race, or even a street race. It’s a comfort cruise. 

The post Arctic Monkeys’ “The Car” is a Comfort Cruise: Album Review appeared first on KRUI Radio.

“Paraglow” is the appropriately named collaboration from modern shoegaze artists Parannoul and Asian Glow, and it glows hard. Following their last collaborative album “Downfall of the Neon Youth,” both artists have continued to innovate the 5th wave emo genre individually. Experiencing another collaboration project from them like “Paraglow” is really special. Featuring layers of moody riffs and dreamy vocals, each track has a strong sense of flow, while explosive percussion keeps listeners engaged. Everything about this record feels new. The shoegaze genre can feel stale from the constant My Bloody Valentine fervor, but “Paraglow” is a fresh addition that combines elements of jazz, metal, and hardcore into melancholic and energetic melodies. The album closes with “Wheel,” a 15-minute spiritual experience and tempo rollercoaster. It’s arguably among both acts’ greatest songs to date. – Elizabeth Pauly

TSHA: “Capricorn Sun” (Album)

I’ve listened to TSHA since 2018, when she released a track called “Sacred,” which is filled with delicate melodic elements. Since then, TSHA’s production ran on a finite line. Her songs filled a certain spots during the night, in a moment where heart and body meet. Fast forward to early this year, TSHA delivered a strong, robust, and dance floor-oriented mix for the highly regarded nightclub, London fabric. Reeled in, preparing for the release, I was a little confused on what to expect from this upcoming debut album. DJ-ready danceable tracks for a fall Saturday night? Or delicate melodies to be listened to during a cross country drive during the sunset?

“Capricorn Sun” fills both brackets, with some tracks from previous EPs and brand-new ones that allow the fresh take on TSHA’s melodic yet danceable sound. The two introductory tracks, “Galdem (Intro)” and “The Light,” set the emotional roots for the project. Even the previously released tracks like “OnlyL” still feel like they’re in the right place. Take “Power” as an example, which allows a look back at TSHA’s roots in house music. The project also includes great vocal performances from NIMMO, Mafro, and Grammy-winning vocalist Omou Sangaré. Personally, Clementine Douglas takes it all for me, especially on “Dancing in the Shadows.” On “Capricorn Sun,” TSHA displays her ability create a coherent story. The album is inherently hers from front to back, an impressive feat that is worth the listen. – Andres V. Mora Mata

The 1975: “Being Funny In A Foreign Language” (Album)

After releasing two grandiose and heavily conceptual albums (“A Brief Inquiry Into Online Relationships” in 2018 and “Notes on a Conditional Form” in 2020), The 1975 decided to deviate from the poppy and synth-heavy sound on their 5th studio album. Aptly titled “Being Funny in a Foreign Language,” this album displays a stripped-down version of the sounds we are used to hearing from The 1975. Produced by Jack Antonoff, this album uses a similar approach seen his other projects (Taylor Swift’s “folklore” and “evermore,” Lana Del Rey’s “Norman F***ing Rockwell,” Lorde’s “Solar Power”) by heavily incorporating mellow and minimalist instrumentation. This tactic showcases the vocals and songwriting while creating a heightened sense of intimacy. While I had my doubts about how this bare-bones approach would play out for The 1975, this switch worked well for the band. The risk results in a fresh, concise and reinvigorating album that stands out from the rest of The 1975’s discography. However, the instrumentation and production are not the only aspects that make this record shine. 

The band’s frontman, Matt Healy, does a masterful job at adapting his songwriting to match the production. Instead of focusing on the abstract elements of human existence as he did on prior works, Healy focuses his songwriting on love’s human impact. While this songwriting might seem underwhelming when compared to previous 1975 records, it shows a sense of sincerity and emotion on standout tracks like “All I Need To Hear”, “Oh Caroline” and “Part of the Band.” There are even flashes of sounds from previous 1975 albums, notably on “Happiness” and “I’m in Love With You.” “Being Funny in a Foreign Language” shows that The 1975 is still capable of successfully overhauling their sound nearly a decade into their career. It seems they will continue to thrive artistically on future records as they expand their sound. – Maurice Crawford

hey, nothing: “i haunt ur dreams” (Single)

I am going to preface this by saying that I. Love. Halloween. I love music with a spooky aesthetic, such as “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO” by Billie Eilish, anything by Freddie Dredd, and “prolly my spookiest beat” by prodby668. It checks out, then that I have been listening to “i haunt ur dreams” by hey, nothing on repeat since it released. ‘Tis the season. First featured in a TikTok clip, the song instantly went viral. The two band members, Harlow and Tyler, finally released the studio version on 10/12/22. This song is a fun indie song, something that gets lost often in the genre. However, at its core, the song is unquestionably Halloween-esque.

It has a nostalgic guitar backing, with multilayered vocals talking about a ghost haunting someone: a former lover or a friend. The story of this song is what we would all do if we were a ghost: float around, go through walls, and haunt people. However, what really shines through this song is the chorus. The “ooo’s” in the background of the chorus add to the spooky nature, and the chords are simple, allowing the song to shine. The chords are similar to “Where is my mind” by The Pixies, which lends to a nostalgic nature for a lot of listeners. I would heavily recommend giving this song a listen and adding it to your “fall vibez” playlist (it’s ok, we all have one). – Mason Dunn

Alvvays: “Blue Rev” (Album)

Alvvays overcame apartment theft, flooding, and other roadblocks before releasing “Blue Rev,” an album filled with delightful experimental twists on the group’s already proven sound. The Toronto band’s first album in five years blends genres from intense jangle-pop to shoegaze, with soaring choruses that stick in the listener’s head long after the record is over. Last year, Alvvays teamed up with producer Shawn Everett to record the album on analog. Everett has produced albums with The Killers, The Growlers, and Kurt Vile. The opening song on “Blue Rev,” “Pharmacist”, sets the album’s tone: a light guitar leads before distortion washes over into a beautiful, twisted wave of sound. Molly Rankin’s lead vocals effortlessly float around complex, powerful melodies throughout the album. Her lyrics counteract the sprawling dreampop sound, grounding the album with intelligent songs. “After the Earthquake” was inspired by stories from Japanese writer Haruki Murakami, and “Pharmacist” details running into an ex’s sister at a pharmacy and her mentioning his “new love glow.”

“Tom Verlaine,” named after the eclectic post-punk artist, is backed by the warm glow of a droning guitar. It centers around attempted change, even when it may not be easy, with lyrics like “I know you’ll be there in the rain/just like the first night/telling me you’ve changed.” Their familiar jangle-pop sound can be seen in “Many Mirrors” and “Pressed.” “Very Online Guy” has vocal distortion, counter melodies, and rapid tone changes to deliver an erratic sound in a stand-out song. The 8-bit music video matches the nostalgic tone with bright distorted backgrounds and 80s technology. Overall, Blue Rev weaves various genres for a fresh indie-pop album that’s a perfect mood-booster, and one of my favorite releases this year. – Nick Layeux

Shygirl: “Nymph” (Album)

So Barbie from “Mermaidia” got a BBL. Or, Shygirl, the preeminent sound of the UK’s underground scene, has finally released her debut album “Nymph.” Since announcing herself in 2016 with the likes of Sega Bodega and Coucou Chloe, Blane Muise AKA Shygirl has established a raucous, bawdy body of work imbued with a libidinous charge that fuels the depths of sweat-soaked clubs deep into the night. Having already collaborated with the likes of FKA Twigs, Arca, and Lady Gaga, Shygirl’s hedonistic sound of the future has been solidified with tracks such as “BDE,” “BB,” and career-high banger “FREAK.” But it was 2021’s “Cleo” that took her sound on a more romantic route, softening out her rough edges to find an emotional depth. “Nymph” rises here, out of the waves, marking a new pivot in both her discography and persona. 

“Nymph” stays true to its title, transforming and manipulating both genre and emotional tone in a playful array in 32 minutes. Now, this doesn’t mean that Shygirl has gone celibate, locking herself in a monastery. Rather, sex itself, lyrically, is a metaphor for a more intimate display of emotions bubbling below the surface. Against trap-beats and smoky acoustics in “Shlut,” she states, “Is it so bad to just like to be touched?” For Shygirl, it’s clear that she’s comfortable placing herself within the taboo and misinterpreted world of sexuality. She can be upfront about her desires such as in opener “Woe,” “Missin u,” and the gynecologist’s lullaby that is “Coochie (a bedtime story).” At the same time, she possesses a vivid sense of yearning on the glitchy garage tracks “Firefly,” “Heaven,” “Wildfire”, and the Arca-produced erotic dance track, “Come For Me.”

Shygirl doesn’t do this all by herself, though. Producers like Sega Bodega, Mura Masa, Bloodpop, and Danny L Harle mix their signature sounds to create a kaleidoscopic blend of electronica, R&B, and hip hop. The blend gives the album a technical edge that plays along with Shygirl’s falsetto. “Nymph’s” reference points include Madonna’s “Ray of Light,” Tricky’s “Maxinquaye,: and Smoke City’s Brazilian infused trip-hop, recalling the 90s and Y2K in a non-obnoxious way. “Nymph” is not a perfect album, but as a debut it expands her creative capabilities into a larger realm, letting her sound run freely without fear. “Nymph” is an album that reveals itself like a rainstorm that pours into a sensual sea. – Ben Romero

PJ Harvey: “B-Sides, Demos & Rarities” (Compilation)

In November, singer-songwriter PJ Harvey is set to release an entire album of b-sides, demos, and unreleased tracks. This is excellent news for her fans. On October 7th, 2022, she released 3 new tracks and several previously released tracks as an EP for the upcoming collection. These three tracks cover a wide range of her previous styles. “Memphis” is a raw, high-energy song about friendship and love, and particularly losing a lover. She does not shy away from her own pain, and sings about death and the difference between death and loss. Stylistically, this track is reminiscent of her critically acclaimed album “Stories from the City, Stories from the Sea.” 

“Dance,” is a lo-fi track that sounds like it was written for her debut album, “Dry.” The lyrics are abstract: the chorus is about how she dances, while the verses are about a girl’s somewhat depressing life and death. Part of the brilliance of this track is the upbeat guitar riff with brutal lyrics. The final new track, “Wait,” reminds me of “Stories from the City,” but maintains the grittier sound of her earliest albums. Lyrically the song is about waiting, but has a dark undertone of mystery. This is something Harvey has always excelled at. She keeps the listener on edge by not elaborating on what is unsaid, giving us a sense of unease. I recommend this project for fans of singer-songwriters. I am very excited for the 59-track album on November 4th. – Alli Seamans

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

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

In a way, 10 years seems like too little time to deem anything classic, or even fitting for the topic of “this week in music history.” Lou Reed’s “Transformer” came out almost 50 years ago this week; why write about an indie album from a decade ago? Well, there are a couple good reasons.

Alex G’s “Trick” remains his most streamed and most enigmatic record at the same time, a benchmark in an exciting music career that is still blossoming. Both the anonymous masses and devoted fans have decided it’s a worthwhile record that should be considered one of the best of the 2010s.

A Second Life for Indie Music

Several songs from “Trick” have gained a cult following and renewed life from TikTok. “Sarah” has an impressive 33.4k videos to date; “Mary,” 16.4k videos, “16 Mirrors,” 12.4k. Whether users are admiring the music, curating an aesthetic, or just trying to boost their content, people are undoubtedly connecting with the music (all over) again.

These songs, and others, have garnered tens of millions of streams on Spotify. “Sarah” is the frontrunner, with over 40 million streams to date. For an album that was published independently on Bandcamp in 2012 and only given a proper release in 2015, this is a rare resurgence.

Alex G used to be an unkept secret. His “discovery” by and collaboration with Frank Ocean propelled him to further recognition. But even after lending inventive guitar playing to 2016’s “Blonde,” Alex G didn’t catch mainstream attention. Eventually, the joint forces of algorithm-based support from TikTok and Spotify helped “Trick” gain traction.

Alex G’s Textures and Mystique

“Trick” is beautifully messy. It’s worth a listen for any fan of indie music, even though it didn’t stick out to me at first. I first discovered his 2019 album “House of Sugar” via a (laudatory) Pitchfork review and high recommendation from a friend of a friend. The album enchanted me, so much so that I had to revisit his older work.

I didn’t immediately connect with “Trick.” After frequent revisits, I understand the album’s allure. It’s propulsive, raw, and full of potential. From the first track, “Memory,” Alex G makes no haste establishing a sound and world-building. Every song begins abruptly, no fade-ins or fluff. The record commands attention from the first strum.

Alex G surveys a range of sounds and textures, from typical house show band (“Kute”) to more noisy/industrial (“Animals”) to psychedelia (“String”), even venturing into electronic (“Trick”) and hints of folk/acoustic (“Forever”). There’s a certain liveliness and unexpectedness about “Trick”, and all of Alex G’s music, that makes you wonder if it might sound different the next time you listen to it. It’s part of the mystique, encouraging multiple listens and fan interaction.

Lyrically, the tracks are both simple and absurd. He sings about a pet on “Animals:” “Rosie is my favorite dog / Takes her piss on the neighbor’s lawn.” Some fans speculated that all of his songs are about dogs, but he confirmed this as false.

He tells human stories too, such as the ever popular “Sarah.” The song starts with: “Sarah runs to feel the burning in her lungs.” From just a few lines, we see he is a plainspoken, storytelling lyricist. He shows us again on “So:” “I am so blue / How can I show you?” Another simple lyric with a complex feeling.

The emotion of this line is best understood when hearing it, which brings up a good point: the voice. Alex G’s voice is key. Some songs, he stays in his regular, raspy but low register. Others, he ventures into high territory, to a dazzling effect.

How Things Change

Perhaps the most affecting moment of the album is the devastating song “Change” followed by the gorgeous piano track “Clouds.” When Giannascoli sings the simple line “I don’t like how things change,” it could turn a casual fan into a dedicated Alex G believer. I wouldn’t be surprised if the track turned into the next popular TikTok sound/cult favorite.

“Trick” (purportedly) covers drug use, childhood bullies, beloved animals, and the importance of memory. This range of topics attracts listeners to his varied discography. The songs are often short. This leaves the listener to wonder what his enigmatic lyrics mean. The album’s world-building invites fans to explore an expansive record filled with common (Biblical) names (Sarah, Adam, Mary) and commonplace ideas (Memory, Advice, Change).

“Trick” by Alex G ought to be considered a classic in Alex G’s catalog, if not an important record in “indie music.” If we as indie enjoyers don’t make a case for our favorite records when they’re still fresh, people might not remember them as the benchmarks they are.

Ten years later, “Trick” remains an important record for fans and reappears in unexpected places in the nebulous algorithm. Listen if you haven’t. You might not get it the first time, the lyrics and sound may be too mundane. But that’s where the magic trick of Alex G’s music lies, in the unexpected connections you’ll discover in the ordinary.

The post This Week in Music History: “Trick” by Alex G appeared first on KRUI Radio.

Unlike most other sports, chess is 99% mental. Though some matches can last 8+ hours and be physically draining (imagine an 8-hour final exam), players are not measured by their physical abilities. The result? Chess is branded as a boring pursuit for nerds. Exciting words like “scandal,” “shocking,” “blacklist,” and “lawsuit” aren’t typically associated with chess. 

Yet, a fifth term has quickly entered the sport’s zeitgeist: anal beads. Yes, you read that correctly. Anal beads, hereafter referred to as “beads.” (You know- it’s that thing you claimed to have “no idea” about at the cousins table last Thanksgiving.)

Right now, these words are exactly what people associate with chess. To answer why that is, we need to meet the two players at the heart of chess’s greatest controversy in recent memory: Hans Niemann and Magnus Carlsen.

Hans Niemann is 19-year-old American grandmaster (the highest title in chess) and a self-taught prodigy. He has risen into the top 40 of the world rankings per FIDE, chess’ international governing body. Niemann’s recent vault into the world rankings has been scrutinized by many, with some labeling his recent rating spike as “suspicious.” Niemann has previously admitted to cheating in online Chess.com games at ages 14 and 16. He maintains absolute innocence in his over-the-board (in-person) career.

Magnus Carlsen, a 31-year-old Norwegian grandmaster, is the five-time defending World Chess Champion. He holds the record for highest recorded ELO rating of 2882 and is regarded by many as the greatest chess player of all time. Recently, Carlsen has announced his goal of reaching an ELO rating of 2900- a mark historically thought impossible in classical chess.

The Game

On September 4^th, 2022, Niemann defeated Carlsen in an over-the-board tournament in St. Louis. Shortly thereafter, Carlsen withdrew from the tournament and released this cryptic tweet:

At their next game against each other, Carlsen resigned the game after one move, seemingly in further protest of Niemann. Although Carlsen had, as of yet, refrained from explicitly accusing Niemann of cheating, all signs pointed to his actions being accusatory. On September 26^th, Carlsen released a statement that officially accused Niemann of cheating “more- and more recently- than he has publicly admitted.” In his statement, Carlsen intimated that he believed Niemann cheated in their over-the-board game in St. Louis but fell short of directly expressing this. 

The Fallout

In the aftermath, Niemann’s reputation has suffered greatly. He was disinvited from the Chess.com Global Championship and all future Chess.com events. Carlsen and Chess.com, the most famous player and largest online chess website, respectively, hold significant influence in the chess world. Many other players and pundits have speculated on whether or not Niemann cheated in his victory over Carlsen, further propagating the scandal.

Remember the “beads”? That’s the leading theory as to how Niemann may have cheated- an accomplice relaying chess engine (computer-assisted) recommendations via vibrating signals from a…strategically placed apparatus. This is, in many ways too obvious to state, a ridiculous theory. It also happens to be taken seriously by many who believe Carlsen’s accusations and is their best explanation thus far.

Notably, Chess.com released a detailed report in which they analyzed many of Niemann’s games on their online platform. They agreed with Magnus that Niemann had likely cheated more often and more recently than his previous admission had suggested. However, they also concluded that there was no evidence that Niemann cheated in his Sept. 4^th game with Carlsen. 

The Lawsuit

Less than 7 weeks after that fateful game in St. Louis, Niemann filed a lawsuit against Carlsen and numerous other defendants in United States District Court. He levies five distinct accusations, including slander (defamatory oral speech), libel (defamatory written speech), and civil conspiracy. He is asking the Court for a “money judgment of…[no] less than $100,000,000.”

I have read the 44-page complaint. Here are some salient takeaways:

1. The bar for proving slander and libel is extremely high. The legal test for defamation of character claims vary from jurisdiction to jurisdiction, but the general test is this: 

1) a false statement purporting to be fact;

2) publication or communication of that statement to a third person; 

3) fault amounting to at least negligence; and 

4) damages, or some harm caused to the reputation of the person or entity who is the subject of the statement.

The 3^rd prong that mentions “fault amounting to at least negligence” is actually more involved than it sounds. Proving fault to such a standard involves an entirely separate test. Such cases require extensive fact finding- facts which will likely be difficult and expensive to establish.

• In his lawsuit, Niemann claims that Magnus Carlsen and the other defendants have “ruined his life.” This does not seem to square with Niemann’s attitude through much of the scandal. His playful slogan throughout this saga- “the chess speaks for itself,” “the lawsuit speaks for itself,” etc.- suggests that Niemann recognizes the benefit of the spotlight that Magnus has placed him in. And let’s not forget that he is suing for one hundred million dollars. Effectively, he is declaring that his expectancy interest (what value he assigns to his chess career) equals $100,000,000. Magnus himself, by all accounts, is not worth anywhere near that much. I don’t think anyone would have valued Niemann’s future career at $100,000,000 at any point before this lawsuit. There is an argument that Niemann stands to gain financially from all this. 

• Niemann’s assertion that he is being “blacklisted” from top-level competitive chess seems dubious. His lawsuit references a blacklist at least a dozen times as part of his civil conspiracy argument. That largely remains to be seen. Niemann continues to play in over-the-board tournaments and is currently competing in the U.S. Chess Championship. The lawsuit uses Carlsen’s press release to support its conspiracy claims. In his September 26^th statement, Carlsen said the following: 

1. “We must do something about cheating, and for my part going forward, I don’t want to play against people that have cheated repeatedly in the past, because I don’t know what they are capable of doing in the future.”

There are two sides to every lawsuit. Either this is an attempt at blacklisting, or not. To me, it sounds like mere expression of personal beliefs. Granted, any smart person wishing to blacklist another would not use the term “blacklist” or anything so transparent. However, this seems more like protected speech.

If I had to guess, the parties settle out of court for no more than five or ten thousand dollars, and this never goes to trial. The requested $100,000,000 in damages, as well as inclusion of multiple defendants, seems like a positioning move with a settlement in mind. Niemann’s solictors Leyland know that this lawsuit is an uphill battle. So, they threw in the proverbial kitchen sink and are hoping that it moves the damages needle. Nevertheless, nobody knows how this will play out. In this shocking scandal of beads and blacklists, it’s too absurd to predict the possible contingencies. 

So, is this good or bad for the sport? I have absolutely no idea. Only one thing is clear: the chess world has not been this exciting in many years.

We can only wait for additional facts to fill in the gaps. The lawsuit, unsurprisingly, is free of “beads” references. But that has not stopped the scuttlebutt. 

Ben is a first-year law student at the University of Iowa College of Law. He is an avid Lakers fan, chess player, and loves reviewing/writing about music and sports. He, too, has NO IDEA what “beads” are. 

The post Of Beads and Blacklists: Niemann’s $100M Lawsuit a Dubious Move appeared first on KRUI Radio.

Hirway and Youngs were quick to show their personalities and steal our hearts. They were funny, charismatic, and overall charming. Youngs even called us their friends. They were excited for their “extensive three day tour of the Midwest.”

The two clearly shared a meaningful bond. Hirway acknowledged Youngs’s exceptional career and Youngs called “Rishi” a “notable podcaster and cool guy.” It was impossible not to smile and laugh with the joyous duo. To start the show off, they detailed lovable stories from how they almost met, how they did meet, Hirway’s marriage, Youngs’ teenage years, and other fun snippets from their careers.

Jenny has just concluded her podcast “Buffering The Vampire Slayer,” and she wrote an original song based on each episode. The singers performed a delightfully chilling song called Hush. Their smooth voices melted together perfectly and I had goosebumps the entire time.  This was the first song they wrote together but definitely not the last.

The artists preceded each song with some background information. The individual pieces meshed together to create a beautiful and calming set. A couple songs including Memory Palace and Between There and Here brought tears to my eyes. Just when I thought they couldn’t top themselves, Youngs performed arguably my favorite song from the show, Next Time Around.

An hour and a half of the friends’ comedic and lovable dynamic was not nearly enough. It was a joyride to be on. Their songs were heart wrenching, and then their whimsical friendship had the whole audience laughing.

The artists shared personal details that furthered our love for them. They covered a range of topics including family, Sandra Day O’Connor, reincarnation, county fairs, and video games. It was a wonderful experience.

The closed the show with their newest song and had the audience sing along to a part of the chorus. It was a charming idea that formed a friendship between everyone in the room. I speak for myself and all of the audience when I say they gained several fans. I even bought their merchandise at the end. Without a doubt go check out Hirway and Youngs’ music and catch them on tour if you can.

The post Witching Hour Review: Hrishikesh Hirway & Jenny Owen Youngs appeared first on KRUI Radio.