Altar primarily serves as a tribute to NewDad’s Ireland hometown, Galway, with its gloomy weather and quiet lifestyle. After the 2024 release of their debut studio album Madra resulting in their quick rise to popularity, the band promptly relocated to London to pursue music as a full time gig. NewDad saw an opportunity and knew they had to seize it. In hindsight, the band now regrets this sudden and drastic change in scenery, stating in an interview with NME how they would have enjoyed staying home and focusing on enriching their local rock scene. Altar is a simultaneous homage to Ireland and an expression of homesickness and nostalgia, all over the span of 12 tracks. 

NewDad’s Madra took alternative rock by storm with its explosive sound and unapologetic lyrics. The band was influenced by artists like The Pixies, The Cranberries, and Oasis, which shaped lead singer and rhythm guitarist Julie Dawson’s childhood. Altar is showing a departure from the heavier punk inspiration, instead borrowing elements from shoegaze and dream-pop, with most of the tracks more reminiscent powerful ballads seeping with raw emotion. It’s an interesting direction for the band to take their sound in, and it also bodes well with the themes of melancholy and reflection. 

From the very first track “Other Side”, the lyrics already express these deep emotions that permeate the album, as Julie Dawson sings about a noisy place that is killing her dreams and not letting her go. Accompanying Dawson’s soft melodies are simple synths, reminiscent of a lullaby, that build up to a thrilling beat drop with lead guitarist Sean O’Dowd and drummer Fiachra Parslow joining in. The song masterfully sets the tone for the rest of the record. “Heavyweight” maintains a steadier tempo while Dawson scornfully croons about the music industry, which drove the band away from home and thrust them into that harsh reality very early into their career, dripping with cynicism. 

The next track “Pretty” is a dreamy and melodic serenade that really hones in on Galway as the band’s muse: “His medicine has me hypnotized. You look so nice like a dream, swear on my life”. In the following track “Roobosh”, perhaps the most electric song on the album, Dawson’s booming vocal performance during the chorus is perfectly accompanied by her and O’Dowd’s hypnotizing guitar riffs. Parslow’s drumming is also on point, which, along with the other elements, emphasize the track’s vindictive and vitriolic energy. 

“Misery” offers a darker, meaner atmosphere with distorted, grungy guitars and a loaded instrumental. Dawson’s vocals demonstrate pure, raw emotion from someone who is deeply familiar with misery and the nasty way she makes her way into our lives. “Sinking King of Feeling” and “Puzzle” are both tracks that expand on the homesickness of the album, exploring somber feelings of misplacement, unworthiness, and inadequacy. The ballads, with soft, luscious sounds offer evocative imagery and highlight the melancholy that permeates the record. Sounds start to blend together and perhaps the band tried to become a little too cohesive. However, the instrumentation is consistently easy on the ears, despite the air of monotony. 

“Entertainer” is reminiscent of “Sickly Sweet” from the band’s debut album with the guitar riffs. The beat and instrumentation, as well as Dawson’s wildly entertaining vocals illustrate NewDad’s signature sound. “Everything I Wanted” perfectly encapsulates the album’s main thesis of homesickness. After their experience abroad, NewDad realized they had fallen into the trap of jumping ship too early and yearned for their hometown, which they now know could have harbored their dream. The layered soundscape cushions Dawson’s vocals as she introspectively warbles: “I tell myself that it’s everything I wanted/ Lost myself in this city”. The following two tracks “Mr Cold Embrace” and “Vertigo” are also about Galway which, to the band, evokes nostalgia and regret, with airy guitars and hauntingly beautiful vocals. The album ends on a somber note with “Something’s Broken”, as Dawson sings of feeling terrible sadness and fear and looking for intimacy as a way to cope and forget it all. 

Overall, Altar is a beautifully cohesive journey through Galway, the band’s bittersweet relationship with fame, the harshness of the music industry and everything in between. It’s a wonderful album to enjoy as the seasons transition from summer into autumn, with delicate guitars and catchy melodies that solidify the band as one of the best current alternative rock artists. Now, with their new tour around Europe and their freshly announced festival appearance at Primavera Sound ‘26, I’m excited to see what’s next for NewDad. 

The post NewDad on homesickness, fame and sacrifice in their latest album: Altar appeared first on KRUI Radio.

Intended to reflect the often turbulent and ever changing summers of Las Nubes’ Miami home base, Tormentas Malsanas translates to “unhealthy storms”. Through seismic displays of fuzzy dream pop and whirring shoegaze, bandmates Ale Campos and Emile Milgrim are able to convey this feeling of unrest in a way that is accessible to anyone, anywhere. The album’s grungy and distorted sonic influences root its story in both the past and present. It feels fresh, but also familiar somehow, in the way many summers tend to be a limbo of old and new, trapped between lingering memories and potential for more.

The ten track album takes listeners through several cycles of build up and chasing release. The album opener “Would Be“, gives us the first taste of the idea of warm, almost comfortable feelings opening up into something much heavier. Hypnotic waves of guitar paired with the soft choral repetition of the words “I know the more I give, the less I get back,” are suddenly spun into crunchy power chords and hard snare beats in a moment of whiplash. The words that began as musings have become a chant of dissatisfaction, of feeling stuck.

If the entirety of Tormentas Malsanas is a storm, then track four, the ten minute epic “Caricia”, is the eye of the hurricane. The song hums and buzzes in a moment of calm, but the feeling of unease remains. The familiar circling feels prominent in this track, even as the humming becomes a louder and angrier drone before cycling back to a hum once again. It’s clear the release hasn’t been found yet. It feels like a summer rain that doesn’t cut through the heat, it just makes it thicker and stickier. 

“The Weeks That Followed” puts a name to the idea of spiraling thoughts that seem to orbit this album. The notions of thoughts circling and reliving memories are what drive this song forward, along with the struggle to know when it’s time to move forward and embrace the possibility of change.

Tracks like “Canse” and “Drop In, Ya Freaks” feel less like a thought spiral and more like the unwinding of one, like a release has been found. Heavy and anthemic guitar fuzz along with steady rhythms guide us through the final moments of the album. These songs feel like they’d be best understood driving the backroads of your hometown with your windows down, letting all of the heat and anger wash away with the wind and rain. Where “Canse” is loud, boisterous, and full of kinetic energy, “Drop In, Ya Freaks” is reflective of the time gone by. It acknowledges that the storm has passed, and that even if more should arise, we’ve learned by now that they are impermanent.

In a summer that has already had it’s fair share of heat and storms, both literal and metaphorical, Tormentas Malsanas feels fit to be the soundtrack to a mind that’s very prone to spiral. The story it tells and energy it transmits feeds those tendencies to dwell in the heat, while also encouraging the listener to let go and move forward when the time is right.

The post Las Nubes’ “Tormentas Malsanas” and the Weight of Summer appeared first on KRUI Radio.

Formed in Rochester, Minnesota by high school band geeks Josh Augustin and Sam Winemiller, the dream-pop duo has garnered over 700,000 monthly listeners on Spotify. The two are now college seniors, Josh at Oberlin College and Conservatory and Sam at the University of Minnesota, still recording from their bedrooms. I caught up with Josh over college, activism, and their new release.

There are a lot of young creatives at the University of Iowa. Tell us about what it’s like to be a college student and a successful musician. How do you manage time between classes, recording, and touring? 

Josh: Time management is difficult – touring at least remains a summer-specific activity for us. We’ve definitely had to pass up on some great gig opportunities because of school, like we’ll get offered something for SXSW and then it’s like, nah it’s a Wednesday in March and we have essays due. Ultimately though, I think it’s worth sacrificing some of those opportunities to have degrees. I’m lucky to be studying music at Oberlin so I’ve been able to kind of finesse the work such that sometimes I’m working with professors and focusing my academic time on Vansire. Other than that though, it’s just a lot of staying up late, a lot of logistical headaches, and many hours spent on homework and music work. Nothing particularly glamorous, I’m sure anyone could manage it. 

Tell us about the inspiration for this EP. It seems like a portrait of adolescence in the Midwest, something Vansire explores a lot. Could you speak about the ways it might depart from your previous work? Does it have a thesis idea? 

Adolescence in the Midwest is a good way to phrase it, though I think if that’s the through line of our discography, After Fillmore County finds us at the end of that loose narrative arc that ties together our past releases. Fillmore County, where we recorded most of this EP, is something of a symbolic stand-in for the mid-American ennui and subtext of escapism which was pervasive in our earlier work. We’re “after” Fillmore County in an attempt to capture a feeling of place and bring to life some kind of collective American experience, but that search is inherently flawed and can’t be realized from the narrow scope of our own lived experience. It’s also literally a question of what comes after living in this part of the world for so much of our lives, as we approach graduation and try to grapple with the uncertainties of the COVID era. 

The band has a pretty active political voice on Twitter and there seem to be protest references and anti-capitalist themes working their way into your discography. Do you plan on using more overt messaging in your music in the future?

Previously we would sometimes post about causes and issues we felt passionately about, but coming out of the protests stemming from George Floyd’s murder this last summer, we’ve taken a more direct route in terms of voicing our beliefs about the complete abolition of police and prisons, the need to move away from capitalism, articulating different leftist beliefs we think are important to share, etc. I think our initial hesitancy back in the day stemmed from concerns over engaging in what might be viewed as empty virtue signaling – we don’t have a particularly big social media platform so whenever we used to post it would sort of be like, hm, is this really accomplishing anything other than positioning ourselves as a politically virtuous band? Like, we believe in what we’re saying, but all this is doing is sitting there and getting a couple hundred likes and it’s unlikely any information we’re sharing is new to anyone seeing the post. So it felt kind of self-serving. 

Follow Vansire on Twitter: @wearevansire

But that perspective changed for us this summer in Minneapolis, where the immediacy of the protests hit us like, oh shit, they’re f***ing firing rubber bullets, people are getting tossed in non-socailly distant holding cells, these local organizations are in desperate need of money, we need to share that Minnesota Freedom Fund link, there are people who don’t have access to the food and medical care they need right now, etc. So I think our previous more cynical view gave way to this belief that we should always be hyping different causes and that there are ways to do it that maybe push and are not self-serving, articulating beliefs that might be unpopular with some segments of our listeners, disagreeing and arguing more directly on behalf of certain causes even if it means losing some fans, and just speaking authentically to what we can from our own perspective and what we’ve seen. Obviously none of this is to say we’ve “figured it out,” quite the contrary, we’re still learning a lot about abolition and allyship is an ongoing process of self interrogation and self improvement. But to the original point in your question, yes, more overt anti-capitalist messaging is always the goal nowadays. 

For more on Vansire, commodification, and aesthetics in late capitalism, check out The Rest is Metamodernity, an essay written by Josh Augustin

How did the collaboration with Mick Jenkins happen? Central Time slows down and switches tone pretty dramatically during his verse–The Latter Teens has a similar shift. What inspired that ending to the track? 

Before contacting Mick we already had it structured with the twelve bar half-tempo coda, and we knew we wanted someone from the midwest to rap on that part. Mick was at the top of our list and he got back to us super quick so it worked out really well. In terms of the construction of Latter Teens, I think it’s just a space we wanted to linger in for awhile longer, and we’re both suckers for a good ambient interlude so it felt like a logical opening statement for the EP. 

You also work with Ivy Sole and FLOOR CRY in this EP, two artists that show up elsewhere in your discography. How did those collaborative relationships start? 

We found FLOOR CRY’s work after our song Eleven Weeks was posted on the youtube channel TheLazylazyme next to a track of hers around the same day. We started talking after that and since then she’s become a great friend and frequent collaborator. Kind of similarly, I first heard Ivy Sole’s 2016 album on bandcamp shortly after it came out –  we were looking for someone to feature on the chopped and screwed section of the song Set Piece a few years later and her feature worked beautifully. Stoked we can have both of them on this project again. 

What was the inspiration behind ending the EP with a callback to a track from your first album?

The back half of the album is something of a chronological retrograde, starting with ‘To Not Pretend’ (a song we dropped under a different band name in the year 2017). Generally speaking, the lyrics and general sound of Water Boils place us at a logical ending point for this EP, entering the winter and unsure about everything around you. The cyclical nature of life, relationships, places, weather events, etc. are all kind of a subtext on this EP and closing out with a slightly revamped sample of Water Boils felt natural to us. The final moments of the EP are the tail-end of that song being played on a reel to reel I recently purchased. 

Has covid altered your creative process and/or environment?

I don’t think it’s really changed anything in terms of creative process or environment. We’re very used to working remotely and working in our bedroom, so nothing has really changed from that standpoint. 

 

What made you speak out about how streaming services collect and distribute royalties to artists? Do you have any thoughts about other models for music streaming online that are better at compensating independent artists? 

I think that’s twofold, the first part being complete disillusionment with how difficult it is for artists to make a living. Nearly everyone I know works a second job, it’s just impossible to make enough money off of these platforms. You have to be super notable, or tour constantly which is exhausting and currently impossible. And the second part is that most music listeners don’t realize how bad the situation is. Generally speaking most are aware that the payout rates are pretty bad, but like, they probably don’t realize their favorite artist is working two or three extra jobs to make ends meet. And even worse, the streaming services try to position themselves as “friends” of the artist which is a complete joke. In terms of a more equitable model, I think the only thing that would really work at this exact moment is that your DSP subscription costs ten times more than it currently does, and payout rates get higher for artists. That might sound untenable but it’s kind of astonishing that you can basically pay five dollars a month for infinite music any time you want. Also these platforms aren’t even profitable anyways, so I think something drastic is the only answer. 

What do you have planned after graduation?

Tentative plan is I’ll head back to Minnesota and move in with Sam, and in the short run we’ll probably be working on new tunes. Most of my friends who just graduated are unemployed or struggling jumping between jobs so given the circumstances it’s really a pretty good option.

Vansire’s new EP, After Fillmore County, can be found on streaming platforms. Listen below

The post After Fillmore County: an Interview With Vansire appeared first on KRUI Radio.

Iowa City-based band Hot Tang played at Gabe’s Oasis on April 4th as part of Mission Creek Festival 2018. Described as “Iowa City’s only poolhaus band,” Hot Tang consists of Megan Buick, Anna Kahn, and Jason Burkhardt.

The upstairs of Gabe’s was stuffy and dimly lit save for faint strings of lights on the ceiling. The crowd hadn’t fully formed yet, as Hot Tang went on at 8:30, but for anyone in the crowd that early, they got a treat.

Three people. That’s all the band needs. Lead singer Megan Buick, who also played bass guitar, a piano and background vocals performed by Anna Kahn and a set of drums were all it took for Hot Tang to fill the room with dreamy, catchy, and infectious songs.

Reminiscent of Jenny Lewis, Beach House, and Sigur Ros, the beautiful harmonies are what carry Hot Tang throughout each song. The band has the unique ability to seamlessly weave sparse and simply catchy electronic piano and drums into something much more that ends up filling a room with people swaying their bodies back and forth.

Most songs started off slow, with soft instrumentation centered around Buick’s laid-back lead vocals until momentum was gained and the song blew up into a full-blown rollicking pop song. Buick’s vocals are undeniably unique, and the effortlessness with which she coasts across songs is impressive. Lyrically, Buick takes a less-is-more approach like artists such as James Blake, opting for simple turns of phrases that repeat and grow with the music.

One of the last songs performed on the night was “Secret Beach,” my personal favorite. The song built to a climax after Buick proclaimed, “I’m not havin’ any fun,” with a quiet backdrop until the whole band joined in and sent the song off on a high note. The dreamy soundscapes that Hot Tang creates are undeniably beautiful, and reminded me of a summertime drive in the sunshine with the windows rolled down.

The entire set performed by Hot Tang was infectious and filled with a great mixture of memorable lyrics and outstanding musicianship. Buick’s voice was fantastic live, and her laid-back delivery paired with the beauty of her voice was impressive.

The band’s latest release, titled Gone Fishin’, was released in 2017 and is available on BandCamp for $5. I’d highly recommend it for purchase, and also seeing the band live. The songs translate very well to a live setting and sound nearly identical to the studio versions.

The post Mission Creek Festival: Hot Tang @ Gabe’s 4/4/2018 appeared first on KRUI Radio.

First on stage was the eclectic group, Greg Wheeler & The Polygamist Mall Cops. Self identified as “manic garage punk slime”, this band lived up to the impression of their name: strange and incomprehensible. From the first glance, I knew this would be a unique performance. The guitarist sported an oversized Milwaukee Bucks jersey while the drummer wore a traditional mall cop uniform, complete with badge, and finally, the bassist and only female in the group danced around in a sexier version of a cop uniform. It was perplexing but not particularly fascinating. Instead, it created a sense of confusion and ultimately, annoyance at whether or not they truly had a method to their madness. They began songs with the cliche “1, 2, 3, 4!”, making them sound even more like an angsty group of teenagers in a garage. Despite their shortcomings, I’ve gotta give it up to them for their originality, even though I still don’t quite understand the meaning behind their name, Greg Wheeler & The Polygamist Mall Cops.

Next onstage was Chicago-based trio, Gosh!. This intriguing band plays minimalistic psychedelic dream pop, gracing the stage with an eerie sound. With matching curly locks down to their shoulders, the two men and one woman were in cohesion with each other throughout the entire performance, creating a vibe that was easy to get on board with. Their vocals were in sync, floating together with “ooo”s that transported the audience into a dreamlike state, holding true to their title. They stuck to their minimalist roots, their whispering voices crooning above a stripped down guitar. As their set went on, the music became more complicated, subtle songs growing into a fast-paced scream of instruments that lifted the audience off of the ground and sent vibrations into each chest.
Gosh! finished their set with my favorite song of the night: “Not That I’d Care” from their album Cities of the Plain. This track had a more carefree vibe than their other songs, making me feel as if I were prancing along a colorful brick street in the whimsical world of a Wes Andersen film. Gosh! has a distinct style that I was pleasantly surprised by, stealing the show.

Finally, the headliner of the night was punk rock band, Lifestyles. The three-person band took the stage nonchalantly, the male drummer wearing a Metallica t-shirt with the sleeves cut off, male bassist dressed in a plain white t-shirt and leather jacket, and the female lead singer and guitarist sporting knee-high leather lace-up boots, tattooed arms exposed through her ripped grey t-shirt. They all looked badass and ready to put on a show. The lead singer gave a smile to the crowd just before beginning to play, and this was the last glimpse of any joy we caught for the rest of the night.

From the moment they began playing, the room was filled with brutally rough, loud and angry music. The band members are definitely talented instrumentalists, their fingers moving rapidly over the strings of the guitar and the drummer’s sticks never ceasing from moving, but their music itself was extremely unpolished. The lead singer’s voice was scarily screechy, incomprehensible and just plain unpleasant to listen to. Her screams were so sporadic that it made me wonder if she was even singing a song or simply making up everything as she went. The bassist’s voice was a bit more appealing, bringing some levelheadedness to her chaos through his background vocals. There were several instrumental breaks that were interesting and enjoyable, but would always be interrupted too soon by the lead singer’s harsh voice, jolting me back into discomfort.

It was difficult to distinguish one song from another, because all included the same aspects: grating instrumentals, screaming vocals and lots of anger. Anger is an immensely interesting emotion and music involving anger can be powerful. However, there is no way for the audience to connect with angry music if they have no idea what the musicians are angry about. I could not understand the meaning behind any song that Lifestyles performed, so I had nothing to grab onto emotionally – all I heard was noise. Maybe this is the purpose of Lifestyles’ music – to be noise. If they simply want to create a specific sound, not audible words or stories, then they accomplished their goal. If they want to entertain, then they have not achieved their goal.

Lifestyles’ performance was full of energy, with each band member visibly giving it their all. The bassist eventually ripped off his jacket, white t-shirt underneath soaked against his skin, throwing his head back and screaming the lyrics with his eyes closed, mouth wide open, teeth exposed. The drummer shook his head spastically, eyes wide and intense like a maniac. The lead singer had a constant dangerous look in her eye, just visible through the strawberry blonde hair that she let fall over her face. She was clearly in her own world for the entirety of the performance. I cannot say that Lifestyles did not have a purpose with their performance, because they are clearly performers. But what I can say is that I haven’t the slightest clue what that purpose was.

The post Mission Creek: Lifestyles @ Iowa City Yacht Club 4/5/2017 appeared first on KRUI Radio.

Born in South Africa but raised in Australia, Troye Sivan Mellet has been making his mark online for a long time. A now famous Youtuber (and a winner of a Teen Choice Award alongside Tyler Oakley for their video “The ‘Boyfriend’ Tag”), Troye Sivan released a debut EP titled TRYXE in late 2014, which was a surprise hit and landed at number 5 on the iTunes charts. Having found his musical voice, he continued to create music and dropped a second EP, WILD, in September 2015, which had similar success, possibly thanks to its endorsement by Taylor Swift, Sam Smith, and Adele. Shortly thereafter, he announced that WILD was actually an introduction to his debut album Blue Neighbourhood, and I can gladly say that the full product is one of the best debuts of the year.

https://www.youtube.com/watch?v=MLKkwQM7uEY

The term “post-modern” is thrown around a little recklessly in regards to all types of art, but if the touchstone for “post-modern pop” is Lorde, Troye Sivan fits in neatly beside the girl from the land down under. His music consists of synth washes, tight and snappy percussion, dance tracks and ballads both assisted by electronic production. Both of them are able to deliver vocals that turn from soft-spoken and introverted to demanding and evocative.

Troye Sivan is also as gifted at songwriting as his female counterpoint: the title of the album is in reference to the concept of feeling trapped in the homes that we grow up in, but also the melancholy that is present when we do leave our places of origin. “I’m down to my skin and bone / and my baby listens to me on the phone / but I can’t help feeling like I’m all alone,” he coos on “Ease,” illustrating the anxiety so many young adults face even when surrounded by their loved ones; “When you heard me on the radio / did you turn it up?” he asks the ones he left behind in the string-adorned closer “Suburbia.” There’s melancholy laced through all the hope, and it makes for a relatable listen.

However, Blue Neighbourhood may arguably be one of the most important albums to come out in the mainstream pop demographic for a specific reason: its honest portrayal of a young person who identifies within the LGBT spectrum. Troye Sivan came out to his Jewish parents when he was 15, and came out three years later on a video blog. While openly gay artists Adam Lambert and Sam Smith have made strides in bringing a wider world view to queer performers in the industry, Troye Sivan comes off more explicit, and all the better for it: album centerpiece “Heaven” recounts his emotions with coming out to his father and others (“without losing a piece of me / how do I get to heaven?”); “Bite” pulses with desire and sexual awakening (“Kiss me on the mouth and set me free / but please don’t bite”); “For Him” recounts nights of being lightweights and “not having to say ‘I love you’/ to say ‘I love you.'” Even better, the three music videos he released prior to the album’s release (for songs “Wild”, “Fools”, and “Talk Me Down”) create a narrative arc that covers hidden sexuality, parental abuse, and suicide. It’s impressive for such a young artist to come out of the gate with something profound to say.

Blue Neighbourhood does so many things right within the pop world: all the tracks hit that sweet spot of a three minute run time, the album doesn’t overstay its welcome (even the deluxe version, with the essential bonus song “Blue,” feels worthy of its duration), and it melds familiar and new pop sounds in order to create a distinctive voice for its precocious artist. Even if he doesn’t break through to the mainstream, Troye Sivan deserves a place in the upper echelon of pop singers.

I can’t wait to see what he does next.

Grade: A

Key Tracks: “Wild”, “Bite”, “Heaven”, “Youth”, “Suburbia”, “Blue”

Blue Neighborhood can be listened to on Spotify here.

The post Album Review: “Blue Neighbourhood” by Troye Sivan appeared first on KRUI Radio.

A little over a year and two tours after her last full-length album, indie rocker Frankie Rose has released her second full-length album attributed solely to her.

Herein Wild, though less indie rock and more dream pop than her last project, has a soft, almost fairytale-like charm to it. She takes us on a journey through a narrative of adolescent love poems and passionate outbursts of musical exuberance.

While the dream pop genre is known for its wispy vocals and strong guitar support, Rose’s past experience as Vivian Girls’ drummer really brings another element to the album.

In songs like “Question/Reason” and “The Depths” that have more of a garage-band sound, this addition clearly shines.

However on songs like “Cliffs as High” and “Into Blue,” she stays truer to the genre with soothing melodies and mysticism.

But don’t be fooled; the versatility of instruments on this album is incredible. From heavily present strings, sometimes even commanding the piece forward, to incredible synthetic solos, Rose begs the listener to fully engage and experience her music with your body and mind.

However, at times the sound seems to have developed a variation deficiency. The concluding three tracks, “Heaven,” “Street Of Dreams,” and “Requiem” lack diversity, muddling together to create one, way to extensive and repetitive finale.

If you like this kind of sound or not, this album is worth the listen, even if it’s only to be comforted by Rose’s relaxing voice. Altogether, Herein Wild is nothing to sneeze at and I for one will be on the lookout for Frankie Rose’s next project.

You can listen two tracks  from the album  below, and to the entire album on last.fm.

The post Album Review: Herein Wild by Frankie Rose appeared first on KRUI Radio.