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

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

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

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

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

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

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

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

Beyond the Ghost: Sundown (Album)

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

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

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

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

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

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

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

Nick León: Xtasis (EP)

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

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

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

Jakey: ROMCOM (Album)

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

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

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

ROSALÍA: MOTOMAMI+ (Album)

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

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

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

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

Soul Glo: Diaspora Problems (Album)

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

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

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

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

The Mountain Goats: Bleed Out (Album)

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

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

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

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

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

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

TSHA: “Capricorn Sun” (Album)

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

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

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

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

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

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

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

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

Alvvays: “Blue Rev” (Album)

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

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

Shygirl: “Nymph” (Album)

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

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

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

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

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

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

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

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

1. Motion

According to Vice, the first track “Motion” features a different singer than the rest of the album. The curated anonymity of the collective allows for a diversity of sound and talent to contribute, which shines through in the unique, fresh take on classic sounds from the ’80s and ’90s. The male/female duet with the provocative lyrics,

And we can ride, through the night, yeah

Yeah, I’ve been waiting for some motion

combined with their signature groove makes for a full-body listening experience.

2. Personal

The second track, “Personal”, showcases the strength of the contemporary duet Emotional Oranges plays with. The back and forth playfully engages in an archetypal modern romance:

I like to push her buttons, it gets her tight
I say something slick like “maybe, I ain’t your type”

vs.

Why you provoking me, boy please
Why do you f*** with me, knowing…

3. Hold You Back

“Hold You Back” is a personal favorite of mine because it’s a subversive narrative that is unique from the typical pop treatment of love and relationships. The use of pronouns is ambiguous in this song, giving the listener the power to interpret the story being told. To me, the song reads as a female-centered narrative with a bisexual tilt, which makes it especially enjoyable.

4. Someone Else

By this point in the album, you can’t help but be hooked by the undeniable energy and edge Emotional Oranges brings to an increasingly homogenous pop/hip-hop scene. In “Someone Else”, the collective leans into a staccato electric sound while dissecting the ups and downs of the chase. Wrapped in this slick, tightly produced track is a hint of vulnerability:

Showed all my sides to you
Swallowed my pride for you
You know what I would do
For you, for you

5. Good to Me

“Good to Me” is a misleading title for what is in actuality, the delineation of a toxic relationship set by enchanting vocals and signature citrus flair. Whether you’ve been her or known her, Good to Me is an anthem for crazy girls everywhere.

6. Built That Way

You can be honest with me babe
Be honest with me babe
I have to let you know I’m built that way

Have you met a person you can be honest with? A person who you can be unapologetically yourself with and know they can handle it? “Built That Way” is a song that simply says “I f*** with you.”

7. Unless You’re Drowning

How do you let go of something that was never yours to begin with? This is the central question I find in the second to last track of the album. “Unless You’re Drowning” is somewhat moodier than the rest of the album, grappling with the familiar competition of who can care less. There is tension underlying Unless You’re Drowning, with a constant back and forth between the two singers echoing the same lines back and forth.

Don’t hit me up unless you’re drowning
(Don’t hit me up unless you’re drowning)
It’s cool, I don’t care about ya
(It’s cool, I don’t care about ya)

8. Corners Of My Mind

“Corners Of My Mind” finishes out The Juice: Vol. I with a stripped-down, melancholy rumination on love lost. While undoubtedly leaning toward an acoustic sound, “Corners Of My Mind” still has the Emotional Orange flavor with the electric guitar refrains and distinctive drum line.

We used to fantasize

I only dream about you, without you

Oh, our love ain’t one to follow

Our love won’t see tomorrow

I only dream about us, without us

“Everything I’ve ever let go of has claw marks on it.”

– David Foster Wallace

Emotional Oranges are a must-see on their “A Very Emotional Tour” this fall. Their stage presence is electric and they bring the songs to life in a way that is irresistible to get caught up in. Catch them before they blow up, and keep up with them on Twitter and Instagram.

The post Album Review: “The Juice: Vol. I” by Emotional Oranges appeared first on KRUI Radio.

Omar Apollo, whose real name is Omar Velasco, is a 21-year-old singer-songwriter from rural Indiana, a place where a first-generation Mexican-American like Apollo would certainly stick out. And while reggaeton’s popularity seems to be infectious at the moment, Chicanos like Apollo still stick out in the American music scene as well, especially in the realms of alternative and r&b — Apollo’s bread and butter.

But of course, being Chicano, Apollo couldn’t just leave his bread and butter unseasoned, now could he? So Apollo did what he had to do and delivered his second EP, Friends, on April 10th to hungry listeners, stuffing it full with lush vocals, silky guitar textures, ear-pleasing harmonies, and addictive melodies. Although short at only seven songs, the EP is anything but one-note: you get your characteristic in-your-feels anthems like “Hearing Your Voice” (which would be well-suited in a Kevin Abstract record) and “Trouble,” a chill, perfect-for-a-kick-back, “Kick Back,” the titular, folk-esque “Friends,” and even some funk and groove-inspired tracks like “Ashamed” and “So Good.”

While all of the tracks are essentially love songs — that’s Omar Apollo for you — there’s also recurring motifs of change, how feelings develop over time, and growing older; I guess these are some fundamental aspects of relationships but nevertheless, it would not be a stretch to say that you’ll take out your headphones having enjoyed at least some aspect of the EP, even if you’re not the biggest fan of love songs or indie or R&B. If you have a little over 20 minutes to spare on a relaxing, weekend night, I promise it will be well spent in Omar Apollo’s company.

The post Album Review: Omar Apollo’s “Friends EP” appeared first on KRUI Radio.

Investment managers belong to different “species” characterized by their investment strategies. Investors earn the highest returns when they are specialized for the current environment. Which mutual funds did best from 1995-1999? Probably those most exposed to tech stocks. Which mutual funds did best from 2002-2006? Probably those most exposed to mortgage lenders and home builders.

Specialized strategies thrive in their favored environment. They consume more and more of that environment’s investable resources (i.e. funds) because investors believe recent performance is the result of superior skill. Think back to when you made your 401k selections at work. How did you make your decision? Many people choose based on past 3-year or 5-year performance. This seems reasonable, but past performance is a poor predictor of future performance. It also contributes to financial bubbles.

Financial bubbles build on themselves. The early growth phase of bubbles generates returns, which attract more money to be invested in the same area. That pushes up prices, creating more returns and attracting even more money. By the end of a bubble, the bulls manage most of the money because they’ve had the highest recent returns. In other words, the specialized strategies ate most of the “food” and became the biggest fish in the pond.

But remember, specialization comes at the expense of robustness. When the environment shifts, the heroes turn to goats. That happened earlier this year to a group of funds letting their bets ride on low market volatility. These funds performed magnificently in the relatively calm markets of 2015-2017.

One such fund offered by Credit Suisse returned 320% over those three years. Investors who stuck around lost all those gains and 85% of their initial investment when volatility spiked during “Volmaggedon” in early February. The bubble was a wave they rode all the way up. Eventually, they wiped out as the wave crashed right into the shore. As Warren Buffett put it, “It’s only when the tide goes out that you learn who’s been swimming naked.”

Much like the case for genetic diversity, a diverse array of investment strategies makes the financial ecosystem more robust to sudden changes in the environment. The longer market conditions stay the same, the more money flows to the bubble riders, greater the specialized bubble strategies grow. The growing influence of a specialized strategy makes the system more vulnerable to changes like a fall in housing prices or an emerging market crisis.

So what does this mean? From an individual perspective, it means don’t chase past returns. That impulse contributes to societal problems and hurts your net worth. From a bigger perspective, it means market corrections can be useful. They weed out reckless and leveraged investors and encourage risk management by reminding others what losses feel like. The economy functions best under a healthy balance between fear and greed. Cryptocurrencies have recently gained significant traction as an asset class worth investing in. The crypto market is risky and, as an investor, it would be wise to only invest sums of money you can afford to lose. You’ll want to trade a currency at immediate connect that will offer you reasonable returns in the long run.

The post Darwin, F.O.M.O., and the Evolution of Bubbles appeared first on KRUI Radio.

When I moved to Los Angeles, this song by Deluka resonated with what then became my definition of home:

“In the bright white, of the headlights
Bouncing off the edge of the sky
Your energy, dancing around me
Keeps me warm it keeps me alive…”

It started with one person, someone I’d really only known a short time, offering me sanctuary during a time of transition. I had quit not just my job, but an entire career with a clear upward trajectory, to chase a mad dream of working in the music industry. Days were a hustle as a writer, an office assistant, a social media consultant, earning half my old salary combined. Nights became an anxious roulette of other people’s couches. I was just starting to question my life choices when an artist I’d met a few months previous landed an apartment next to my office job, and offered a roof over my head during the week.

“You feel like a place to sleep when it’s late
Somewhere I can close my eyes.
When the world went cold you were brighter than gold
We built this city overnight…”

His cat kept me eyeballs-deep in allergy medication, but he filled my days with music. I couldn’t believe my luck. He showed me the hiking trails at Runyon Canyon and introduced me to a local 24-hour diner, aptly called Kitchen24. We spent afternoons in his tiny garden listening to records. I painted my nails while he dug his hands into the dirt to plant tomatoes. That garden became my sanctuary whenever I needed an escape. After a few months, I got my own place in the same building. Even when we spent less time together, we were never physically far apart. In my mind, he will be forever associated with my time in the City of Angels.

The concept of a person instead of a place being “home” to me is not a new one. During those couch-crashing days, my girlfriend at the time was my anchor. She lived an hour away, but was the one I went home to on the weekends, the one who kept me sane when I wasn’t sure about anything. My family is the same. I know they will be there for me, even though I devastated my mother when I eloped to Colorado in the previous relationship. I still haven’t forgiven myself for it, especially when that ill-fated marriage nearly destroyed me.

“So let me go home…”

Deluka was one of the first bands I saw and really got to know during my Hollywood phase. They had recently made the move to the west coast from NYC and played a show for the music magazine I had started writing for. I immediately fell in love with their electro-rock vibe and Ellie Innocenti’s ethereal voice. Some of their songs became the soundtrack to those early days, trying to find my feet in a city constantly rushing towards the “next big thing.” Some of my fondest memories include falling in and out of love while listening to “Dead of Night” and dancing along the Walk of Fame to “Never Alone.”

The band is currently on hiatus, so I asked Ellie what “home” meant to her these days.

“‘Home’ was written more about the idea of home rather than the literal sense. Being in a band for all those years was very nomadic by its very nature, so I became accustomed to clinging to the smallest versions of home I could. Taking comfort in the familiarity of those around me, taking my own pillow wherever I went! Home was more of a feeling than a place, I think it still is.”

Co-founder and guitarist Kris Kovacs started with a different take, but ultimately came to a similar conclusion.

“Well, the song was written about how we would have to make places very quickly a ‘home’: any random number of NY apartments, our tour van to a certain extent, hotels for one night, and finally LA. Still, from all these things, I’ve concluded over the years that home can be anywhere you decide to make it. It’s more (about) where you feel happier and with whom you feel happiest. It’s not where you were born, or even where you grew up. But where feels right for you.”

“I’ll meet you at the bridge.
We’ll talk into the night
Take the first train home
And in the morning light
We fall asleep, in each others arms
And when we wake up…”

The song continues to resonate, perhaps now more than ever. Over the years, I’ve attributed different lines to different people – both friends and those more than. However, during the course of writing this, what it actually boiled down to became clear.

For me, simply, home is love.

Love is a rock solid foundation and a work in progress at the same time. Love isn’t stagnant. It lives and breathes and grows. Love isn’t anchored to any one place. You can take it wherever you go.

I never dreamed I would be where I am right now. No longer in California, no longer working for someone else’s gain, no longer trying to make more than I need, or chasing ambitions of touring with musicians. Instead, I’m sitting in the middle of the Midwest, in the middle of a writing program, doing something I’ve always done and can’t seem to help doing. I started two new jobs, both entry level, doing things I’ve always done and often seem to end up asked to do.

The difference is that now, I’m surrounded by love. Chased a bit by ever-present anxiety and fear of the unknown, sure, but ultimately anchored in the knowledge that I’m walking through this life with someone who will catch me whether I fly or fall. Someone who will let me do the same for them. Someone who encourages me to do the same for myself.

I don’t know how long I’ll be in this town. I don’t know if I’ll ever find a place to “put down roots” or if I’ll continue to keep moving. What I do know is that wherever I end up …

“We will be home.”

The post When Music is the Muse: At Home with Deluka appeared first on KRUI Radio.

On Monday, October 15, 2018, Sears Holding Corporation filed for chapter 11 bankruptcy protection. Chapter 11 means Sears will stay in control of its operations while creating a reorganization plan its creditors must sign off on. You may see Sears stores open for years to come, but this is a clear warning shot for stubborn old institutions: “you better start swimmin’ or you’ll sink like a stone, for the times they are a-changing.”

The history of Sears provides a textbook example of a company’s life cycle. First, you start out with an innovative idea. The company pioneered mail-order catalogs as we switched from the 19^th to 20^th century.

Later, Sears department stores spread across America’s growing suburban landscapes during the company’s heydays of the 1960s and 70s, and a trip to Sears became a requirement of the holiday shopping season. The company’s annual sales first hit $1B in 1966 and quickly grew to $20B by 1984.

Soaring profits and executive hubris tempted Sears to dabble in several industries over the years. The company tried its hand in insurance (Allstate), real estate (Coldwell Banker), credit cards (Discover), the best trading platform stock brokerage (Dean Witter), and even tech (Prodigy).

Many of these ventures were sold off in the 1990s, but the damage had been done. Like an overextended military, the resources devoted to new fronts had left its retail core vulnerable to attacks.

The first blow came from the big box retailers, led most visibly by Wal-Mart, whose empire exploded through the 1990s and early 2000s. As Wal-Mart’s geographic footprint grew, so did their share of retail profits, and who better to take those profits from than the old guard? In an ironic twist, however, the fatal blow would come from a competitor with virtually no physical retail presence.

Perhaps fittingly, a 21^st-century update to Sears’ original innovation drove the final nail in their coffin. Amazon brought the mail-order catalog to the virtual world where it could offer greater selection, cheaper prices, convenient delivery and customer reviews.

This value proposition was too great for Sears to compete. A 2005 acquisition of Kmart more than doubled sales but simply reset Sears’ final descent from a higher altitude.

Companies file for bankruptcy when they can no longer repay their debts, and it takes cash to repay those debts. One thing 21^st-century Sears excelled at was burning through cash. Like sand through the hour glass, this cash burn signals a countdown to bankruptcy.

The last year Sears earned a profit was 2010. That was also the last year their business operations generated cash. Since then, money was leaving company coffers too quickly for falling revenues to replenish which is why many look for protection on services like business insurance uk.

A cash-burning company has three options to fend off bankruptcy. First, the company can improve its business model to the point where it generates cash rather than depleting it. This seems obvious, but good luck stealing profits from Wal-Mart and Amazon. In the meantime, the clock is ticking, and debts are coming due.

Plan B is to borrow more. Pay off your old debts by borrowing anew. This buys time but doesn’t solve the underlying problem. In fact, this vicious cycle can feed on itself.

It takes more and more borrowing just to break even because the debt accrues interest and day-to-day operations keep bleeding cash. As debts grow, creditors charge higher and higher rates of interest, and you always face the risk that lenders will simply cut you off.

Finally, a firm could raise cash by selling assets. This is not a growth strategy, but if you find yourself with hundreds of unprofitable stores, why not sell the bad apples? Getting cheaper credit card processing fees also helps reduce business costs. That is precisely what Sears did.

The company shed over 1,000 Kmart and Sears stores between 2012 and 2017. Still, these liquidations couldn’t keep up with the cash burn, and they were running out of stores to sell. Finally, Sears had to face the music. The jig was up. The torch was passed.

Sears served its role in the evolution of our economy, providing retail shoppers the best version of retail until an even better version came along. Such creative destruction is the central force driving economic growth. Profits encourage entrepreneurs to displace the incumbents with better products at lower costs, creating new business models and destroying old ones. Cars replaced carriages. The iPhone replaced Kodak. Amazon is replacing department stores.

Society benefits at the cost of those being replaced, be they companies or individuals. So develop your skills. Make yourself irreplaceable. The great social challenge of the next 50 years will be figuring out how much we’re willing and how much we’re able to help those left behind in the wake of innovation.

The post Sears Holding Company, Icon of American Retail, Dead at 126 appeared first on KRUI Radio.

To be the smart money is to be better than the competition at understanding the likelihoods of possible outcomes and translating that information into the best strategy, and that’s why some people do investing while others do trading to make money and for this the use of smart services from sites like oil-profit.app could be the best choice for this.

For example, let’s say I’m playing an online dice game at UK gambling sites that accept credit card with someone who thinks even numbers are twice as likely to hit as odd numbers. I, on the other hand, know that each number, one through six, has a one-in-six shot of occurring. I would have a tremendous edge on my competition when gambling at a trustly casino. I am the smart money. He is the dumb money. (Unless, of course, he chose the dice!)

Warren Buffett is smart money. He has superhuman investing skills. One of those skills is to be better than the competition at forecasting future business performance and translating that to a price the company’s stock should be worth today. For more on business financial management for growth, read this online review about the best custom software for business.

Importantly, he refuses to overpay, often waiting for the market to offer him a bargain at 70 or 80 cents on the dollar. He makes money buying great companies at cheap or fair prices. Learn more about smart business handling, read this new blog post about the benefits of using Pre Pack Administration services.

Pick a kicker in the first-round, and you are dramatically overpaying. This wastes a scarce resource (an early draft pick) on someone you could have acquired much more cheaply (e.g. with your last draft pick), and it keeps you from paying a fair price for an elite running back or receiver. This skill also applies directly into sports betting at pikakasinot. If you want to bet on other sports or play online casino games, you may visit the website of jilino1 ph.

This is an extreme example, but the lines between overpaying and underpaying, for an investor or a fantasy football manager, can become quite blurred. The smart money sees those lines clearly long after the dumb money’s eyes have gone crossed.

There are four major categories of fantasy football players, and they relate to four types of companies in which you can invest. These categories are based on ceilings and floors. Ceilings refer to upside potential, and floors refer to the worst-case scenario. We want each to be as high as possible.

The categories are:

1. Studs: high ceilings and high floors
2. Safety Blankets: low ceilings and high floors
3. Lottos: high ceilings and low floors
4. Duds: low ceilings and low floors

We’ll start with the studs. Studs are what you’re after. These guys can, and typically do, perform the best, and they offer a worst-case scenario that is still not that bad. In 2018 drafts, these were guys like Todd Gurley, Ezekiele Elliott, and Saquan Barkley. Older fantasy footballers will remember LaDainian Tomlinson, Marshall Faulk, and Emmitt Smith. As the graph below shows, these players outperform the average fantasy running back even on their worst days.

In corporate America, J.P. Morgan is both the most profitable (high ceiling) and the safest (high floor) among the big six U.S. banks, and that is why investors are willing to pay more for every dollar of assets J.P. Morgan owns than for the assets owned by Bank of America.

Quarter after quarter, year after year, Google, Apple, and McDonald’s are going to earn profits for their shareholders that most other companies can only dream of. That’s why these companies’ shares sell for higher multiples, and that’s why Gurley, Elliot and Barkley sell for the first-round premium.

The next category is the safety blankets. These guys are like investing in savings bonds or Wal-Mart. They steadily turn out adequate, but unremarkable performances and derive all their appeal from their stability. Gone are the days where they will surprise you with spectacular earnings growth. In fantasy football, these tend to be older players whose best days are behind them but are central enough to their team’s offense to limit the downside.

The ageless Frank Gore has been the poster child for this archetype. This year, David Johnson best personifies the safety blanket, scoring between 16 and 24 points in all but one of this season’s games.

The problem is, he was drafted as if he were a stud that would score 50% more per week than he currently is. The market was overly optimistic about his 2018 performance, and those that overpaid are suffering low returns on that investment (at least to this point).

The most frustrating, or satisfying, category is the lottos. They can make you feel like a genius or an idiot. These are the guys that could have a breakout year or be completely irrelevant.

A recent example is the perma-stoned and ultra-talented Josh Gordon. He has the potential to be a top-tier wide receiver, as he was during his remarkable 2013 campaign, but he also has the potential to miss games (or entire seasons) due to his tendency to smoke the wrong plants.

More often, lottos are young players that show flashes of brilliance but have yet to sustain such brilliance for long stretches. Similarly, young companies with innovative technologies may or may not turn into world-beaters. For every Amazon.com, there were a thousand “Pets.com”s.

One winning ticket can pay for a ton of misses, but how much of your resources do you want to commit? Random selection is a bad strategy, and “informed” traders run the risk of thinking they’re the smart money when they’re really the dumb money. If you can’t spot the sucker at the table when playing 슬롯사이트, look in the mirror…it’s you.

The last category doesn’t need much discussion. These are the duds, providing low ceilings and low floors. Avoid them. They have no place in your fantasy lineup or Charles Schwab account (except maybe as a short, but that’s for another article).

As the fantasy football draft progresses, the players chosen will move through the spectrum from studs to safety blankets to lottos, and yes, maybe even a few duds. A bargain in the 7^th round can provide greater returns on investment than overpaying in the 2^nd round even if the 2^nd round player performs better (remember, you paid more for the second rounder, which reduces investment returns).  If you plan on placing bets on games just make sure to use a reputable online casino at parhaatrahapelit-netissa.com.

In markets, the higher prices paid for the Google’s and Apple’s should largely offset their performance advantage over cheaper competitors. Of course, the market doesn’t always get this right, and it offers untold fortunes and championship trophies for those that consistently identify its mistakes.

The post Smart Money IQ: Investing in Fantasy Football – the Market for Studs & Duds appeared first on KRUI Radio.

It happened to me January 2017. I was living in Los Angeles, at my first live show of the year. I’d just discovered a band called King Washington and learned one of its frontmen, George Krikes, was playing an acoustic set at a new-ish joint on the Sunset Strip, a wood-paneled, cozy cavern aptly called “The Attic”.

The song was untitled back then, at least as far as I knew. I was pretty emotional that night, trying to get over a two-week fling. By the time I showed up at the venue, George was already onstage, teasing out the intro to a song. I closed my eyes and let the clean guitar lines soothe my bruised ego. Somewhere in the first verse, the lyrics hit me:

“So go find answers, go find proof
Let the wings of your spirit guide you

Go find new love, take it in
And let your heart break again and again.”

I nearly fell off the stool. How could he have known exactly what I needed to hear at that moment?

Half a year later, I returned to the same venue with a new date. George was playing again and I was doing my best to move on. By then, I had gotten to know George so I felt confident enough to approach him and request the song.

This time, what landed was in verse two:

“Now I finally realize
That you, you gotta be set free
And I’m gonna be all right
And you, you’re gonna find yourself
Just wait and see…”

Though I’d forgotten the lyrics, my subconscious mind remembered. Or at least suspected. Hearing the song again was healing. It was the reminder, the push I needed to strengthen my resolve.

On September 16th, George released his first EP, LM.

“It stands for ‘love you, miss you.'” he revealed when I asked. “That is what me and one of my exes used to say to each other because I was always out on the road.”

The five tracks were inspired by that same relationship, including the now titled, “I Don’t Need You, You Don’t Need Me.”

“That song was just completely me as far as everything that was recorded on it. I tried to make it more general, about things I want to remind myself. It still has little touches of the sadness of losing someone but there’s also the need to move on and find peace in the closure, not hate.”

The rest of the album follows suit. From the melancholy musing in “A Long Time Ago” to the more upbeat “It’s Not Over,” through the hypnotic “Come Be With Me Awhile,” and the crisp, clean guitar in “The Right Combination,” George explores what he calls “different points of the ‘getting over it’ journey.” His lyrics are honest, sometimes brutally so. Relationships tend to be messy affairs, no matter how black and white we might want to make them out to be.

“I can be a real monster, I can be pretty sweet
I could stop you from falling after I pull the rug from your feet…”
(from “The Right Combination”)

But this California-based musician is a master storyteller, even without words. He can tease out longing in a chord progression, draw out loneliness from a lingering slide. I can picture scenes while listening to the music: sitting at a fireplace on a cold evening, staring out the window of a train (or van) going down a long country road, spending a dreary Saturday with a bucket of raindrops for companionship.

For the recordings, he got a little help from some friends. “The guitar and the vocals were the first things that I did, and I did those just at home. Then I worked with Ross Garren to re-conceptualize certain things and think of what other instruments could go here and there. It helped to have him keep the emotion grounded. And we had some other great performers including David who played drums in King Washington.”

“I Don’t Need You, You Don’t Need Me” has certainly grown up since I heard it last, with a new call and response bridge. I fell even more in love with it, and said as much.

“I think you heard the first time I ever played ‘I Don’t Need You’ and it stuck in your craw. So that was a good sign.”

Indeed, the song continues to ring true for me to this day Its meaning has changed. I can listen to it now without clinging to it. During our conversation, I confessed to George that his music not only helped me get over one instance of heartache, it had also served as a compass to find my way through anything I had to let go of, from past loves to past versions of myself which no longer serve me.

“’Cause you don’t need me

And I don’t need you anymore

I don’t need you
And you don’t need me anymore…”

It’s funny how such a seemingly simple concept could mean so much.

“These songs aren’t trying to be experimental classical compositions or crazy King Washington arrangements. I wanted these to be a bit more from the heart and intimate.”

They are. And I highly encourage you to find your own guide in them. Because sometimes what speaks to us the strongest is not in the loudest voice. It’s in the quiet moments, when we can truly listen and hear ourselves. Bonus when accompanied by some killer slide guitar.
—

The post When Music is the Muse: On George Krikes appeared first on KRUI Radio.

Just look at this album cover. Is this not the most hardcore Halloween banger album art you’ve ever seen?

As we descend into October, cool mists roll across campus and the veil between our world and the supernatural grows ever thinner. There was a new moon on Sunday, a good time for reflection and refreshing for this next cycle. Cultivate an intention for this month, set a little energy aside to reach a goal, whether personal, academic or otherwise.

Happy Libra season, you beautiful foolish Libras. There’s a full moon early in the first decan of Scorpio this year. A full moon means that it’s time to cash in on the energy you’ve put toward making or manifesting something. Use this energy for good, act where you have previously refrained. Come out of the shadows and into your own this October.

Track #1 – “Can’t Play Dead” by The Heavy

We kick off this playlist with a romp into the world of B-list zombies, werewolves and vampires with The Heavy’s “Can’t Play Dead”. Imagine you’re sprawled across your couch on a cold October night, as the wind howls outside and tree branches rattle against the windows. The TV is tuned to a channel showing old school horror movies. You’re starting to fall asleep and as your dreams grow strange…

The Heavy is a rock band of four that hails from Bath, England. In this decidedly monster mash vibe, “[‘Can’t Play Dead’] feels like the soundtrack to a zombie B-movie” according to lead singer Kelvin Swaby. With lyrics like “Walks like a zombie / talks too cold / lives in a graveyard like the one I call home”, the song comments on the cutthroat and profit-driven cycles of the music industry.

The drama of this absolute Halloween banger is topped with a homemade feeling claymation music video. The music video showcases the song’s “filthy garage riffs” and is complete with nods to monster movie imagery and sound.

Track #21 – “Lose Your Soul” by Dead Man’s Bones

We finish off with a personal favorite of mine. There’s nothing like a children’s choir on backing vocals to make it feel like someone’s walking over your grave. The project is led by Hollywood beloved actor Ryan Gosling and his friend Zach Shields. The two first connected in 2005 over their shared obsession with all things supernatural, and embarked on creating what would be the album “Dead Man’s Bones”.

The album centers around an almost fireside retelling of a monster-ghost love story. Every instrument was played by either Gosling or Shields themselves, even instruments they had never played before. They incorporate the Silverlake Conservatory Children’s Choir to give it that extra eerie and honest feeling. Experimental, weird and so much fun, I highly recommend you give this album a listen if you’re into the thematic and dramatic. Read more about the project here and check out Pitchfork’s review!

These jams are guaranteed to get you in the mood, whether you tear it up at a house party, or run howling at the moon this Halloween.

Listen to the whole playlist below!

The post Conundrum of the Veil: Monster Mashes appeared first on KRUI Radio.