“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.

The Body and BIG|BRAVE have each earned their tenure in metal, but together they have created an album that defies any preconceived notions one might have had for them. On Leaving None But Small Birds, both bands veer into a brand of folk rock that is rife with an eerie grit. Twangy layered strings mesh with the heavy distortion of guitars that both The Body and BIG|BRAVE are known for, creating a delicate and foreboding atmosphere. Similarly, the guttural shrieks and growls of The Body are replaced by the haunting croons of BIG|BRAVE’s lead vocalist Robin Wattie, which runs on the verge of breaking at points and sounds seductively resilient in others. Even in the quieter moments on the record where instrumentation pulls back–as on “Black is the Colour”–there is still a great deal of texture to be found in the weaving vocals and thudding, droning rhythm of the work. While certainly not a traditional metal release, Leaving None But Small Birds retains some hints of its creators’ metal influences and proves the genre as an incredibly versatile one. 

–Sydney Sjobakken

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. The opener, “Pool Hopping” features a suave, yet energized guitar lead, as Tudzin navigates a complicated love-on-the-rocks situation in her signature ultra-charismatic vocal performance—emotional turmoil has never sounded so fun. “u v v p,” on the other hand, finds the songwriter taking a regretful tone over a tried-and-true folk rock chord progression, complete with steel pedal and a spoken word passage from Buck Meek of Big Thief. It’s a melody sure to put a tear in many a beer. For fans of punk rippers, there’s plenty here. “MMMOOOAAAAAYAYA” hones the chaotic energy showcased on Free IH into one of the wildest jams of the year. Though the lyrics throughout the album are consistently wittily funny or throat-punchingly pensive, Tudzin is at the top of her game here, juxtaposing lines, “Text me, touch me, call me daddy / I’m so sad I can’t do laundry.” On “Joni: LA’s No. 1 Health Goth”, the band takes on hardcore punk, as Tudzin describes a character of such abundant scene credit that her status is unachievable—perhaps vapid in her devotion to trendiness, but impossibly cool regardless: “you wish you were like her.” Let Me Do One More has some of Illuminati Hotties’ best-written songs, blending the band’s many unique styles in a masterclass of growth. 

–Jaden Amjadi

Yullola – Priestess 

Priestess captures the deep, rhythmic percussiveness of the hyperpop genre in combination with clear and emotive vocals. The album opener “Sell My Soul 2 U” sets the stage for the rest of the album. The contrast of angelic vocal harmonies floating on top of spacey, sporadic synths instantly grabs the listener’s attention. The repeated percussive line on “Is It Love or a Pyramid Scheme” paired with the uncomplicated chorus makes the song earworm worthy. Admittedly the lyrics of “Spit in Yo Mouth” are slightly obscured even to the most experimental-learnéd listeners, but by adding in the staccato drums and oscillating vocals, the song becomes fun and dance-y. Beyond the upbeat, techno sound of the album, Priestess features acoustic and melodically driven songs. “Afterglowow” has mellower electronic rhythms, and the foreground is Yullola’s beautifully clear voice and introspective lyrics. Perhaps the most lyrically-driven song on the album, “Bb Plz Don’t Go” leaves room for Yullola’s somber yet passionate vocal performance by stripping down the rhythmic section. Wrapping up the album is “Ur Not My Type Ur Just Some Type of Way” with the piano’s direct presence paving the way for the vocal line to experiment with layering and ornamentation. Overall, Priestess highlights Yullola’s vocal clarity and passion alongside intricate techno beats. 

–Daniela Rybarczyk

JPEGMAFIA – LP! 

On LP!, JPEGMAFIA follows a formula and sound similar to that of his previous albums and manages to sacrifice no quality in doing so. The experimental hip hop titan revives his distinctive, engaging, and humorous attitude and delivers yet another project full of heart, intelligence, and musical brilliance. On the two versions of this album–the Bandcamp version has songs uncleared for streaming and is thought to be the truest form of the record–Peggy showcases his signature production style. While this project is not as outlandishly abrasive as some of his previous projects, the beats ride a satisfying line between original, creative, and fresh-sounding while not being so flashy as to get in their own way. Peggy combines these sounds with his ever-charismatic and in-your-face lyrics and delivery. On a track like “DIRTY!”, he addresses social issues with sarcastic and amusing bars that engage the listener and paint an image of the artist as one who is serious about his craft and worldviews, but does not take himself too seriously. With this album, JPEGMAFIA furthers his case to be considered as not just one of the best experimental hip hop artists, but one of the best hip hop artists in the game. 

–Evan Weidl

Liily – TV or Not TV 

The band Liily carved out a space for themselves in the alternative rock scene with their 2018 single “Toro ”, but on their latest album TV or Not TV the band amps up their musical ambitions and presence. No longer just meddling in the realm of alternative rock, the Californian quartet seems to dip their toes into the sounds of post-punk revivalism that has become increasingly popular throughout the 2010s via bands like Squid, IDLES, and their American contemporaries, Protomartyr. In a similar stride, Liily employs a fiery attitude and decisive force on a tracklist that feels at times both compulsively restrained and unhinged. The vocal performance on songs such as the opener, “Mr. Speaker Gets The Word” deviates between a strict monotone delivery to one that unfurls the tension that the instruments build relentlessly. The band also employs an occasional burst of horns, exceptionally discordant, squawking guitars, and notably groovy basslines that keep the atmosphere of the album incredibly light and danceable. As their first full-length release, Liily’s TV or Not TV proves the band is not merely a one-hit-wonder, but has a promising future in post-punk and alternative rock spheres. 

–Sydney Sjobakken

Quantic & Nidia Góngora – Almas Conectadas 

As the days get shorter and the temperature plummets, every music review site is already pulling out those “comfy albums to cozy up to while wrapped in a blanket” faster than you can say “Daylight’s Saving Time”. Allow me, then, to be a contrarian, and offer up an album that rejects the slightest hint of frost and freeze. Almas Conectadas, the collaborative effort between Quantic, an NYC-based producer, and Nidia Góngora, a singer/songwriter from the Colombian coast, offers up a scintillating Afro-Caribbean experience that is sure to chase away any wintertime blues. From the very beginning, rhythm is the name of the game here. The drums, the strings, the horns, and, of course, the vocals all combine to form an unstoppable groove that, while not always danceable, is nonetheless hypnotic. And that’s where the beauty in this album comes in. To some, Latin music starts and stops at the dance-pop that controls the airwaves over here in the US, but to Góngora and Quantic, the true beauty of traditional music is all the emotions that are contained within, not just joy, but melancholy and sadness as well. Góngora carries this album, both musically and emotionally. On my personal favorite, “El Chiclan,” her voice slides seamlessly through the tropical percussion and background vocals, sounding both triumphant and mournful at the same time. On the closing track. “Vuelve”, most of the rhythm is stripped back to piano and woodwind, and Góngora’s melodies glisten in the relative silence left behind. But, the most important aspect here stays true throughout. This record is sun-drenched, wistful, and pensive without ever sounding depressive or cold. And to me, there’s no better way to wait out the cold than putting this album on, and pretending I’m somewhere else, if only for an hour or so. 

–Zachary LeBoeuf

The World is a Beautiful Place & I am No Longer Afraid to Die – Illusory Walls  

The world of Dark Souls is not one that can be saved. It conjures an interminable dread at the end of times that, for some curious reason, in this age of stagnant workers’ wages and rule by corporate interest, has captured the imaginations of millions. With this new album’s multiple references to the series, some members of The World is a Beautiful Place & I Am No Longer Afraid to Die also seem to be among the affected. On Illusory Walls, the band takes on the haze of shoegaze to texture their traditional emo sound and further communicate this sense of doom. Synths and orchestral strings added to the mix make for the band’s most sonically ambitious work to date. Lyrics surround themes of loss and hopelessness. On the opener, “Afraid to Die”, singer David Bello begins by giving intention to the theme of eternity, singing over soft guitar, “This is where we live and this is where we stay forever.” Keyboardist and vocalist Katie Dvorak takes the reigns as lead vocalist on many songs to fantastic results, such as what may be the catchiest song on the record, “Queen Sophie for President”, a tribute to her late grandmother. “Blank // Worker” is a nearly ambient piece, above which Bello tells a story of his childhood–a spill in Parkersburg, between Ohio and West Virginia, where DuPont knowingly dumped carcinogenic chemicals into the local water supply. The final two songs, “Infinite Josh” and “Fewer Afraid,” which each blow past the 10-minute mark are some of the greatest highlights on the record. Far from overly indulgent, they manage to leave the listener with a sense of hope: “The world is a beautiful place, but we have to make it that way / Whenever you find home, we’ll make it more than just a shelter / If everyone belongs there, it will hold us all together / If you’re afraid to die, then so am I.” Illusory Walls is the band’s strongest and most impacting work in years. 

–Jaden Amjadi

Full of Hell – Garden of Burning Apparitions 

One of many impressive metal releases this month, Full of Hell continues to show how dynamic their brand of grindcore and power metal can be on Garden of Burning Apparitions. The band has always been one owing itself to evolution and diversification, as is evident in their collaborations with electronic-leaning artists such as HEALTH. It seems that on this latest release they have incorporated some of the ethos of their former collaborators to create a sound that is even more glitchy and experimental than any of their past work. On tracks such as “Derelict Satellite” the band devolves into full-blown bouts of noise and ear shredding static that shows their new interest in experimental and electronic glitch. Conversely, the album also shows a more melodic side of the band, as on “Celestial Hierarchy”, which offers a slight moment for breath in a tracklist that barely exceeds twenty minutes. While the run time is short, Garden of Burning Apparitions manages to merge the genres of power metal, grindcore, experimental, and glitch to entrap their listeners in a whirl of sound sure to keep them hungry for more. 

–Sydney Sjobakken

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

The term ‘album’ falls short of adequately describing the beast that is Moor Mother’s Black Encyclopedia of the Air. More appropriately, it is poetry, performance, and sound art expertly woven into a collection of pieces that are as diverse as they are succinct. While all sounding ‘wet’ in essence, with a perceptible fluidity of effervescent noise, the songs range in composition from jazzier and traditionally structured to winding experimentation that could double as ambient overlaid with intense spoken word poetry. Lyrically, the album centers around black identity, though takes a decidedly less straightforward approach to the politics that surround it. The messaging of each song feels soulful and spiritual, rather than fiery, or rigid in its politics. On songs such as “Tarot”, with instrumentation that includes ethereal pipes as well as natural sounds of wind chimes and the rustling of leaves, we are offered a look into a sense of power stored in the trauma of generations. This sentiment of a deeply rooted power is foreshadowed on the opener, “Temporal Control of Light Echoes”, where Moor Mother talks of monsters, gods, and carrying “my mother, your mother, her mother / The mothеr in my womb.” Perhaps the richness of the album lies then in this penetrating power, down through generations, cutting through the noise, flowing as the interstitial fluid within the living breathing organism that is this record.

–Sydney Sjobakken

Low – Hey What

For years, Low has made a name for themselves by sticking to the quieter side of indie rock. On HEY WHAT, the duo breaks for the opposite realm of the sound barrier, yet still retains the simplistic sensibilities and folk influences that have remained since the beginning. When “White Horses” begins to stutter with static, it’s difficult to believe that this is even the same Low renowned in 90s slowcore. And yet, as soon as Sparhawk and Parker begin to harmonize, the message in the static reveals itself. Coming hot off the heels of Double Negative, in which the electronics and noise threaten to subsume the group’s fragile melody, HEY WHAT is a sharp rebuke of the desire to simply live quietly and hope the storm passes overhead with little damage. No matter how loud the droning becomes, Low’s vocals are stronger, re-affirming the humanity beneath. Nowhere is this shown to greater effect than the far-too-short “More” in which the feedback sounds as if it’s struggling to get free until those angelic voices come back in and wrangle it to a point where it doesn’t sound frightening anymore. In “Hey,” the whirring drones sound just like the storms that appear over great lakes and plains alike, but instead of a fearsome phenomenon, it’s almost comforting in its size. And, in what might be the best track of the album “Days Like These” where Sparhawk and Parker’s vocals are modulated into the drift, the country twang is only accentuated, lending emotion and passion to the message of striving for meaning in times that feel only more apocalyptic by the day. Low may not have the answers to these questions. But what they do have is the drive and motivation to inspire, to fight back against apathy and negligence with the determination that is inherent to the human condition.

–Zachary LeBoeuf

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. The second track and single, “Superman That” is more somber in tone–with heavily autotuned repetition of the words “Ain’t no saving me or you.” The beat here, as on most tracks that follow, is absolutely unhinged–shuffling drums and melodic lines that are as melancholy as they are groovy. Ritchie’s voice is more sultry and weathered than ever and often appears in ad-libbed grunts and moans in layers, ensuring each track is imbued with a sense of controlled chaos. On “Top Picks For You”, however, Ritchie pens his most direct verse to the late band member over a drumless beat –a poignant meditation on seeing Groggs’ recommended content on a streaming platform. Injury Reserve has always incorporated an interest in technology into their music, and this song places this theme in its saddest context. The first single, “Knees” is a beautifully heartswelling sendoff to the album before its final closing track, and contains one of the two Stepa J Groggs verses on the album–a patiently thoughtful meditation on growth. By The Time I Get to Houston signals an end of one era for Injury Reserve, and the start of a beautiful new one.

–Jaden Amjadi

Petey – Lean Into Life

Petey’s fusion of synths and sarcastic, shouted lyrics on Lean Into Life guide the audience through subject matter ranging from mental illness to relationships. Synths, drums, and electric guitar establish the foundation for “California” creating an upbeat song with tinges of dark humor in the lyrics. “Apple TV Remote” is the first track to feature the hoarse scream-like vocal effects found throughout this album. “Pitch A Fit!” combines these raw vocal effects and smooth melodic lines overlayed upon the electronic instrumental lines. Possibly the highlight of the entire album, “DON’T TELL THE BOYS” is an emotionally driven song with turbulent drums and fast-paced synths contrasted by the mellow, heart ache inducing chordal sections. Petey’s ability to tell a story shines on “Microwave Dinner” by matching the intensity of a quarter-life crisis with panic-riddled vocals. Much like earlier tracks, “Lean Into Life” has a heavy synth-pop sound with retro vibes forming an energetic song. The album ends with “Tell the Boys” which is an instrumental track with hymnal synths emulating a heartbeat leaving the listener in a state of peace. With synth-pop elements and cathartic vocal delivery, listeners are sure to find a song that speaks to them on Lean Into Life.

–Daniela Rybarczyk

Kero Kero Bonito – Civilisations

Japanese-British indie-pop group Kero Kero Bonito combines their two latest EPs, Civilization I and II, into one funky 7-track compilation album, perfect for feeling like the main character of a flop 80s movie with a cult following, and I mean that in the best way possible. The opening track, “Battle Lines”, shows us that although K.K.B. dabbles in retro synthpop, their signature quirky lyrical and vocal style is as present as ever. This arcade-like tune is followed by two more 80s inspired tracks, “When The Fires Come” and “The River”, before introducing us to the second part of this album: the Civilization II tracks. After the mystical and almost ethereal interlude, the album transitions into Kero Kero Bonito’s signature indie-synth style of instrumentals. The last three songs, especially “21/04/20”, could have fit perfectly in the group’s previous full-length album, Time ‘N’ Place. Nevertheless, the tracks stand out more as a 3-song EP (or in this case, a 7-song compilation), and they’re easier to appreciate, creating a relaxed mood that can only be felt with these songs. Although Civilization is simply a compilation of two EPs glued together with a minute-long interlude, the tracks in each project complement each other perfectly and give us something to listen to while we wait for K.K.B’s next full album.

–Alejandro Gonzalez

Little Simz – Sometimes I Might Be Introvert             

On her most recent release, Little Simz struts a delicate balance between graceful orchestration and beat-heavy synths, as well as the boundary between intimacy and power. On the opener, “Introvert”, the instrumentation would suggest anything but the timidness of an introvert. Rather, it boasts powerful horns and strings that could soundtrack an oncoming war. The posturing of the first song, quickly fades into suppler, jazz-infused raps on the next couple of tracks that explore womanhood and personal aspirations, as well as Simz’s Nigerian cultural background. Much of the album luxuriates in smooth orchestration and jazz samples, but let it be known there are still certainly songs that veer into edgier spaces. A song like “Speed” features potent, bass-y drums and sizzling synths, all of which feel very reminiscent of the funky, off-kilter beats featured on many Gorillaz tracks. In all, with its 19 tracks and just over an hour-long run-time, Sometimes I Might Be Introvert feels both groovy and whimsical, introspective and proud, and above all, gracefully artistic.

–-Sydney Sjobakken

Park Hye Jin – Before I Die

There’s a trend that’s very common among electronic musicians, intentional or not: the dehumanization of the human voice. Whether it’s through such techniques as pitch-shifting, chopping up syllables, or just rendering it unintelligible, losing that aspect of humanity can allow the soundscape being created to affect the listener more intently. On Park Hye Jin’s latest album Before I Die, the 26-year old Korean-American can convey this uncanny valley of the voice with almost no technical wizardry: it’s all in the delivery. Nowhere is this put to more chilling use than in the titular track of the album. Over a repetitive beat that brings a ticking clock to mind, Park intones a litany of sorts, “I miss my mom, I miss my dad, I miss my sister, I miss my brother.” The delivery is so deadpan as to sound genuinely emotionless, the result of separation from loved ones and family. This is a pattern throughout the album. By using the power of repetition, she creates a sense of continuity, that, instead of being comforting becomes almost clinical. This makes the descent into near-chaos in the second half of the album more surprising. The beats are stumbling over each other, becoming ever darker, as Hye Jin’s voice stays, as always, unchanging and impervious. In “Hey, Hey, Hey” a thudding techno beat underpins the track as she simply repeats the title.. In “Sex With Me (DEFG)” her desire to form a relationship is reduced to the most primal and loveless form over a deep house backing. And, just like life, there’s not always a resolution. The ending song, “i jus wanna be happy” simply … ends. There’s no grand realization, no emotional reckoning. And for an album like this, there’s not a more fitting ending.

—Zachary LeBoeuf

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

Aussie noise rock band Tropical Fuck Storm’s third album, Deep States, is as messy and disorienting as the doomed political landscape it was birthed out of. Reflecting mind-poisoning social media discourse twisted through the filter of a distortion pedal, vocalists Gareth Liddiard and Fiona Kitschin deliver some of their most compelling melodies over lacerating guitar and synth lines. The opening track, “The Greatest Story Ever Told”, writes from the perspective of Jesus’ second coming to Earth to proclaim in a grand chorus “There ain’t no end of days.” Even at its loudest, a sense of unending weariness may be what holds the album together most cohesively. This is remarked on in the most detail by Liddiard on the second track, “G.A.F.F”–or ‘Give a Fuck Fatigue’–the result of constant news bombardment of tragedies which people have no immediate means of challenging. A softer moment, “New Romeo Agent”, is one of TFS’ most stunningly somber songs–rivaled only by the penultimate track “Legal Ghost”. Over a shuffling beat, Kitschin recounts a suicide mission–hope in the face of adversity–and ultimately, failure. The gorgeously ambient “The Confinement of the Quarks”, does give some reprieve after what has been something of a downer album. It’s an odd one next to the rest of their catalog, but given the circumstances, this feels like the only album Tropical Fuck Storm could have sincerely released, and it’s excellent.

-Jaden Amjadi

Lingua Ignota – SINNER GET READY

In many ways, the essence of Lingua Ignota’s music has always been the harrowing balance between beauty and an uncomfortably human ugliness which, on previous releases, has exhibited itself in a fervorously operatic cacophony of expertly constructed noise. Simply put, she does not hold back for anyone. On 2019’s CALIGULA, Lingua Ignota tackles intense themes of abuse in her unapologetically spiteful and searing lyrics that at times morph into agonizing howls and shrieks. Simultaneously, she weaves delicate piano playing and thunderous walls of noise that further imagines the sort of divine hell one might find themselves in as they are destroyed by someone’s “love”. A similar theme runs through her 2021 release SINNER GET READY, though this time it is aimed at religious trauma which she explores both lyrically and instrumentally. 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. Instead of throat-shredding shrieks, Lingua Ignota allows subtle expressions of defeat to shine through in the quieting or breaking of her voice; Heavy static and feedback distortion hold back to allow strings and piano to carry the weight of her despair. Overall, SINNER GET READY is no less soul-crushing than her previous releases, but shows an incredible level of artistry in crafting such a doleful, heavy presence with quiet grace.

-Sydney Sjobakken

Deafheaven – Infinite Granite

It’s a wonder what a difference a decade makes. Deafheaven arrived in the music scene like a devil disguised as an angel. Their chiming guitars swirled upwards into the heavens while lead vocalist George Clarke’s growls were buried underneath, a constant reminder of the emotional turmoil bubbling below the surface. Infinite Granite does a complete 180 on this sound that made Deafheaven such a critical darling, and while some might find the new scene a disservice to their black metal roots, I think it’s this album that launches them into the upper echelons of shoegaze canon. The 90s influence is strong here, as almost every classic gaze band’s influence can be heard throughout the album. But instead of wallowing in mere mimicry, Deafheaven destroys the lethargy that plagues so much of shoegaze and gives it a swift dose of adrenaline instead. This can be heard as soon as the one-two punches of “In Blur” and “Great Mass of Color” begin. The guitars are crunching, the drums are going absolutely crazy, and the waves of noise threaten to suffocate anything in their path.  Clarke’s vocals pierce through the layers of haze, their cleaner sound intensifying the feeling of hopefulness that punctuates the entire record. While the growls do make appearances from time to time, “Villain” especially, they’re more buried in the background, defeated by the soaring atmosphere surrounding them. Hell, “Neptune Raining Diamonds” has no vocals at all, but the feeling and passion are still there. This album is a tribute to the years Deafheaven spent mired in malice and despair. The music is still emotionally charged but instead of feeling trapped within the sound, Infinite Granite offers a light at the end of a tunnel.  

-Zachary LeBoeuf

Eyedress – Mulholland Drive

Idris Vicuña of Eyedress creates 15 tracks experimenting with different styles, production, and subject matter on Mulholland Drive. The combination of Vicuña’s vocal talent and the musicians’ skills generates a cohesively meshed album. Mulholland Drive has a typical Eyedress feel with hazy vocals, a simple drum line, and accentuated synth. “Midnight on a Sunny Day” is the first song on the album that establishes Eyedress’ collaborative spirit, with a guest list including the likes of Bee Eyes, Vex Ruffing, and Paul Cherry. “Something About You” has clearer vocals with an ear worm-inducing chorus. A groovy, upbeat sound is found on “Long Nights at the 711” while “Ride or Die” has a sultry jazz sound. The grunge, alt-rock genre makes an appearance on “Spit on Your Grave” with croaking vocals, fast-paced drums, and discordant guitars. The heavy subject matter on “Body Dysmorphia” is beautifully contrasted by the guitar taking over the melodic line in the chorus creating an uplifting sound. It wouldn’t be an Eyedress album without the muted strumming of the guitar as featured on “Want You There Tomorrow.” Album closer “Prada” has a vibrantly rhythmic beat. Overall, the album experiments with different styles and production elements while covering basic themes of everyday life from extreme societal standards to the comforts of family.

–Daniela Rybarczyk

Pink Navel – EPIC

On Pink Navel’s newest album, the rapper and producer sets out with the lofty goals of reclaiming the word “epic” from the clutches of internet irony. The manner in which it was recorded is appropriate considering this intention–being entirely produced live in one seamlessly contiguous performance on their Twitch channel. Sonically, it resembles the experience of standing just next to the speaker at a live show–a buzz in the timbre of each sound that can only be captured in this setting. In an energetically animated delivery, they rap references to cartoons and intersecting music scenes with unwavering positivity. On “DANNY PHANTOM”, their perception of where they stand in hip hop is clear: “I’m the funny friends’ side character’s ghost dad / Shit, and I own that, when I get up on there and just giggle you are so mad / Like it’s problem officer, but you are lacking gonads.” These verses stitched together with auditory pieces of web culture create a collage of self-assurance and pride in identity. “I am the only rapper who knows Ze Frank”, they proclaim on “ZE FRANK”, and they also, to my knowledge, are the only rapper to sample an Angel Mamii Tik Tok. What is most apparent after a listen to EPIC is how much fun Pink Navel had recording it–and this fun is infectious.

-Jaden Amjadi

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

The Turning Wheel, Chrystia Cabral’s third album under the project Spellling, offers bewitchingly captivating progressive folk and neo-soul songs. A shift towards natural instrumentation marks a stark change from 2019’s synth-heavy Mazy Fly, giving these songs a new liveliness, and pushing Cabral’s songwriting towards the theatrical. The sonic palette on its own can be bewildering at first–veering off without warning into performances of soul, hard rock, classical, folk, and of course, synthwave. It’s no surprise that the personnel list reveals more than thirty performers–all of whom sound great. The songs are left with an enchanting sense of otherworldliness and magic. The opener, “Little Deer” showcases the album in all its grandeur. Instrumentally expansive but melodically simple, Cabral uses the symbol of a hunted deer to explore ideas of love and shared consciousness across living beings–oneness–themes returned across the album in lyrics that read like incantations. The title track, “Turning Wheel” is a surprisingly catchy and approachable folk pop tune. Here, the narrator struggles with conflicting ideas of unity and isolation, though the chorus affirms the solace in loneliness. “Queen of Wands” finds strings morphing into synths held up by electronic drumming, reminiscent of some of the eeriest moments of her previous work. This album is a witchy and mind-altering experience–one I could recommend to anyone.

–Jaden Amjadi

Japanese Breakfast – Jubilee

Japanese Breakfast’s third album, Jubilee, balances dance-worthy anthemic tracks with a storyline that pulls at the soul, highlighting moments of tragic beauty at the center of the human experience. Songwriter Michelle Zauner explores moments of weakness in love, in personhood, and in coming to terms with the nature of loss, but within these themes she masterfully paints a picture of hope and perseverance. In the opening track, “Paprika”, listeners are called into the world of Jubilee with repetitious horn melodies & symphony strings while Zauner reflects on sharing her loss with the world through performance. In the following track, “Be Sweet”, she juxtaposes lines like “Tell the men I’m coming” with “Be sweet to me baby, I wanna believe in you” telling the ever-relatable story of wanting to dive back into love while at the same time being painfully aware of vulnerabilities revealed in past encounters. Similar themes of vulnerability are explored in “Posing in Bondage”, where Zauner uses the idea of waiting for one’s lover in bondage while time passes and the lover’s failure to show becomes increasingly apparent. Another noteworthy track, “Side Tackle”, composed of punchy synth and revelatory sax melodies, reveals Zauner’s objective as she sings, “I’m tackling this void”. This line feels like a perfect metaphor for the album–a story about finding jubilee in the void. In the album’s seventh track, “Savage Good Boy”, Zauner strays from personal exploration and steps into the shoes of the wealthy to highlight a more tangible vulnerability that exists in classism and socioeconomic disparity. In Jubilee, Japanese Breakfast has constructed a deeply personal yet relatable inquest into the nature of human vulnerability. It is a testament to her incredible artistry and a beautiful listen.

–Marisa Rude

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. Following a short introduction, “THE PURPOSE OF PAIN”–which introduces the album’s themes of pain and healing–Backxwash spits her opening verse over distant screams and waves of distortion on “WAIL OF THE BANSHEE”. 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. Ada Rook’s screeched chorus is cathartic and infectiously catchy. In shouted bars, Backxwash points to the enemies of liberation and their advantageous co-opting of Black and queer identity: “Lost in addiction / Exiled from my sisters / The colonies and their vision / Robbing me of my diction.” On “TERROR PACKETS” she recalls the pain of drug addiction at her lowest points, and Censored Dialogue opens with a laid back verse concerning the fracturing of relationships after coming out–they even have a hook after this verse which is memorable in its own right–before Backxwash comes in with her own screamed chorus. While Backxwash stuffs a lot of quality into just over thirty minutes, it seems to go by much quicker–another great entry into her catalog.

–Jaden Amjadi

Squirrel Flower – Planet (i)

Planet (i) by Squirrel Flower feels like a trip down memory lane, as songwriter Ella Williams guides the listener with her captivating voice and introspective lyrics. The album starts with the dark, brooding “I’ll Go Running” with the guitar and drums crescendoing towards the finish. “Hurt A Fly” flirts with poppy melodies, her voice backed by energized drums, piano, and guitar solos. This track feels like indie pop, but it fits into the album because of Williams’ silky vocals. Tracks like “Roadkill,” “Big Beast,” and “Flames and Flat Tires” start off barren with airy vocals but soon transition to a stronger vocal performance accompanied by grounding electric guitar and drums. Williams lived in Iowa for a bit and reminisces on playing her guitar in the love-song-like “Iowa 146.” A prime example of Williams’ thoughtful lyrics is “Pass” with lyrics like “I’m staying up all night/To wrestle with it/The good and the bad.” “To Be Forgotten” features layered vocals and large melodic leaps creating an expansive sound that is heart-wrenchingly beautiful. From the dark sound on “I’ll Go Running” to the calm acceptance on the album closer “Starshine,” Williams assures listeners there is hope in the dark with the comforting and reflective sound of Planet (i).

–Daniela Rybarczyk

The Mountain Goats – Dark In Here

Lately, John Darnielle of the Mountain Goats has been a personification of the working writer. When not penning novels, his prolific songwriting makes a year without a new album or EP a rarity. 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. On the first single from the album, “Mobile”, Darnielle returns to his classic calling card of biblical imagery. A narrator reflects on Jonah’s travels in shame after rejecting God–each verse ending with a return to their current situation–”I’m on a balcony in Mobile, Alabama, waiting for the wind to throw me down.” Meanwhile, “The Slow Parts in Death Metal Songs” also addresses a kind of loneliness, one rooted in social anxiety and the easing of it with devastating music. Dark In Here does what many of the best Mountain Goats albums do–and greets the most disaffected and alienated among us with open arms.

–Jaden Amjadi

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

Long before the release of their debut LP, Squid has been making waves in the post-punk community with their own brand of angular and uniquely provocative songwriting that has set them apart from peers in the genre. With the often deranged and purposely erratic vocal delivery of singer Ollie Judge and the driving pseudo-punk melodies conducted by the rest of the band, there is no doubt the group has emotional, musical, and lyrical potency. In their most recent works, including the two singles they released in 2020 and their latest LP, Squid has begun to incorporate jazzier, synth-laden elements into their sound. On Bright Green Field, songs such as “Documentary Filmmaker”, “The Flyover”, and “Global Groove” all heavily feature forlorn horns and synths with a vintage haze about them. The track “Peel St.” shimmies along with a fervent guitar lead that gives the song an infectious groove. Still, the band manages to work in much of what garnered them attention in the first place with the throat-shredding yelps and shouts, off-kilter guitars, and snappy drums, all of which coalesce to create what is from front to back a vibrant and energetic listen. 

–Sydney Sjobakken 

Stars Hollow – I Want to Live My Life

The debut full-length album from Iowan emo rockers Stars Hollow, I Want to Live My Life, follows through on the promise of the band’s previous EPs, while also carving out a space for a less aggressive, more tender sound. This change is immediately apparent from the opening vibraphone synth, reminiscent of a spinning music box beneath vocalist Tyler Stodghill’s newfound comfort in a soft and low range—also showcased on songs “With Weight.” and “Beside You.” Don’t get it twisted—this record rages with catharsis. There’s still plenty of Modern Life Is War-esque hardcore screams over Midwestern-staple twinkly guitars. “At the Bottom.” could fit just as snugly into the tracklist of Happy Again, with math rock grooves and mournful breakdowns to keep listeners on their toes. Lyrically, the album is quite harrowing, filled with regret, longing, and ennui through striking metaphor. In the final moments of the closer, however, Stodghill arrives at an uplifting resolution: “I’ll face everything / I want to live my life / But better.” The newest from Stars Hollow finds the band at the peak of their ambition, and they meet this challenge with fantastic execution. 

–Jaden Amjadi 

CHAI – WINK 

CHAI’s album WINK seamlessly encompasses numerous genres, from electropop to R&B, for an upbeat and dancey J-pop record perfect to kickstart summer. “Donuts Mind If I Do” opens the album in a chill manner with crooning synths and a tooth-rotting sweetness in the vocals. “Maybe Chocolate Chips” and “KARAAGE” show the R&B influence on this album with smooth vocals and mellow, spacey instrumentals. CHAI also experiments with the electropop genre on “ACTION” and “END.” Both have simple yet catchy choruses and rhythmic lines closer to the house pop genre that implores the listener to move. “PING PONG!” demonstrates the fun and collaborative side of CHAI with YMCK’s production imitating the sound effects from a video game. The short album closer, “Salty”, brings the energy down to create a simply nostalgic sound, leaving the listeners wanting more. While the instruments, including electric bass, drums, synths, and piano, are mostly in a supportive role throughout the album, they have a solid, grounding sound that contrasts the high register of the vocals. These elements paired with the bubbly production of CHAI and others create a movement-inducing album across its multiple genres. 

–Daniela Rybarczyk

St. Vincent – Daddy’s Home

Smoky, bluesy art pop is not something that St. Vincent is new to, but on this new record, Daddy’s Home, she shows that she is capable of blending swaggering blues with modern, danceable beats. The most impressive thing this album offers is its cohesion despite being so musically diverse. It frequently oscillates between eccentric art pop tracks like “Pay Your Way in Pain” and “Down” with bouncy beats and heavy use of vocal layering and effects, to smooth psychedelic pieces with lush, shimmery keys and reverb-laden guitars–even to bummed-out blues cuts like “Daddy’s Home” and “The Laughing Man” that each offer incredibly personal lyrical narratives. In all cases, the exquisite sense of weaving lyrical and musical ideas together creates a unique ethos for this album that recalls both St. Vincent’s past rooted in the 70s blues and psych sounds and also maintains a refreshing sense of modernity. 

–Sydney Sjobakken

Sufjan Stevens – Convocations

Listen, I get it. It’s ambient music. It can be difficult to get in the mood to listen to 2 and a half hours of drifting synths and lonely piano. But I guarantee that Convocations works as background music and headphone heaven. Sufjan’s been heading towards a more experimental sound lately, and this may be the furthest removed from his previous works that he has sounded. Regardless, this is a must-listen album. Ambient music may not seem as prominent now as in its 90s-2000s heyday, but Convocations stands its ground against albums from the genre’s classics like Stars of the Lid or even Aphex Twin. Sufjan has the ability to bring beauty out of sparseness, and that effort is clearly shown here. The music can switch from the prettiest melody you’ve ever heard to melancholy piano to just, well, sparseness. And all of it bleeds in together as if it’s the most natural thing in the world. Drones meld with string, organ combines with string and synth stabs to create an almost organic atmosphere that surrounds the listener in a blanket. I’m not going to lie. It’s not all relaxing wispy sounds. This album will freak out when you least expect, but it’s never meant to harm. Convocations reminds us that scary things happen out there in the world, but in the end, it’s also the most comfortable place you’ll ever find here in the universe. 

–Zachary LeBoeuf 

Sons of Kemet – Black to the Future

Jazz quartet Sons of Kemet are known for fiery and frenetic performances paired with socially conscious themes. Black to the Future continues this trajectory in a slightly more sonically reserved manner—though the messages throughout much of the features and tracklist are as pointed as ever. The opening track, “Field Negus”, floods with subtle yet disorienting horns as one of many memorable guests, Joshua Idehen passionately speaks poetry about the history, present, and future of the Black liberation movement: “We are rolling your monuments down the streets like tobacco / Tossing your effigies into the river, they weren’t even worth a pyre.” “Pick Up Your Burning Cross”, with rapper Moor Mother and clarinetist Angel Bat Dawid matches the energy of previous releases, with a straightforward and frantic saxophone line that hits like a shout. The lumbering tuba grooves on “Think of Home” and “In Remembrance Of Those Fallen”, on the other hand, provide a perfect nook for Shabaka Hutchins’ seemingly effortless and smooth saxophone playing to maneuver. Black to the Future finds Sons of Kemet refining their style as one of the most important acts in contemporary jazz. 

–Jaden Amjadi 

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. Plainly spoken, this record ascends the band into a realm of eccentricity that is artfully crafted and masterful. On the opening track, “John L”, the band comes roaring in on squealing guitars and oblique melodies with an unusually clear and smooth vocal delivery from lead singer and guitarist Geordie Greep. This new vocal sound carries across a record that, in comparison with their prior 2019 release, Schlagenheim, is significantly jazzier and more complex. This complexity can be found in multi-phased songs such as “Chondromalacia Patella” and the closer “Ascending Forth”, but it also comes in the form of a renewed sense of lyrical poeticism and structural intricacy. While it certainly does still contain the noisy eccentricity of black midi’s earlier works, Cavalacade also shows that the band is worth the praise they have received in their ability to be both diverse and sharp with their songwriting. 

–Sydney Sjobakken

The post The Best Releases of May: 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 

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

From the first noisy guitar notes of Pom Poko’s Cheater, the band makes it clear they intend to start the musical year off with a bang. On this album, the band plays noise pop and indie rock while staying true to their jazz origins through lively percussion and free-spirited production. These songs combine ferocity and fun. Fangel always delivers a strong melody with a charisma that comes through whether she’s singing or shouting, no matter how wild the guitar lines get. “Like A Lady” has a chorus straight out of 90s alt-rock, with a creative instrumental arrangement that renders this familiar style fresh and exciting. “Danger Baby” has a smooth sliding guitar line at its center and is just a few sonic changes away from being a full-on indie-pop tune. Poignant moments on the record come and go, such as the chorus on “Andrew,” without feeling overwhelming. The band and their tight performances are with the listener every step of the way. Pom Poko’s jazz influence may be at its clearest on “Baroque Denial” with its dizzying percussion and curiously rhythmic guitar wails. For any music fan who wants a bit more excitement out of their pop-rock than the standard affair, Cheater is an album well worth a few listens.

-Jaden Amjadi

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. The track “Into the Sun” boasts a toe-tapping beat and boozy bassline. Many tracks–most notably “Ain’t Nice” and “6 Shooter”–also employ the saxophone, which incites a constant sense of grasping for meaning and stability. The instrumentation and lyrical content across the album facilitate the creation of a loose narrative, exploring the life of a chronically drunk, belligerent scumbag. The narrative equally incites pity and repulsion. The slovenly delivery of the vocalist and the frequent descent of the lyrics into despair and self-loathing create a vision of a man looking for happiness, yet struggling to climb out of the dark and dingey space of impoverished living. In its final moments, the album lifts itself out of the oppressive atmosphere of chronic dissatisfaction to offer a goofy and sweet cover of John Prine’s “In Spite of Ourselves”–a conclusion that argues companionship can often be the key to contentment.

-Sydney Sjobakken

Buck Meek – Two Saviors

Buck Meek’s sophomore solo album, Two Saviors, is fraught with nostalgia. Meek tells stories so eloquently it feels as if he drew the tales from your own psyche. Two Saviors is Americana palatable for any listener, complete with universal themes and poetic verses that capture the human experience in each track. The soft twang in Meek’s voice effortlessly parallels the melancholy sounds of the slide guitar. The album’s first track, “Pareidolia,” reminisces upon the most beautiful, simple, earnest moments spent with a partner. It also addresses the deeply human desire to assign meaning to anything and everything. It is best listened to while slow dancing around the kitchen in a blissful trance. The album’s second track, “Candle,” features Meek’s Big Thief bandmate Adrianne Lenker as a co-writer. It tells of a life on the run–coming to terms with fate in what feels like a love letter addressed to a mystery figure. Motifs of eyes and light are tucked away into each song and further develop the album’s overarching theme of beauty in the simplicity of the human experience. In Two Saviors, Buck Meek has crafted a captivating listening experience, and a chance for us all to pause and consider the elegance in the mundane that ties our life stories together. 

-Marisa Rude

Jazmine Sullivan – Heaux Tales EP

Here is an EP of ever-evolving surprise. The tongue-in-cheek title, seamless R&B production, and Sullivan’s powerhouse vocals seem poised to deliver track upon track of sensual jams; indeed, Heaux Tales is provocative, but not as one may expect. Sullivan instead takes the listener on a journey through the complex intersections of gender, class, and race that surround sexuality in 2021. She opens the album with hazy musings on post-party regret with “Bodies,” before showing off her stellar voice in the confident groove of “Pick Up Your Feelings.” She celebrates the wearing of rose-colored glasses in “Put It Down” before trying to rebound when it all falls apart with “Girl Like Me (feat. H.E.R.)”. What ties the project together are the eponymous Tales: six spoken interludes from women who frankly discuss love, money, and confidence. Sullivan becomes a modern-day bard, lending her voice to stories of women’s sexuality presented without coyness or shame. If you have to pick one song, make sure it’s “Lost One” – the tender letter from a cheater to her absent ex-lover is at once sweet, selfish, and heartbreaking. But taken as a whole, Heaux Tales is a rare rumination on life and love that shouldn’t be missed.

-Lela Lemke

Hospital Bracelet – South Loop Summer

On Hospital Bracelet’s debut full-length album, South Loop Summer, the band shows their consistency in a quality-over-quantity batch of excellent emo songs. In traditional midwestern emo fashion, twinkly guitar riffs trade-off for punked out quick strumming. However, what separates Hospital Bracelet from many of their contemporaries is the fantastically catchy melodies and passionate vocal performances. Vocalist Eric Christopher’s lyrics are pointed and specific enough in their woe to leave a mark. The opening title track acts as a great introduction to the themes the listener will hear across the record: friendship, loneliness, love, regret, and the financial instability this downwardly mobile generation is all too familiar with. The song also has a chorus that would fit snugly in any arena rock ripper. This is followed by the far more patient and intimate “Sober Haha Jk Unless,” where Christopher details their experience with addiction over a steady guitar line which builds into a cathartic crescendo. “Feral Rat Anthem” is another highlight, where Christopher sings with righteous rage towards an unfaithful and manipulative partner: “You sat there and juggled all of us. But even clowns are good at that and you keep on f*cking it up.” “Sour OG RPG”, meanwhile, is the best song of heartbreak during a tabletop roleplaying campaign that a RPG fan could ever ask for. Through charisma and energy, Hospital Bracelet cements themselves as a band to watch in the midwestern emo genre.

-Jaden Amjadi

Shame – Drunk Tank Pink

As one of the more significant post-punk releases for the month of January, Shame’s Drunk Tank Pink contrasts with the eccentric and jazzier stylings of their cohorts in Viagra Boys. Shame employs a more traditional take on the genre, which isn’t to say Drunk Tank Pink is any less exciting or compelling. It boasts a wealth of danceable, angular songwriting with shouty vocals, fervent guitar playing, and emotionally potent lyrical content. The title of the album itself refers to a shade often used to paint the walls in hospitals, prisons, and psych wards to subliminally keep patients calm amid stressful situations. The album’s title seems ironically fitting, as the album sears its way through song after song with yelps and howls from the lead singer. and anxiety-inducing, incessant drumming . But between aggressive onslaughts about being someone’s dog or puppet as on songs like “Great Dog” and “6/1,” the listener is occasionally offered a reprieve in the exhausted calm of “Human, for a Minute” and the closer “Station Wagon.” The latter eventually builds into a reservedly optimistic monologue on the pursuit of happiness. Here, Shame offers one final cacophony of instrumentation and a nod to something brighter in spite of the emotionally fraught chaos the rest of the album indulges in.

-Sydney Sjobakken

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

“Dynasty” is term loosely tossed around to describe successful teams after championship runs. In most modern sports, the talent pool has proven too deep to have a classic, 20^th-century, dynasty such as the 50s Yankees, 60s Celtics or 90s Cowboys. Those squads dominated and left little question as to which team was the best in their respective eras. While that same scenario may not exist in all major United States sports, we can garner at least a debate.

In this piece we will dive into the top dynasties since the first season post-2000 started of each major sport between the college and professional levels and decide which recent squad has had dominated its respective sport the most. There are rules that will be followed.

1. There will be a qualified team picked out of each individual sport before jumping to a final debate on who is the king of kings.
2. One team must be chosen out of each major sport – college football, men’s/women’s basketball, baseball, wrestling, volleyball, MLB, NBA, NFL and NHL.
3. Seasons that are currently in progress (2014-15 college hoops, NBA, NHL) are not included. For example, Kentucky’s current undefeated record in college hoops cannot be applied to their opportunity to be considered college basketball’s top dynasty on the men’s side.
4. Dynasty is a term used far too often. Are the Seahawks a dynasty because of how great their defense is in the past two years? No, because Seattle struggled through a lot of down seasons beforehand. In this piece, a dynasty will be defined as “Dominating a respective sport, while simultaneously competing for championships to the tune of being the greatest team in the discussed era.”
5. A team must consistently be in championship contention, but in order to be a dynasty in this span – a team must have won at least a single title.
6. I cannot compare teams between sports, as that will happen in the follow up article, where I will rank the selections from each league.

Let the games begin.

NBA

The NBA has always had a lack of parity.  We may no longer be limited to just the Lakers and Celtics, but the situation is still heavily lopsided.

Starting in the 2000-01 season, just three out of 14 Western Conference champions haven’t been named either the Los Angeles Lakers or the San Antonio Spurs. The Dallas Mavericks made two Finals appearances, and the Oklahoma City Thunder briefly showed up before being ousted in five by the LeBron James-led Miami Heat.

The Eastern Conference has been more diverse, but less successful. Seven teams (Philadelphia, Brooklyn, Detroit, Miami, Cleveland, Boston, and Orlando) have won the conference, but just three (Detroit, Miami, Boston) have managed to end the postseason with a victory.

The Heat have an impressive five title appearances and three championships to make a case for a potential top-NBA dynasty in the last 14 seasons. However, they fall well short of the Western Conference rivals from California and Texas.

The Spurs have a cumulative regular season record of 804-328 (.710), a postseason tally of 129-80 (.617), and four championships in five appearances since 2000. Their worst record in that span is 50-32 in 2009, and yet they still made it to the Western Conference Semifinals. Gregg Popovich has led this team to being easily the most consistent of all NBA squads in this era.

Los Angeles, albeit currently in its lowest moment in franchise history, also has an argument to be the representative for professional hoops. While their 690-442 (.610) overall regular season mark is well below San Antonio’s, their post season record of 108-66 trumps the Spurs. In six Finals appearances, the Lakers have taken home four titles – equal to the Spurs. If the 1999-2000 season and the first third of the Shaq-Kobe three-peat were included, my final decision may not have been…

Top Dynasty of the 21^st century: San Antonio Spurs. The Spurs, led by a long-time coach and familiar players, have (somehow quietly) been one of the most consistent teams in all of American athletics. Their YMCA-style of play may not captivate casual audiences with oohs and awes, but their record says all that is needed. The Lakers have missed the playoffs as many times (two) as the Spurs have missed the second round. The ability to avoid down years is what makes the difference. San Antonio and Los Angeles have the same highs, but the Spurs have yet to hit a low this century.

Honorable mention: Los Angeles Lakers, Miami Heat

NFL

Baltimore, New England, Pittsburgh and the New York Giants have all won multiple titles since Super Bowl XXXV, thus obviously deserving of recognition in this analysis. Tampa Bay, Indianapolis, New Orleans, Green Bay and Seattle will also be included as to compare all Super Bowl victors.

Looking based simply off of this, the answer is penciled in. Let’s engrave it in stone with this next chart. I gave every team a point total for each category – the top team receiving nine points and the bottom receiving one – (regular season win percentage, total postseason wins, postseason win percentage, division titles and Super Bowls). The point total depended on where a team finished in each respective section.

Top Dynasty of the 21^st century: New England Patriots. New England swept the board in each measurable category. It’s hard to tell if they’re farther ahead of the pack than Tampa Bay is behind. Tom Brady and Bill Belichick have created a dynasty and are two absurd catches from having six Super Bowls in this span, including the Brady-Randy Moss 2007 combination that was the best team in NFL history to not win it all.

NHL

The NHL has experienced more parity than its professional counterparts this century. Ten teams have won a Stanley Cup in the last 13 occurrences (plus the 2005 lockout season). The Boston Bruins, Pittsburgh Penguins, Anaheim Ducks, Carolina Hurricanes, Tampa Bay Lightning, New Jersey Devils and Colorado Avalanche have all taken home one championship, while the Los Angeles Kings, Chicago Blackhawks and Detroit Red Wings all have a pair of titles. To avoid confusion in the following chart, the NHL did away with ties during this span and therefore the records will be Win-Loss-Overtime Losses-Ties.

  We have seven categories (Stanley Cups, playoff appearances, playoff series victories, postseason wins, postseason win percentage and regular season win percentage and points). The best team in each category will receive 10 points and the worst will pick up just one. In order to put a stronger emphasis on advancing in the postseason, playoff series victories will count as a point for each accumulated. This should counteract disciplining teams for advancing on to tougher rounds just to be swept.

Top Dynasty of the 21^st century: Detroit Red Wings. Outside of postseason win percentage, Detroit swept the board since 2000. Its 17 postseason series victories is even more impressive when factoring in the lockout season and the fact that no other franchise has more than a dozen. Despite parity among Stanley Cup victors, Detroit has easily been the most consistently dominant in all of professional hockey. Not much of an argument can be made for any other squad from this chart, and therefore none are honorable mention worthy.

Men’s college basketball:

After a relatively easy start, we reach what might be the most complicated of all sports we list. College basketball is about as random as they come (see odds of making a perfect bracket). Of course, Kentucky seems like an obvious choice after winning a national title in 2013-14 and going undefeated so far in 2014-15 (void). Don’t let fresh tastes discount distant memories.

Recent impressions can’t influence this decision, but the Wildcats have enough beyond that to make a pretty decisive statement. A 369-124 overall record is tough to argue with. What’s even harder? Twelve NCAA Tournament appearances, eight Sweet Sixteens, three Final Fours and a 1-1 record in the championship. Take away the two seasons Billy Gillispie coached Kentucky to a 40-27 overall record with zero NCAA Tournament victories and an NIT berth, and the Wildcats may blow the competition out of the water.

One team has been so remarkably consistent in its conference that it’s impossible to leave off this list: The Kansas Jayhawks.

After transitioning from a Hall of Fame coach, Kansas found a fate much simpler than Kentucky. Bill Self took over Roy Williams’ squad and didn’t miss a beat.

Williams’ last three seasons resulted in a 42-6 conference record that was overshadowed by a Sweet Sixteen, Final Four and a championship appearance. Since? Self has given the Jayhawks a 325-69 mark with a 151-31 stretch in the Big 12.

Self’s initial tournament resume left much to be desired with two first round exits sandwiched between a pair of Elite Eight showings. That turned around quickly with Kansas’ lone national title during this span in 2008.

Kansas boasts similar marks to Kentucky, with one extra championship loss thrown in, and its down years were first round exits over being completely left out.

So how about ex-Jayhawk coach Williams’ new squad – North Carolina? The Tar Heels have two national titles and another Final Four on their record and they may not even be the best dynasty in their own state.

Recent 1,000 game winner Mike Kryzewski’s Duke Blue Devils are.

Duke has a pair of national titles, has appeared in the tournament in each covered year, and has lost in their opening matchup just three times. Their conference dominance may not be as high as a team such as Kansas, but the competition is relatively stellar each season.

The Blue Devils hold an absurd 412-87 (.826) record in this span. So it has to be them, right?111

Let’s head over to Big Ten country where Tom Izzo is standing by for a quick lecture on postseason play. Michigan State, although missing its 1999-2000 national championship by just one season, has made nine Sweet Sixteens, five Elite Eights, four Final Fours, and has won one title. They haven’t missed the tournament a single time, and have been eliminated before the Round of 32 just four times.

What about UConn’s three title runs? Florida’s star-studded squads? Kentucky’s heated-rival Louisville? We need a way to rank these teams accordingly as to put all bias aside and assign an overall score. Postseason play in college basketball has always taken precedence over any other measurement of success. Here is the scoring chart to decide the top NCAA Tournament team since 2001’s tournament when solely considering those whom have a title to their name in this span:

Round of 64 loss: 0 points
Round of 32 loss: 1 point
Sweet 16 loss: 2 points
Elite Eight loss: 4 points
Final Four Loss: 8 points
Championship loss: 12 points
Championship: 16 points

NCAA Tournament champions results since 2000-01 March Madness: Kansas 68, UConn 67, Duke 59, North Carolina 56, Florida 55, Kentucky 55, Michigan State 51, Louisville 44, Syracuse 37, Maryland 30.

Shockingly, outside of its three titles runs, UConn only scored 19 points on this scale. The Huskies fell just a point shy of claiming this all important statistic in pushing forward to choosing men’s college hoops’ most dominant dynasty of the 21^st century. Despite just one title, consistency overcame roller coaster levels of postseason success and your winner is…

Top Dynasty of the 21^st century: Kansas Jayhawks. Not only has Kansas (almost surprisingly) performed as the top overall team in March Madness, but it also has the most eye-popping accomplishment. I’m going to type this out to make it even more drastic: Kansas has won at least a share of (ahem) back to back to back to back to back to back to back to back to back to back regular season Big 12 championships. That’s 10. Read that out loud and you’re likely to need to catch your breath. This isn’t Kansas playing in the Summit League or intramural athletics – this is a major conference with a tough road to the top every season. Ten?! In a row? And just for the record, it’s also 12 of 13, but who’s counting? The Huskies have a legitimate argument when it comes to this discussion due to three incredible runs to the championship, but Kansas has been a more consistently feared team. Welcome to a new postseason tournament, Jayhawks. Let’s see who else is joining you.

Honorable mention: Duke, UConn

Women’s College Basketball

I went from one of the more difficult sports to choose to what might be the easiest. UConn women’s hoops is out of this world. Seven championships since the turn of the century. Average margin of victory in those title-winning contests? 15.4 points. That’s 15 points better than the second best team in the country. Talk about a talent gap. I can’t put into words how unbelievably incredible the Huskies’ overall record has been, so I’ll leave two simple numbers on its own.

486-38.

That’s a .927 winning percentage.

I could play myself in checkers and not win 93 percent of the time.

Connecticut has missed out on the Sweet Sixteen in this span only…well, they haven’t. And just once were they limited to that. On top of the Sweet Sixteen and seven titles, the Huskies have made two Elite Eight appearances along with four Final Fours. Therefore, your clear cut winner without any hesitation is…

Top Dynasty of the 21^st century: Connecticut Huskies.

College Wrestling

If the 70s, 80s and 90s were included, this wouldn’t even be a competition. The Iowa Hawkeyes took home 20 titles from 1975-2000. Despite those all being out of the picture, Iowa is still in contention for the 21^st century title post-Dan Gable. The Hawkeyes have three titles to their name, which comes shy of Penn State and Oklahoma State, who put together four each. With the overall team title competition so close, our answer comes from individual championships. The Nittany Lions have nine, Hawkeyes 13 and Cowboys 18.

Oklahoma State’s 2005 season was the best of the era, fielding five individual champions in 10 weight classes, and scoring 153 points – best since the 1997 Hawkeyes scored 170. Therefore the winner is…

Top Dynasty of the 21^st century: Oklahoma State Cowboys. The Cowboys are tied for the lead in titles, have the best overall team of the era and can claim having the most individual titles. They may be fortunate to wrestle outside the Big Ten, but national titles don’t lie.

Honorable Mention: Iowa Hawkeyes, Penn State Nittany Lions

MLB

Four teams have won multiple titles since 2000 – the Red Sox (three), Giants (three), Yankees (two) and Cardinals (two) – to give a clear starting point when trying to declare the top 21^st century dynasty of professional baseball.

It’s clearly visible that this is a dead heat. You know the drill. In order to decide, I assigned a point total to each stat category. The top finisher in each category – World Series victories, division titles, regular season winning percentage, playoff appearances, total playoff wins and postseason playoff winning percentage – receives four points, followed by three for second place and so on. I also gave teams an extra point for each playoff series they won. The final tally came out as followed:

Top Dynasty of the 21^st century: St. Louis Cardinals. Any fan of one the final four teams can state a statistic on how their team deserved to be the one represented. New York dominated the AL East. Boston and San Francisco won a third World Series and were more efficient in the postseason when they did make it. None of that jumped out the way this did:

The Cardinals took the cake with 16 postseason series victories.

That’s out of this world consistent. The Yankees came close, carried by consistently owning the division crown, whereas the two teams that take advantage of playoff appearances the most, Boston and San Francisco, found themselves looking up.

Honorable Mention: Boston Red Sox, New York Yankees, San Francisco Giants

College Volleyball

Some of these don’t take much time. Penn State has six championships, including two 38-0 seasons. USC, Stanford, Nebraska, Texas and UCLA have had strong programs, but none have approached the dominance by the Nittany Lions. Let’s just get to the point. Without a hint of doubt, your winner is…

Top Dynasty of the 21^st century: Penn State Nittany Lions.

College Baseball

Unlike most of the other sports in the discussion, the full 2000 season is included since it began post-millennium. Texas, South Carolina and Oregon State all have a pair of titles, with nobody else claiming more than one. Naturally, only those three are in consideration. However, the Beavers have only made four CWS appearances compared to six for South Carolina and eight for Texas. Typically that would lead one to believe that the answer is obviously the Longhorns.

Take a look at overall winning percentage: Texas is 661-294 (.664) in this millennium, lagging considerably behind the Gamecocks at 713-289 (.712). So what do we value? Winning more regular season games against what is typically stronger competition, or taking overall postseason play? The latter carries more weight. Here is how each team fared in NCAA Tournament play with its overall statistics tallied at the bottom.

Top Dynasty of the 21^st century: Texas Longhorns. In what ended up being the closest contest of any sport so far, Texas prevailed because of one statistic: CWS appearances. South Carolina may hold a relatively significant advantage in regular season record and have a slim lead in postseason record, but they couldn’t get the job done in enough Super Regionals. One could argue that Texas’ lows were below South Carolina’s, but they consistently made the trip to Omaha and that familiarity with getting to the final eight put them over the edge.

College Football

Alabama, Ohio State, LSU, and Florida all have multiple FBS championships to their names, while Appalachian State and North Dakota State have dominated the FCS level well enough to be included in the discussion. USC vacated one of its two national championships and will not be considered. As we’ve come to find out, tables can be really useful when measuring statistics of multiple teams. Unfortunately, college football has more variables than most so let’s compare like it is 2000 (and we’re using WordPad).

Alabama: The Crimson Tide are the only team in this span with three FBS national title victories. Their overall record takes a hit because of 21 vacated wins, but stands at 116-57, including a 6-5 bowl mark – which is also hindered by one vacated victory and two seasons in which ‘Bama was ineligible for the postseason. They have garnered three SEC titles and five SEC West crowns – most of which have come under Nick Saban. The pre-Saban era was somewhat dark for Alabama, which had a (now shocking) 3-8 season in 2000. The loss of 21 victories could really come back to bite the team that is likely the first one on everybody’s college football power shortlist.

Florida: Florida boasts two national titles (thanks, Tebow) complemented by a 137-56 overall record. If Alabama had kept its wins, Florida would be one game ahead in the loss column and tied with the Tide for overall victories. In bowl play, Florida has a lackadaisical 7-6 mark. They have picked up three SEC Titles and have headed the SEC East four times.

LSU: Consistency in a more than tough conference is what could separate LSU from the group. Like every team on this list besides Alabama, the Tigers have a pair of national championships. Their overall record of 151-45 is only topped by Ohio State. They’ve won nine bowl games compared to six losses and have not missed out on the postseason. They’ve picked up four conference titles and five SEC West titles along the way to top both Florida and Alabama in those areas.

Ohio State: Surprised to see a Big Ten team here? You shouldn’t be. Despite a negative stigma built around the conference in recent years, Ohio State has been among the most dominant teams lately. The Buckeyes’ 157-36 overall record is hard to argue with. An 8-7 bowl record with a few postseason embarrassments could be improved on. What really couldn’t be is a sensational seven conference titles – which reasonably would be eight if not for a postseason ban on a 12-0 squad in 2012. The Buckeyes may not have the numbers to claim best of this century now, but with Urban Meyer pulling the strings, it might not be too long until they do.

North Dakota State: If we were only talking about the last four years, the Bison would breeze through the competition. Their 63-3 record with four national titles is, well, absurd. Before that? North Dakota State swiftly comes back to Earth with a more reasonable, but still strong, 74-40 mark. Did you already do the math? That’s an overall record of 137-43

…and I should probably mention they have a 20-2 postseason record.

20 wins. Two losses.

The Bison made the move from Division II to FCS in this time period and were ineligible for postseason play in multiple 10-1 seasons, otherwise they very well could have added to that title total. Which, quite frankly, is a little scary. One thing that isn’t as scary is this game. And this one in the same season. Sometimes you find things while researching that you wish you never did. Those qualify.

Appalachian State: While the Bison were fiddling around with moving up from Division II, another squad was busy winning national championships and knocking off the winningest-program in FBS history. That was the Mountaineers of Appalachian State. Their record of 131-52 is a modest amount below North Dakota State’s. It isn’t the regular season that separates these two FCS programs. The Mountaineers postseason mark, despite a three-peat from 2005-2007, is 19-8, considerably worse than the Bison’s…let me say it again…20-2.

Top Dynasty of the 21^st century: North Dakota State Bison. I get it. Strength of schedule for the Bison isn’t anywhere near what Ohio State, let alone Alabama, Florida and LSU, face on a week-to-week basis. Their national titles are much less publicized and viewed. They don’t have NFL prospects filling up the first round. They weren’t even in the FCS for part of this era. There are a lot of reasons not to pick them.

Go ahead, write an article on why LSU’s consistency in the SEC makes them the best dynasty of this century, or why Alabama’s three titles set it apart, or how Ohio State’s conference dominance make them the frontrunner. They all have strong cases to disprove my choice.

To me, these issues have to be made relative, not directly compared. Of course North Dakota State doesn’t have to play the LSU defense, the Tim Tebow offense or Nick Saban’s game plan on an annual basis, but they ought to be held to the standards of their competition, not of a league above them. North Dakota State has simply dominated about as much as a modern college football team can in this span. 137-43 in the regular season? Incredible – just as incredible as the others on this list, especially considering transition seasons. That doesn’t set them apart.

A .909 winning percentage in the postseason will. When the Bison play the best competition, they don’t just compete – they absolutely own everyone. Alabama doesn’t. Florida doesn’t. LSU and Ohio State don’t. They’re all tremendous teams, but have not set themselves apart at any part this century the way the Bison have.

Conclusion

The aforementioned follow-up article will now include the St. Louis Cardinals, San Antonio Spurs, New England Patriots, Detroit Red Wings, Kansas Jayhawks men’s hoops, UConn Huskies women’s basketball, Oklahoma State wrestling, Penn State volleyball, Texas baseball and North Dakota State football. Those ten dominant teams will be ranked to determine an ultimate “dynasty of the 21^st century.”

Be sure to check out Night Stuff on KRUI at the stroke of midnight Wednesday mornings as we discuss topics such as this, other sporting news and a few outrageous topics mixed in with a phone always ready to hear your takes. Did you like the article or happen to disagree with some of the choices? Tweet @TheMainStevent or @KRUISports to share your opinion.

The post The 21st Century’s Best Dynasty appeared first on KRUI Radio.