Armand Hammer – “Doves“

In the wake of their critically acclaimed 2023 release We Buy Diabetic Test Strips, despite both of their unrepentant proliferation, I don’t think anyone was expecting further work under the Armand Hammer name anytime soon. Both artists, Billy Woods and ELUCID, would likely return to their bustling and increasingly demanding solo careers. However, many listeners found that at the end of February, an 8 minute 45 second song was released. Now, I think that the culture surrounding ‘bonus tracks’ is a general regard for them being throwaways. Songs that didn’t make the final cut tacked onto the end for the fans. That being said, Armand Hammer is no average group, and this is no average bonus track.

In conversation with Armand Hammer, you wouldn’t think it to be the staggering composition it is, with easy humbleness from the two veteran MC’s simply seeing it as business as usual. However, the product is unprecedented. Beginning with an eerie, echoing sample of throat singing buried under a haze of vinyl crackle, the track patiently develops with weary guitar lines, then echoing piano meandering like staircases to nowhere. Then complimented by contemporary blues artist Benjamin Booker’s whispered rasps, the song expands, crackles, and wavers in the cold air. Blasts of harmonic noise appear and decay, stabbing through and then collapsing in on themselves.

When Billy Woods finally appears, he is reticent, yet remorseful from his decrepit hideaway. He easily delivers one of his weightiest and brooding verses from an album of weighty and brooding verses. By the time ELUCID’s echoing vocals enter, the stabs of noise have returned, gathering for a moment behind his harmonies before the entire song begins to fall inwards, accompanied by increasingly panicked cries of “Great day!” “Doves” is undoubtedly a peak in a career of towering achievements and one of the most evocative compositions I have heard in my life.  

-Evan Raefield, Training Director

Charli xcx, Lorde – “Girl, so confusing featuring lorde“

If you haven’t heard of the album brat by Charli xcx it is likely that you have been living under a rock for all of 2024. The electronic dance pop album went viral with its minimalist album cover and unorthodox promotional tactics, essentially revitalizing mainstream pop music. While the album is loaded with hits from front to back, there was one track in particular that stood above the rest of the pack.  

That song was “Girl, so confusing” centered around a tumultuous relationship with another singer. This song highlighted one of the biggest flaws in mainstream music that starts with industry politics and often trickles down into obsessive fanbases. For some unknown reason, there always has to be a particular “it girl” in pop music. Some people would argue that it’s Charli xcx, others will make arguments for stars like Beyonce or Chappell Roan. To a casual fan like myself, it feels strange that an industry rooted in feminism thrives from pitting its biggest stars against one another.  

This is perhaps why the “Girl, so confusing remix featuring lorde” feels like the most monumental moment of pop music in a long time. This remix version of the song not only answers the questions posed by the original, but also adds perspective with Lorde’s stellar guest verse which addresses the toxic effects that industry politics has on artists and subtly pleads for unity amongst women in music. One can only hope this song serves as a turning point where pop stars and labels realize that there is enough money and critical acclaim to support multiple superstars and create an environment where the new norm for artists is to lift each other up instead of tearing each other down. 

-Maurice Crawford, Editorial Staff

Cosmo’s Midnight, Franc Moody – “Fantasy“

A match made in nu disco heaven, Australian electronic duo Cosmo’s Midnight teamed up with British dance duo Franc Moody for their groovy single “Fantasy”. Released in February 2024, “Fantasy” continues to be in heavy rotation for me ten months later, making it a clear choice for my song of the year. Why? Well, there’s the sonically perfect opening, with a space laser giving way to funky drums, bass, guitar, and falsettos.

There’s the infectiously flirty chorus: “You’re my all night safari/You keep gettin’ me wild.” Then there’s the perfect instrumental pause for the start of the second chorus: “Joyride,” they harmonize before the instruments kick back in, “we can take it slow/Exhale, unwind, enjoy your time.” The song’s brilliant music video, featuring trains, chain mail, and a bath full of oranges, further exaggerates the carefree vibes. Glossy, upbeat, and above all else danceable, “Fantasy” is the ideal song to blast during a ride at “Cali sunset time.”

-Glenn Houlihan, Editorial Staff

gabby start – “Boys“

I genuinely can’t stop listening to this song. gabby start is an artist that I’ve been a fan of for a while, but something about this one is different. I really like lyrics that are kind of vague, and the only thing I truly know about this song’s content is that it references Interpol and hooking up in a car, and that’s really all I need. The line “I’m obsessed with the boys, but it’s not like that, it’s never been like that,” has rattled around in my brain ever since I heard it.  

“Boys” begins with a slow build up that feels like you’ve stepped into something new. I’m pretty sure gabby start writes all their songs to take place in a fictional world, which adds to that feeling even more. The synths of this song are absolutely insane; sharp, metallic, and peppered with spaceship noises, exactly as music should be. This bass tone could easily be part of a Skrillex song, also exactly how music should be. I’m glad that I live in a world where “future bass” is a term used to refer to music, and that one of those songs references Interpol and hooking up in a car and makes me think about gender a bit too much. 

-Sidney Bakker, Music Staff

Ikkimel – “KETA UND KRAWALL“

Summer 2024 was defined by one hyperpop artist, and that was Ikkimel. I first came across her music at the Euro 2024 Fanzone in Berlin, which was right in front of the Reichstag, on a day when there were no matches being played. Instead of showing games they had musicians playing on a stage. When I walked in, she was performing. Ikkimel had the wooden pallets placed over the muddied ground bouncing with pseudo techno beats and clashing electro synth sounds, all in a magnetic allure. Every single body was moving, caught up in the vivaciousness of her music.  

After one song, it ended. I got there late. What followed was some wannabe Drake style rapper singing in English that sucked all the energy from everyone who then just lingered there listless. The one song I did get to hear from Ikkimel though was “KET UND KRAWALL” that came out ahead of her HAT SIE NICH GESAGT EP, which defined much of the remaining year. Her style is very provocative and assertive, with a patronizing attitude to everything around her, often making fun of macho culture. She has popularity in Germany, but it feels like she belongs as an icon in the global zeitgeist. “KETA UND KRAWALL” will insert life into anything in whatever place it’s played. 

-John Glab, Editor-In-Chief

Joost Klein – “Europapa“

In short, “Europapa” by Joost Klein is an absolute bop. It is the most fun dance tune to come out of this year, but there are bigger reasons why it should be on a list of the best songs of 2024. The song was written in tribute to Joost’s parents, particularly his father, both of whom he had lost by the age of 13. It is also an ode to the European Union, speaking to the freedom of movement and personal experiences Joost has had. 

Europapa was the Netherlands’ submission to the 2024 Eurovision Song Contest which has significant impacts in terms of international relations. However, Joost was unprecedentedly disqualified from Eurovision hours before the final competition due to later dropped allegations from Israel. Europapa was projected to be the winner before Joost was disqualified, and his removal from the contest sparked a massive discussion around Israel being permitted to participate in Eurovision, as well as wider discourse around the genocide in Palestine and Gaza. People protested in person outside the contest, on social media with #FreeJoostKlein, and even inside the contest, booing and singing Europapa over Israeli contestant Eden Golan’s song. 

When asked to think of the best song of 2024, for me it had to be Europapa. Not only is it a fantastic and meaningful song, but it was one of the most politically powerful songs to come out of 2024 that sparked genuine discussion. 

-Amanda Moy, Editorial Staff

Kim Gordon – “BYE BYE“

Sonic Youth vocalist and multi-instrumentalist Kim Gordon proves boomers still got juice in them with her genre bending release The Collective. Exploring trap and hip-hop styles through the lens of her industrial noise rock background, she creates a truly novel and badass experience. Specifically, its opening track left me in awe the movement I heard it and continues to stay in rotation.  

Structurally she contrasts huge wailing guitars and walls of sound around her deadpan vocals that feels like she’s seemingly just reading off a to-do list before her upcoming flight, hence the title “BYE BYE”. This track is the definition of hard and the fact an artist in their 70s is dropping mosh worthy bangers to compete with the likes of Death Grips and Soul Glo should serve as some kind of inspiration. 

-Amman Hassan, News Director

Objekt, DjRUM – “Ganzfeld (DjRUM Remix)“

As a way to showcase his new label, the Berlin based producer Objekt calls some of his favorite fellow producers to remix a re-release of one of his most acclaimed tracks, “Ganzfeld”. DjRUM is on the list. The extraordinary musician from the United Kingdom is characterized by his intricate productions and DJing. The resulting track we received can be described as a sonic, dreamlike odyssey, one that begins like any other great story.  

Echoing snares and stunning tambourines follow with an incredible piano progression over the wonderful percussion that characterized the original track by Objekt. The track then falls apart into a chilling half-time percussive section, that then becomes increasingly convoluted and frightening, yet doesn’t lose any of its engaging sound design. The track reassembles, combining those frigid sections with beautiful ones, creating a contrasting image on the story and resolving its conflicts into the finishing string and piano chords that formed the beginning. This remix is a masterpiece of electronic music composition, one that shows complexity and story building like none other.

-Andrés Mora Mata, Music Director

Sabrina Carpenter – “Bed Chem“

While I originally wanted to give my spot for top song to Amyl and the Sniffers’ “Going Somewhere”, I couldn’t let Sabrina Carpenter’s success this year go untalked about. Her album Short n’ Sweet made a difference in my year for the better, especially the song “Bed Chem”. The song’s bright chords and grooves are unforgettable to me. The storytelling ability of the track and its early 2000s R&B influences make this one of the best pop songs of the year, if not the best. There’s just something about “Bed Chem” that is irresistible to dance along to. 

-Lee Nienhaus, Editorial Staff

Tom Cardy – “Transcendental Cha Cha Cha“

On particularly bad days, being asked to dance at the club fills me with a crippling fear of the expansiveness of the universe. It’s then that I listen to this song. Cardy steps out of his usual lane, musical comedy about flipping people off and the seminal 2009 classic film Human Centipede, to deliver this well produced ode to classic cha-cha and existential dread.  

Though he maintains his signature sense of humor, he dials down the funny to turn up the chaos, layering in a dense electro pop backing track with several unique percussive and piano features. His freewheeling lyricism adds to the madness, spinning the listener into an alternate universe where a lone human clubber in an intergalactic discotheque puts aside their existential fear and joins the room in a dance. Optimistic in its dread, “Transcendental Cha Cha Cha” is a certified club banger, club destroyer, club rebuilder, and every other reality in between. 

-Bailey Vergara, Music Staff

Verraco – “Godspeed >“

Once again Verraco, the Colombian who co-founded the label TraTraTrax, appears on my favorite tracks of the year, this time on his residency at Timedance, the UK label lead by Batu. As part of his Breathe… Godspeed EP, that includes tracks that also deserve to be in this list, especially “Sí, idealízame”. “Godspeed >” is an exhilarating piece of music that is made to be heard on large speakers at full volume with a crowd surrounding you.  

The track starts rather minimalistic with a dembow rhythm, and a vocal sample taken out of Dj Babatr’s notebook modified to sound other-worldly. A sliding bass comes in not too long after, teasing the party goer, to then be blown out of proportions with an organ like synth that calls for battle, and percussive elements to bring it all together. Truly a party starter, front to back. 

-Andrés Mora Mata, Music Director

Zookraught – “Red Hot Summer“

For the past few months, I’ve had Red Hot Summer — particularly, the attack of its syncopated main riff — stuck in my head. Released as a single ahead of their debut LP Vida Violet, this track is an all-hands-on-deck effort from each member of the Seattle dance punk trio. Featuring Baylee Harper’s electrifying drumming, Sami Frederick and Steph Jones’ full-force vocals, along with their respective guitar and bass to boot, all give everything in a steamy five minutes.  

The lyrics’ passion infected me with an energy best suited in the basement of a house show, much like the one they played in Iowa City last fall. The switch ups, especially towards the bridge, are to die for, and the chorus alone gives a brilliant payoff. If I died right now and went to punk heaven, Zookraught’s “Red Hot Summer” better be playing in the mosh pit. 

-Harry Ginsberg, Music Staff

The post KRUI Staff Favorite Songs of 2024 appeared first on KRUI Radio.

Having been to multiple rap shows in various stadiums and arenas, this performance was the most memorable one I’ve seen so far. Most rap concerts play the song through giant speakers while the artist does ad-libs and lets the crowd perform the rest of the song. Armand Hammer’s performance heavily contrasts with those other shows because they actually rap their entire songs from beginning to end without the traditional hypeman. It’s something that shouldn’t be uncommon in today’s music scene. This creates a much more intimate atmosphere for fans to connect with their favorite songs and truly witness the artistry of hip hop. Additionally, the rap duo’s style of performing adds a new dimension to their songs, allowing the audience to hear them in a new, different context, and allowing them to discover unrealized themes in the lyrics. 

The energy of the crowd was unlike anything I had ever seen before, with each person locked in like a lion towards its’s prey. People were rapping along to the songs word for word while consciously rocking their heads back and forth. The energy of the crowd was like a wave, coming and going in seismic shifts. This was absorbed by the performers, with every verse vibrating through my chest and echoing through my mind for days to come.  

Armand Hammer’s setlist was incredibly structured, as it allowed both artists to shine as both individuals and as a duo. It summed up the entirety of their careers and gave a showcase of artistic evolution over time. For me, this concert was the best of the Mission Creek Festival by and far, and there is no amount of money that I wouldn’t pay to witness this show again. I am forever grateful for the opportunity to witness hip hop in its purest form, and create an incredible life memory that I will never forget. This was a masterclass in how hip hop should be performed.  

The post Mission Creek: Armand Hammer Perform In the Purest Form appeared first on KRUI Radio.

Thursday:

Hanif Abdurraqib (6:00 PM Hancher Auditorium)

Acclaimed writer Hanif Abdurraqib will read from his new memoir There’s Always This Year: On Basketball and Ascension at Hancher Auditorium to kick off Mission Creek Festival. Hanif hails from Columbus, Ohio and is armed with the slogan “Ohio Against the World”. This mantra matches the biography’s tone that traces basketball stars like LeBron James, and many other stellar players that are mostly lost to time. Hanif resurrects these careers in this narrative. 

On Thursday, April 4th in the Hancher Auditorium, Hanif will be in conversation with Tisa Bryant, author of Unexplained Presence, an essay collection that blends fiction, criticism, and theory. Bryant serves as an Assistant Professor in the University of Iowa’s Non-Fiction Writing Program. 

Both authors break conventions within form, as Abdurraqib’s writing toes the line between prose and poetry. In every effort, he brings a poetic lens to his work. Previously, he wrote the essay collection A Little Devil in America, which was a National Book Critics Circle Award finalist. Recently with ESPN, Hanif wrote a profile about his longtime favorite team, the Minnesota Timberwolves, and their winning season that has shocked basketball fans across the country. 

-Nick Layeux, Training Director

L’Rain (7:30 PM Hancher Auditorium)

Multi-instrumentalist and sound curator L’Rain, the stage name for Taja Cheek, will perform at the Mission Creek Festival on Thursday at Hancher Auditorium. A Brooklyn native and surrealist musician creating her own genre, L’Rain’s latest works are influenced by jazz, gospel, R&B, rock, and pop, but maintain their own deeply personal identity.  

Cheek labels her most recent album I Killed Your Dog as an “anti-break-up” record. She reflects on the conflicts of the internal soul and external identity to shape music into a conversation between love and heartbreak. “I’m envisioning a world of contradictions, as always,” as Cheek describes the record, “sensual, maybe even sexy, but terrifying, and strange.”  

Expect a bold and prismatic performance of instrumental motifs and loops layered into a visceral noise that bounces around the soul in constant motion. Like hearing a dream come to life, L’Rain’s music is an experience that pieces together a collection of found sounds to momentarily bridge the gap which divides the world from the surreal. 

-Pauly, Editorial Staff

Neko Case (8:45 PM Hancher Auditorium)

This year’s Mission Creek Festival is being headlined by one of the preeminent American voices of a generation: Neko Case. Case is a member of the Vancouver based indie-rock supergroup the New Pornographers, as well as having a prominent solo career, winning the “Female Artist of the Year” award at the PLUG Independent Music Awards in 2006. 

In April of 2022, Case released sir latest album, titled Wild Creatures. Described by Anti- Records as a, “career retrospective.” The album contains 22 re-releases of Case’s strongest solo tracks, including all-time bangers like “Man”, “Furnace Room Lullaby”, and “I Wish I Was The Moon”.  

But one album was not enough for Neko Case. Almost a year later, in March of 2023, the New Pornographers released their ninth studio album, titled Continue as a Guest. Case performs as lead vocalist for all but two of the album’s ten tracks. Case gives the tracks, with lyrics by songwriter and producer A.C. Newman, a “sweet, surreptitious poetry,” as described by Jon Dolan for Rolling Stone.  

We here at KRUI hope you take our advice and find the time to go out and see Neko Case at this year’s headlining event. Sir performance can be seen on Thursday, April 4th at Hancher Auditorium.  

-Case Fenner, News Director

Friday:

Strangers of Necessity (7:30 PM Gabe’s)

For those seeking poised, silky rap at Mission Creek this year, the kind that understands the power of a savvy hook and explosive kick drum, look no further than Strangers of Necessity. Comprising Iowa City based producer CoryAyo and Chicago rapper Fooch the MC, Strangers of Necessity is an authentic Midwest hip-hop duo. The duo’s name speaks to the nature of their formation. After connecting online via Twitter, they rapidly struck up a friendship and intense creative partnership.  

Following up from their debut EP Tangerine Avenue and subsequent project The Layover, the duo’s 2020 release Vibe Theory encapsulates their effortless synthesis of tight rhymes and polished instrumentals. From the hard-hitting beat and infectious chorus of album opener “Incredible Flow”, to the laid-back atmosphere of “Fundamental” – “Mixing the old with the new, cooking up gumbo stew,” – it’s packed full of imaginative, well-rounded tracks. There’s even a charismatic appearance from Iowa City favorite Jim Swim on the stand-out “I Can See It”. Unsurprisingly, it’s Strangers of Necessity themselves who are best suited to articulate their sound. “They might call this hip-hop but I just call it vibe music. The shit you can ride to, the shit you can vibe to,” they playfully declare on “Mild Sauce”. 

-Glenn Houlihan, Editorial Staff

George Clanton (8:00 PM The Englert)

As a part of the Mission Creek Festival lineup, multidisciplinary artist George Clanton will perform at The Englert Theatre on April 5th. George Clanton is an electronic musician and singer-songwriter based out of Los Angeles. Most often associated with his contributions to the internet based genre vaporwave, Clanton’s musical output has largely remained DIY and inspired by underground music. First coming onto the scene under the monikers ESPRIT 空想 and Mirror Kisses, Clanton established himself through lo-fi instrumentals and sampled music, before dropping both band names completely in favor of his birth name.  

In 2015, Clanton released his album 100% Electronica under his record label of the same name, established with his now wife, and fellow musician Neggy Gemmy (FKA Negative Gemini). His most recently released album, 2023’s Ooh Rap I Yah, finds Clanton maturing in his development of electronic pop, evocative of past nostalgia and memory as previously explored in his breakout 2018 project Slide.

Plucking pop culture references and mashing them into a psychedelic phantasmagoria, Clanton’s auditory and visual style have become uniquely idiosyncratic in our modern music landscape, establishing him as one of the most interesting artists currently working today. Clanton will be stopping in Iowa City as a part of his current national tour with supporting acts Frost Children and Full Body 2. 

-Ben Romero, Editorial Staff

Hatis Noit (8:30 PM Riverside Theater)

From Shiretoko of Hokkaido and now residing in London, Hatis Noit takes us on a journey through Nepal to Buddha’s birthplace, where she was inspired to sing through the otherworldly sound of a female monk’s Buddhist chants. She realized the power of the human voice and its ability to synthesize the essence of humanity in tonal form. Drawing from Gagaku and operatic music, such as Gregorian and Bulgarian chants, her music reminds us of the spiritual force which has inspired music for millennia.  

The name “Hatis Noit” itself means the stem of the lotus flower, originating in Japanese folklore. The lotus itself represents the living world while the root represents the spiritual world. Hatis Noit connects the two as one, seeing music as an embodiment of this underground that is our past, subconscious, and memory. Her critically acclaimed album Aura, released in June of 2022, draws on painful personal and shared memories, such as the 2011 tsunami and the 2020 pandemic, in a collection of chilling and visceral vocal power.  

Every sound on the album, excluding recordings of the ocean near a nuclear plant on “Inori”, is her own voice, with an intensity comparable to that of Björk. She notably featured collaborators of the Icelandic singer in Matmos on her EP Illogical Dance on Erased Tapes. She also features Armand Hammer, who will also be at Mission Creek, on her latest single “Jomon – Preservation Rework“. 

-Lauren McGovern, Editorial Staff

Anthony Worden (9:00 PM Gabe’s)

Having grown up in Cedar Rapids and graduating from the University of Iowa, Anthony Worden is intimately familiar with the highs and lows of muddling through life in Eastern Iowa. Indeed, Worden’s impressive musical output, often supported by the exceptional band The Illiterati, is matched by a genuine drive to strengthen the social fabric of Iowa City. The Illiterati Fest, an annual celebration of local art, music, and community, has twice raised money for local causes: Inside Out Reentry Community in its first year and the South District Market in its second.  

Worden further supported Inside Out Reentry Community, a nonprofit based in Iowa City that serves people returning to Johnson County after incarceration, by playing at their Be An Instrument for Change Spring Concert last May. I can vouch for this being a killer show. I was lounging in the glorious sun at the Riverside Festival Stage in City Park throughout it, and I expect nothing less on Friday night at Gabe’s.  

While Worden’s heterodox rock is sandwiched between two hip-hop artists, his cult hero status and familiarity with the iconic venue will no doubt ensure a cathartic performance. With a fifth album, Plain Angels, due for release this spring, fans will be treated to new songs, alongside his promised new band. Anthony, if you read this before Friday, please play “Lost in the Fog of War”. It’s like Arcade Fire suddenly materialized in an Iowa City recording studio and started writing about student debt. 

-Glenn Houlihan, Editorial Staff

Indigo De Souza (9:45 PM The Englert)

Indigo de Souza, is an American-Brazilian musician residing in North Carolina, but originally from Connecticut. She’s known for being one of the leading figures within the pond of indie, and alternative rock. Under the label Saddle Creek, de Souza’s earlier success comes from some of her iconic EP tracks “Boys” and “Sleep Talking” which were released back in 2016. Then, in 2018, she came out with her most notable work, the album I Love My Mom, which contains songs that defined her artistry and career such as “How I Get Myself Killed”, “Take Off Your Pants”, and “What Are We Gonna Do Now”, which all demonstrate her aptitude for using nature references and imagery as a vehicle for deeper symbolism.  

De Souza’s lyrics are relatable, candid, and grounded in reality. They are teeming with allusions that lead to themes like heartbreak, disappointment, and the rattling chaos of being alive. In line with this, what de Souza captures in her instrumentals is a pristine rawness of electric guitar, paired with jangly, lo-fi, chamber pop tonalities. It all comes together to form a poignant symphony of vulnerability, and burning desire to live up to one’s wants in life. 

-Anika Maculangan, Editorial Staff

Sunny War (10:00 PM Riverside Theater)

A veteran Mission Creek performer, this year sees Nashville’s own Sunny War at a very exciting time in her career. Having moved away from their traditional folk punk sound, their most recent record Anarchist Gospel instead has a blend of different styles. With varying inclusions from blues rhythms to country twang, the stylistic shift suits them well, as evidenced by the flurry of positive reviews the project garnered. Yet, Sunny War manages to retain some of the artistic factors that remain essential to their works: pointed conscious songwriting, and a wholehearted soulful delivery. 

-Evan Raefield, Music Staff

Armand Hammer (10:45 Gabe’s)

On Friday, New York City rap duo Armand Hammer will be making a stop in Iowa City to perform songs off their latest album, We Buy Diabetic Test Strips. If you are out of the loop and unfamiliar with them, Armand Hammer is a prolific rap group that truly represents hip-hop at its core with their socioeconomically centered lyrics and dark, grimy production. The duo consists of New York rapper Elucid, and Washington D.C. rapper Billy Woods. Despite being the best duo in the game right now, Billy Woods and Elucid are both strong rappers individually, having stellar solo discographies.  

On their latest LP, the duo creatively pushes themselves further than ever. Featuring production from greats like JPEGMAFIA and EL-P, Armand Hammer explores the various plights of the human condition over beats that are both abrasive and ambient. The lyricism on this project is razor sharp and thought provoking, with themes and motifs that will leave you pondering for weeks.  

The rap duo’s live performances certainly live up to their reputation as artists. Their performances are loud, fiery, and energetic. When they perform there is a spiritual feeling in the audience as every line, word, and syllable travels through both your mind, body, and spirit. Their performance will be one of the best at the festival, with the show likely being discussed by the audience for weeks after.  If you want to see two hip-hop greats in their respective primes, Mission Creek is the place to be. 

-Maurice Crawford, Editorial Staff

The post Mission Creek Preview: Thursday & Friday 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.

“Snail Mail retains the same wounded lover ethos and hazy, scorned vocals but with a noticeably more pop-inspired instrumental palette. Indie rock guitars and peppy drums provide a sturdy melodic base, while additions of piano or dreamy synths give this album a sometimes danceable effect.”

–Sydney Sjobakken

19. Lingua Ignota – Sinner Get Ready

“Lingua Ignota has always incorporated a regal and grandiose instrumental palette, but SINNER GET READY shows a slightly softer side to her work with elements of religious hymns and neofolk. Yet, despite drawing back a bit from her more abrasive tendencies, she still maintains the same level of harrowing torture and anguish that permeates her work.”

–read Sydney Sjobakken’s full review here,

18. Greta Van Fleet – The Battle at Garden’s Gate

Staffer Hadley’s Album of the Year

“Greta Van Fleet does not disappoint with their third album, which keeps their iconic sound while incorporating some of the most beautiful lyrics I’ve ever heard. They stray from their classic rock roots to incorporate a more worldly sound while still being amazing and technically sound. They play with a new, more diverse range of sounds that sets them apart from their usual comparison to Led Zeppelin and creates a sound all their own, with enough flair to show their growth as a band while still sounding like the group we know and love. Personally, I think it’s their best album yet.”

–Hadley Stewart

17. Rauw Alejandro – Vice Versa

Staffer Alejandro’s Album of the Year

“In a very limited genre like reggaeton, Rauw Alejandro breaks those limits to deliver Vice Versa, an album full of fun tracks that use the typical reggaeton and Latin pop beats in new and creative ways. The lead single and opening track of the album, “Todo de Ti”, is a funky introduction that sets the tone for what the rest of the album is going to be. However, the highlight of the album is “Cosa Guapa”, which mixes Latin pop and House to make a new classic for Latino nightclubs.”

–Alejandro Gonzalez

16. Shannon & the Clams – Year of the Spider

Staffer Ryan’s Album of the Year

“The newest from Shannon & the Clams combines elements of Rockabilly, 60s psych, & Doo Wop, creating a unique retro sound. Vocalists Shannon Shaw and Cody Blanchard achieve excellent chemistry.”

–Ryan Knipp

15. SPIRIT OF THE BEEHIVE – ENTERTAINMENT DEATH

Director Sydney’s Album of the Year

“As discordant as it is dreamy, SPIRIT OF THE BEEHIVE’s ENTERTAINMENT, DEATH easily excavated a place for itself in the top releases of 2021 with its irreverent sense of nostalgia, melancholy, and an eerie understanding that maybe all is not well. The twinkly yet jarringly off-kilter synths remind one of an old photograph being eaten away by time and sun-exposure, while the vocals are melancholic and ethereal. The constant shutters, glitches, and static present in the mix add to the unusual ethos of this record which is sure to lull its listeners into a dangerous state of naive ease.”

–Sydney Sjobakken

14. Armand Hammer & The Alchemist – HARAM

Director Jaden’s Album of the Year

“Billy Woods’ and ELUCID’s poetically confrontational bars hit as hard as ever. Now with smooth and jazzy beats from the Alchemist, the two reach new heights. It’s the contrast between Woods’ deep bellow and ELUCID’s rasp, as they deliver dizzying bars filled with emotional gut-punches. It’s how they seem to have pushed the Alchemist on some of these songs to create his most experimentally mind-bending beats yet, while still maintaining crisp production. Put simply, HARAM cements Armand Hammer as one of the best rap duos to ever do it.”

–read Jaden Amjadi’s full review here.

13. Backxwash – I LIE HERE BURIED WITH MY RINGS AND MY DRESSES

“On the newest album from Backxwash, she continues down the path of dark, industrial metal-infused hip hop, rapping verses that mix the personal with the occult. The first single and title track “I LIE HERE BURIED WITH MY RINGS AND MY DRESSES” is a perfect encapsulation of why this album rules.”

–read Jaden Amjadi’s full review here.

12. The Mountain Goats – Dark In Here

“It just so happens that this new set of songs on Dark In Here is some of the band’s best work in years. The instrumentation is never particularly showy–folk rock guitars, some keys across piano and organ, some spare woodwinds–restrained drums which only hit hard when the time is right. Attention is primarily on Darnielle’s lyricism and vocal performance, which he keeps on the softer end of his register. These songs are sad, or at least, they explore different aspects of loneliness and darkness.”

–read Jaden Amjadi’s full review here.

11. Tyler, The Creator – Call Me If You Get Lost

“Smooth and soulful, with lyrics that’ll make you ask, “Who hurt Tyler?”. It also has a fair balance of gritty or harder songs, and smooth, horn-filled soul pieces. It’s a nice middle-ground between IGOR and Flowerboy.

–Sydney Sjobakken

10. Doja Cat – Planet Her

It’s Doja Cat. What could we possibly say? Her new one is pretty great.

9. Viagra Boys – Welfare Jazz

“The brand of tongue-in-cheek, abrasive yet catchy songwriting that Swedish post-punk band Viagra Boys has engineered is on full display on their sophomore LP Welfare Jazz. The album certainly lives up to its name with instrumentation that is often jazzy, bluesy, and unrelentingly infectious.”

–read Sydney Sjobakken’s full review here.

8. Injury Reserve – By The Time I Get to Phoenix

“On the newest album from Injury Reserve, rapper Ritchie with a T and producer Parker Corey carve out a new lane for themselves in experimental hip hop, as they grapple with the passing of founding member Stepa J Groggs. The results are unlike anything the group, or any other artist for that matter, have made before. From the confrontational opening track, they make it clear what the listener is in for–Ritchie strikes a battle rap stance over enveloping synth lines with a verse that verges on mad rambling in the best way possible.”

–read Jaden Amjadi’s full review here.

7. black midi – Cavalcade

“To expect anything less than off-kilter and left-field from black midi is to underestimate them, but Cavalcade proves that being “left-field” is not a matter of luck or a lack of ingenuity. Across this album, the band employs a Coraline-esque balance of blissful fantasy and demented horror with contemporary jazz-inflected progressions, snappy drums, and perfectly spaced breaks into full-bodied blows of distortion and drive.”

–read Sydney Sjobakken’s full review here.

6. Illuminati Hotties – Let Me Do One More

“From atop Illuminati Hotquarters, singer/songwriter Sarah Tudzin pens tunes to capture the last gasps of a dying Summer on Let Me Do One More. The band’s variety of sounds range from catchy pop-infused punk to endearingly sincere folk and beyond.”

–read Jaden Amjadi’s full review here.

5. Low – HEY WHAT

Staffer Zachary’s Album of the Year

“Nothing is better than seeing a band you’ve grown up with expand their sound while keeping their core values the same. Hey What finds Low, nearly 30 years into their career, blowing out the speakers with harsh electronica and entwining the noise in their ethereal melodies and reigning them in. Sparhawk and Parker have always been masters of sparseness, and while that usually means playing with silence, here, they showcase how isolating and cold chaos can be while proving it ineffectual in the face of the human spirit. This is honestly the strongest album from them in years, and I can’t wait to see what they come up with in the future.”

–read Zachary Leboeuf’s full review here.

4. Lana Del Rey – Blue Banisters

Staffer Amelia’s Album of the Year

“When Lana Del Rey dropped three singles on a random Thursday in May, only about two months after Chemtrails came out, it became evident she was working on a new project that would move her forward as a singer and find her focusing on new themes. Blue Banisters explores themes of sisterhood, friendship, family, righting wrongs, and dealing with critics. Songs range from well-known bootlegs in the fandom to a closing song she wrote in 20 minutes with her sister and her dad. She strips many songs down to piano and voice, but standouts like “Dealer and “If You Lie Down With Me” use synths, horns, and screams. Blue Banisters rivals the Grammy-nominated NFR among fans because of this new style and maturation shown by Lana on this album, and sets a new standard for any project she creates in the future.”

–Amelia Johnson

3. girl in red – if i could make it go quiet

Director Daniela’s Album of the Year

“girl in red’s anticipated debut album, if i could make it go quiet, captivates listeners with its relatability, instrumental intensity, and variety. The intimate lyrics about relationships and moving through life resonated with me. The presence of numerous instruments such as piano, synths, drums, and guitar was deliberately and thoughtfully used to create a specific mood for each track. girl in red has the ability to write fast-paced bangers, heartfelt ballads, and nostalgic instrumental songs. The combination of all of these elements creates a memorable musical experience leaving me hungry for more of her work.”

–Daniela Rybarczyk

2. Genesis Owusu – Smiling With No Teeth

Staffer Ken’s Album of the Year

I’d never heard of Genesis Owusu before he was played during one of the music staff meetings, but I’ve been hooked ever since. I instantly got hooked to the many bangers present on Smiling with No Teeth the moment I started listening and haven’t left my thoughts since. Each track sounds so fun and surprisingly diverse from one another instrumentally and vocally, it makes my brain feel very happy!

–Ken Dompier

1. JPEGMAFIA – LP!

Staffer Evan’s Album of the Year

“On LP!, JPEGMAFIA plays perfectly into his strengths. The experimental hip hop titan revives his distinctive, engaging, and humorous attitude and delivers yet another project full of heart, intelligence, and musical brilliance. With bold and outlandish production, an infinitely wide arsenal of flows, and rebellious and sarcastic lyrics, Peggy drops another instant classic and advances his case to be considered not just one of the best experimental hip hop artists of our time, but one of the best hip hop artists, period.”

–read Evan Weidl’s full review here.

The post The Best of 2021: Music Staff Picks appeared first on KRUI Radio.

Xiu Xiu are masters of getting under your skin and showing you how to feel uncomfortable. Their last release, 2019’s Girl With Basket of Fruit, is one excellent example of this. It not only touches on themes related to intense sorrow and agitation, but also proves exactly why they are one of the most beloved modern-day noise acts. OH NO is no different with its unsettling nature and gripping intensity. This album is marked by dystopian rave beats and sinisterly sweet melodies, such as on the opening track “Sad Mezcalita” and later on in “One Hundred Years.” It also boasts a feature on every track from a number of big names like Sharon Van Etten, Chelsea Wolfe, and Alice Bag, weaving their guests’ vocals in with the quivering delivery of vocalist Jamie Stewart. While not as gut-wrenching as many of the songs on their prior release, the harrowing and noisy production matched with often unhinged melodies, vocals, or lyrical content still worm their ways into your ear and deep within the folds of your psyche to test just how intimately you are willing to get with your darker humanity. 

–– Sydney Sjobakken  

Armand Hammer & The Alchemist – HARAM

Rappers billy woods and ELUCID form Armand Hammer and team up with producer The Alchemist to deliver one hard-hitting verse after another over jazzy, experimentally-tinged beats. By now, the two MCs have developed a strong rapport—their poetic and often confrontational bars collide with electricity, all with a bluntness familiar to their work. As far as vocal chemistry goes, the pair has lots. ELUCID’s smokey rasp contrasts billy woods’ powerful shout excellently. The duo stands apart from their competition in lyrical content especially, whether they are reflecting on the post-colonial era, Blackness, or pained nostalgia. Some verses detail a specific experience, while others are a dizzying scattershot of metaphor and dark imagery. There are some surprises in the tracklist—like the blissfully triumphant “Black Sunlight,” featuring vocalist KAYANA, where the rappers spit some of the most uplifting verses of their entire catalog over a celebratory horn sample, or the album closer, “Stonefruit,” where ELUCID passionately pulls off a forlorn melodic flow. Other highlights include the emotionally resonant “Falling Out the Sky” with Earl Sweatshirt and  “Chicharrones” with Quelle Chris, where woods and Chris meditate on the US police state and responding movements. Without compromising their style, and with The Alchemist handling the beats, the duo has made HARAM their most sonically approachable album, while also making it one of their most memorable releases. 

— Jaden Amjadi 

Valerie June – The Moon and Stars: Prescriptions for Dreamers

If the chaos of the world makes you want to turn off your phone and lay in the middle of a field, don’t panic–Valerie June is here to pull you out of time. This album is a masterpiece of Americana that sounds both instantly classic and humble; intimately dreamlike. June’s Appalachian croon is at turns reedy, raspy, and ethereal. “Call Me A Fool” is a powerful, bluesy lament, while “Stardust Scattering” hushes to a musing whisper to build space for a layered, jazz band crescendo. “Smile” is a sunny, drum-driven highlight that may just become my new pandemic mantra. The Moon And Stars: Prescriptions For Dreamers is an album for walking at dusk as the raw edge of spring fades into summer. Watch the trees bud, soak in the music, and lose your worries in June’s reassurance that the passage of time soothes all–regrets, loves, and lost dreams. 

-– Lela Lemke 

dad sports – I AM JUST A BOY LEAVE ME ALONE !!!

It’s difficult to make music that sounds simultaneously nostalgic and refreshing. Go too far on one side and you run the risk of treading the same ground as other bands before you. Fall on the other, and you can lose out on fans by becoming too experimental for your own good. Luckily for us, dad sports does it effortlessly on their debut EP. From the very first strains of “out 4 a breather,” the chiming guitars bring to mind the jangling sound of twee pop. And the reminiscing doesn’t end there. “if u want to !” sounds like the best song of 1994 college radio updated with the comfy synths of modern-day bedroom pop. Instead of bludgeoning the listener over the head with arcane references, dad sports takes the true 90s route of simple lyrics that cut to the heart of the particular feeling. “I’m feeling nervous again, though it doesn’t take much these days,” could sound sappy with no context. But add in the shimmering guitars and the impassioned vocals, and the lyrics take on a whole new meaning. dad sports makes you want to turn to the left side of the dial yet again, in the freshest possible way. 

— Zachary Lebouef 

Bernice – Eau de Bonjourno

One of the most exciting releases of the year thus far, Bernice’s Eau de Bonjourno, is one not to miss. This is the band’s first release since 2018, and it’s clear the three-year break was well worth the wait. Featuring strange harmonies à la Bill Wurtz, nonsensical lyrics, and unusual production techniques, this album has everything someone venturing into the experimental realm of pop music needs. The two opening tracks make the direction of the record clear to the listener: it’s going to be a rollercoaster ride, and you’re not going to have any warning as to when the turns and drops will come. But when they hit, they hit hard. Whether it’s an atonal sax solo or glitchy bouts of silence, this album defies expectations at every corner. A personal favorite, “Big Mato,” is a song dedicated entirely to the construction of the perfect salad, inviting the listener throughout to participate in the described act of creationism. Additionally, “Personal Bubble” has one of the catchiest hooks I’ve heard in a while, constantly flipping back and forth between inviting and denying the listener entrance into their “personal bubble.” It may not always be the most danceable, but if you’re searching for something new, exciting, and at times whacky, then this is the album for you. 

 -– Joseph Shanks 

Louisahhh – The Practice of Freedom

On Louisahhh’s debut record, everything is at her command. From the throbbing mechanical snare hits of “Love Is a Punk” to the eerie dystopian soundscape of “Hunter / Wolf,” The Practice of Freedom is 47 minutes of unnervingly tight industrial techno beats, turned into a rebel anthem of sexual freedom through Louisahhh’s authoritative control of every detail. From her gritty yet tender vocals to the steampunk aesthetic, every moment demands the undivided attention of the listener. Each track is unapologetically indulgent in its own sound, often relying on repetition and loops but never growing stale. The aptly named “Chaos”, for example, is an exchange between a hard mechanical beat and a string of sexually evocative and progressive text spoken through Louisahhh’s subtle but ever-present whisper. Every other song is likewise forward-thinking, and each fights for its own right to survive on the tracklist. “Master” is the closest thing to a ballad that the album provides, with Louisahhh describing her experience with love, sexual exploration, and self-discovery. As The Practice of Freedom progresses, the mood becomes deeper and darker, with tracks like “Corrupter” descending into glitched-out chaos—the soundtrack for a nightmarish but addictive fever dream. From front to back, The Practice of Freedom provides a refreshingly honest voyage into the human psyche and is essential for the modern lover. 

–- Tiger Slowinski 

Genesis Owusu – Smiling With No Teeth

To put Smiling With No Teeth into any one box would be an impossible task as it seamlessly blurs the lines between genres to create an album that is exciting and enticing to listen to. From the outset, Owusu forces the listener to question if they’re listening to an experimental hip-hop record or something in the vein of post-punk with its almost shouty, baritone vocal delivery and hypnotic synths. The post-punk ethos is further cemented in the more melodic and danceable second track “The Other Black Dog,” but again the listener’s attention is quickly diverted to groovier cuts like “Waitin’ On Ya” and “Gold Chains.” The latter in particular employs spacey synths, erratic guitar, and a chorus that is so euphoric it can only be described as pure ear candy. From start to finish, Smiling With No Teeth is a rollercoaster of styles and genres that, while distinct in their own rights, come together without a hitch to paint a cohesive and infectious sound that will leave you wanting nothing more than to listen over and over again. 

-– Sydney Sjobakken 

Blanketman – National Trust

Blanketman’s debut EP National Trust combines indie rock and punk for an energetic musical experience. “Beach Body” and “Leave The South” kick off the EP with a bang. The upbeat, energetic vocals combined with hard-hitting electric guitar and drums engage the listener after the first chorus. The instrumental riffs and rallying cry in the lyrics stay in the listener’s head long after hearing them. “Harold” and “Dogs Die In Hot Cars” have moodier lyrics showing the maturity of the group. The band experiments with other sounds as well, like the groovy beat on “Blue Funk” and the vocally driven chorus on “The Tie.” The title track, “National Trust,” shows off the band’s instrumental talent with buzzing rhythms and an undercurrent of electric guitar. Blanketman’s sound takes much inspiration from 80s alternative rock with vocals that mix Morrissey’s sadness and Billy Idol’s gruffness. Blanketman knows their musical strengths and has combined them into a rhythmically and melodically engaging EP that is National Trust. 

–- Daniela Rybarczyk 

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