Brendan McDonough

Favorite Album: uknowhatimsayin? by Danny Brown

I will always remember the first time I saw Danny Brown live at Pitchfork in 2014, its probably going to be one of the recollections I have on my deathbed. I remember a shoeless man, wearing nothing but a vest made of some kind of animal skins (I didn’t ask), offering me an Aquafina bottle full of a mystery liquor (I also didn’t ask, nor drink it), saying that he drove all the way from Mobile, Alabama just to see Danny perform. Crowd members were inhaling a rainbow assortment of every pill under the sun, and chasing those with cups, flasks and water bottles of their booze of choice. Once the show began, a nonstop mosh-pit lasting the length of his set broke out. Danny’s performance was electric even without a near-lethal dose of substances, and much of his stage energy, and comically emphasized inflections is mirrored on uknowhatimsayin? A far-cry from his critically successful Atrocity Exhibition, his latest release is a reprise of Danny’s XXX days. Produced by Q-Tip and featuring JPEGMAFIA, Flying Lotus, and Killer Mike, among others, unknowhatimsayin is the most enthralling hip hop release of 2019.

Favorite Song: “Jesus is the One (I Got Depression)” by Zach Fox and Kenny Beats

“Free Palestine. Free Tay K.” Twitter comedian Zack Fox took the rap world by storm this summer with this surprise Kenny Beats freestyle collaboration. Coming from The Cave YouTube series, in which Kenny Beats creates tracks tailored to the requests of rappers, who subsequently showcase their freestyle abilities. Adorned with a Lincoln-esque stovepipe hat, stripping naked halfway through recording, and causing the entire booth to break out in raucous laughter, Fox delivered the shows most entertaining performances to date, and delivered the track Jesus Is the One (I Got Depression). A slap-in-the-face trap beat, with Fox rapping about mental illness, thousand island dressing, and of course Jesus, Jesus is hands down the funniest song of the year and a rallying cry for chronically depressed millenials.

Elisabeth Oster

Favorite Album: Sandman by Trudy and the Romance

I can confidently say that this album sounds like nothing I’ve ever listened to before, as Trudy and the Romance’s sound takes influence from such a wide, impressive range of influences across genres and decades. Self-described as “50s mutant pop,” the band’s 2019 debut album provides a dreamy escape with its strong doo-wop sound and creative use of call and response. Although each track easily stands alone, its cohesive form is where the album truly shines, with short musical interludes and a subtle, interwoven story. Sandman’s twelve tracks chronicle fictional leader singer Little Johnny, his band The Original Doo-Wop Spaceman, and the protagonist’s heartbreak. Stand-out tracks include “That’s Not Me”—a diversion that feels fit for a 50s prom slow dance—and “The Original Doo-Wop Spaceman”—a piece that flirts with jangly 60s pop while still maintaining the overarching cosmic vibe of the album. For me, this album is a master class in engineering an album that works as a conglomeration, rather than crumbling to the rising trend of charting singles. Trudy and the Romance have a story to tell and a unique sound to share with the world; each album track is representative of this refreshing, focused vision that I hope they continue to explore past their first musical outing. 

Favorite Song: Ocean by Fruit Bats

This song encapsulated and enveloped this summer for me, and for good reason—its 3-minute runtime distinctly feels like carefree summer days and open car windows bottled up in wistful lyrics and sun-soaked guitar chords. Fruit Bats, whose only consistent member is Eric D. Johnson, has consistently put out 70s influenced albums for the past twenty years with a vocal delivery reminiscent of Neil Young and Supertramp. “Ocean,” a track off Johnson’s excellent Gold Past Life release, doesn’t have a chorus or hook to speak of, but each verse builds on masterful, vivid descriptions of the natural world and the people who open our eyes to such wonders. It’s a nostalgic and tender song, worth a listen for the atmosphere it conjures up. As I am a naturally indecisive person, I am also attaching a runner-up song into consideration: “Chartreuse,” by underrated DIY artist Worn-Tin, is a psychedelic masterpiece released earlier this year on his album Cycles—an alluring track that is a purely fun listen. 

Jaden Amjadi

Favorite Album: All My Heroes Are Cornballs by JPEGMAFIA

This has got to be my favorite album of the year, it’s one I find myself returning to a lot. The production contrasts between lots of smooth, wavy synths and odder, more abrasive sounds. Peggy’s bars are both humorous and confrontational. Songs will switch styles without warning, keeping listeners on their toes. Some really strong melodies are still delivered, like on “Jesus Forgive Me, I Am A Thot” or “Free the Frail”. It really feels like a rap album representative of the Internet Age.

Favorite Song: Everyday by Weyes Blood

This song is glorious. The piano chords and percussion in the first verse are playful and sweet, providing an excellent base for the smooth vocals. The melodies, whether they be on the chorus or the verse or the bridge, are irresistible. The lyrics are a bit somber, but leave room for hope. The choir vocals, strings, and guitar which come in as the track builds are executed so well, and by the time the track is over, it’s felt like a real journey while being approachable and catchy all the while. Amazing song.

Sarah Bridgeport

Favorite Album: When We All Fall Asleep, Where Do We Go? By Billie Eilish

From this year (which felt like a century) my favorite album was When We All Fall Asleep, Where Do We Go? by Billie Eilish. As soon as I realized the album had come out, I sat in my bedroom and listened through the whole thing. “Listen Before I Go” was my favorite song from the album, it was so visual and tragic. Overall, I adored the tone of the album, it has such a distinctive voice. 

Favorite Song: “Kiki’s Song” by Mree

My favorite song of the year has to be “Kiki’s Song” by Mree. It’s a song that’s told like a story, and it’s from the point of view of Kiki from the Studio Ghibli movie Kiki’s Delivery Service. It’s enchanting and makes what I consider to be the ultimate homage by using parts of the melody from Kiki’s theme in the movie. This is a song I hum when I’m in a good mood, and sometimes I hum it to put me in a good mood.

Grace Wachholz

Favorite Album: Immunity by Clairo

Immunity by Clairo is my favorite album of year because it is Clairo’s first true album and she really breaks out of the ‘bedroom pop’ genre she’s always been known for. It’s so cool to see how she’s grown as an artist. I’ve been a fan since her early music so I’ve watched her style change through the years. Immunity consists of eleven tracks that are much more intimate and mature than her past music. The album has been considered one of the best albums of the year on many charts and for very good reason.

Favorite Song: “Never Cared” by boy pablo & Jimi Somewhere

“Never Cared” by boy pablo & Jimi Somewhere is my favorite song of the year because the song reminds me of this past summer. I definitely had this song on repeat for a while then, which made it my top Spotify track of the year! It has a different style than boy pablo’s other music and I like how the he was able to experiment with Jimi Somewhere. I also got to see boy pablo in concert this past August and it was one of the best concerts I’ve ever seen. The band’s personality carries into their music and they’re always a fun band to listen to.

Emma Caparula

Favorite Album: IGOR by Tyler the Creator

Since I was around 15 years old, I have been a massive Tyler, the Creator fan. Back then – in 2013 – he had released two albums, Goblin and Wolf, both of which feature aggressive rapping and unsettlingly angry lyrics. Four years later, with the release of album Flower Boy, a massive shift in Tyler’s style occurred; low-key instrumentals accompanied emotional lyrics about Tyler’s sexuality and relationship issues. This past may, Tyler released his latest album, IGOR, incorporating elements of both Flower Boy and his past albums to produce an incredibly unique and passionate project. IGOR tells a love story; Tyler falls for someone, but the object of his affection is still involved with their previous partner. He desperately wants to be the only person in their life, as he states in New Magic Wand with the line, “This 60/40 isn’t workin.’ I want a hundred of your time, you’re mine.” Eventually, Tyler accepts that his needs will never be met, and the relationship falls apart. IGOR’s mixture of jazz, pop, rap, and hip-hop makes for a vivacious experience capable of appealing to a wide range of listeners; and what’s more, he produced the entire thing solo.

Favorite Line: ..maybe it’s just a dream that I can’t seem to wake up from; my love’s gone.

Favorite Song: “home with you” by FKA Twigs

I listened to FKA twigs’ home with you on a whim the day it was released. Although I had previously listened to bits and pieces of her first album, they never peaked my interest; hearing home with you was a completely different story. Immediately, her enchanting whispers and the haunting electronic accompaniment drew me in. When the song transitioned into a combination of melancholy vocals and gorgeous piano-playing, it struck a chord with me, and I was sure home with you would be one of my all-time favorite songs.
Favorite Line: I didn’t know that you were lonely; if you’d have just told me, I’d be home with you.

Lauren Arzbaecher

Favorite Album: Jade Bird by Jade Bird

Though I had heard some of her singles before, what really drew me to Jade Bird’s music was her performance at Hinterland Music Festival this summer. I had gone to report on the festival as a whole, and she was one of the early performers of the day. Needless to say her engaging stage presence and upbeat songs kept me listening for months after the festival. For a UK artist, her slight twang and focus on the acoustic guitar seem to fit right into the ever-changing atmosphere of American modern country music. This debut album sits comfortably between country-folk and indie-pop, and each song exudes a sincere soulfulness. The lyrics focus mainly on love and all the ways it can affect us, some gems being “Lottery,” “Good At It,” and the raucously fun “Uh Huh.” The 22 year old artist has set a high bar with this heartfelt debut, and she is just getting started.

Favorite Song: “DAVE (turn the music down)” by Juice

Juice is a group that is rather genre-fluid, but tends to settle somewhere between r&b and funk. “DAVE (turn the music down)” diverges into rap, yet still keeps the band’s signature sound with a funky beat that gives the song a unique aura. Like a good amount of music this past year, the lyrics allude to political and social issues, but don’t take themselves that seriously. The songs links rap, psychedelic rock, hip-hop, and funk all in one fascinating combination that is so much fun to listen to. 

Ella Heckman

Favorite Album: The Juice: Vol. I by Emotional Oranges

My favorite album this year was Emotional Oranges’ The Juice: Vol. I. by far, for its unique and tightly plotted R&B funk wave sound. It was a standout for me as the artist’s debut album with a cohesive but unique sound across every track. There wasn’t a single song on the album that didn’t belong and didn’t slap.

Favorite Song: “No Plan” by Hozier

This was my favorite song this year because its bluesy rock sound combined with lyrics conflicted with both hope and fear set the tone for my year. From Hozier’s album, Wasteland, Baby!, No Plan is a patch of solace among the “screaming, heaving, f*ckery of the world” that draws from the rich traditions of blues and rock pioneered by black artists.

Jake Bisson

Favorite Album: There Existed An Addiction to Blood by clipping

My AOTY is There Existed An Addiction to Blood by clipping. It’s a horror-themed noise rap album that near-flawlessly progresses like listening to a horror movie. One of my favorite songs is ‘Run for Your Life,’ which uses an incredible sample of a car driving past blaring beats that match up with the rhythm of the song. At the same time, the lyrics tell a story that incorporates the car itself into the dark atmosphere it builds. It’s one of the most masterfully produced albums I’ve heard in general and has earned itself lots of spins on my show (As Loud As Possible).

Favorite Song: “Dream Catcher Part II” by State Faults

This song is fast and aggressive screamo loaded with emotional vocals and blistering riffs. The mix of rawness and emotion in State Faults’ music has made them one of my favorite bands to come out of punk and metal this year. Their sound reminds me of one of my personal favorite music scenes, the early 2000’s East Coast screamo of bands like Orchid, pageninetynine, and City of Caterpillar.

Luke Bonner

Favorite Album: Father of the Bride by Vampire Weekend

While it’s not surprising to anyone, Vampire Weekend is still a great band. After some recent flagship 2000’s indie bands faltered (cough Arcade Fire), I was wary coming into the new Vampire Weeekend album. However, I had truly nothing to fear. Ezra Koening and crew showed they still have all their old magic and new tricks up their sleeves. Tracks like “This Life” had the classic Vampire Weekend sound I was looking for, but others like “Sympathy” and “Spring Snow” were new territory. The duets with Danielle Haim and stellar lyrics throughout kept this one spinning all Spring, Summer, and Fall for me. Not to mention, Vampire Weekend put on the best live show I saw all year.

Favorite Song: “Cellophane” by FKA Twigs

Where do I start? This might be my favorite song of the year but it is hard to listen to. Releasing this in the Spring, Twigs really got ahead of the Winter sadness because this song is a potent encapsulation of despair and longing. Written after a breakup with star Robert Pattinson, FKA Twigs delves deep into the pain after one loses someone close to them. The self-despair and questioning is all over the song with the line, “Didn’t I do it for you?” resonating. The music video is also essential and by far my favorite video of the year. Who knew pole dancing was so beautiful and evocative?

The post KRUI Staff Picks 2019 appeared first on KRUI Radio.

The first of the two opening acts was Strange Ranger, an indie rock band from Portland. Being somewhat familiar with their music from when they went by the name of Sioux Falls, I expected to hear more of their signature lo-fi emo sound (“Dom” off their first record, Rot Forever, perfectly encapsulates what I mean). I was quickly proven wrong. Playing a variety of songs off their most recent album Remembering the Rockets, I was greeted by a more refined, atmospheric sound. There were more driving riffs, and less distorted and fuzzy guitar overtaking other instruments. The usage of keyboard in some of their songs (particularly in “Message To You“) helped create a brooding, ethereal sound. They ended their set on a cheery note by playing “Leona”, an upbeat tune which included a jubilant acapella at the end.

The floor became more and more crowded as the next group, Stef Chura, tuned their instruments on-stage. They were a perfect fit for the accompanying rise in energy. Providing an infectious 90’s rock sound, the crowd around me started to nod and sway more than they were previously. Lead singer Chura’s unique vibrato vocals held my attention the entire set. Each song did a great job of building tension using the ‘negative space’ in-between drum hits and guitar strums. By the end of their last song, almost everyone near the stage was dancing and pumping their arms in the air.

By the time each member of Joyce Manor had plugged in their amps and turned on their pedals, the once-fettered electricity buzzing in the atmosphere of the crowd had broken loose. No longer was anyone trying to be quiet in reverence for the musicians on stage. Everyone wanted their presence to be known.

Joyce Manor’s lead vocalist and guitarist, Barry Johnson, had a very commanding stage presence. Without even sounding off a single note, the tattoos that snaked up his arm and onto his neck gave an indicator he was a pop-punk veteran. His swagger on-stage was undeniable and gave credence to how captivating the entire show was.

As soon as the guitars started chugging to start off “Beach Community”, the center-stage audience erupted in movement. I made the mistake of looking down at my phone when the music first started, because I immediately got jostled around by a quickly forming mosh pit. All it took was one stray, accidental glance at an excited participant to initiate my assimilation into the frenzied circle. While I wasn’t mentally or physically prepared to be shoulder-checked by six different people that night, there was a certain catharsis involved in letting go of civil standards. It got my adrenaline pumping for the rest of the show and made me feel more connected to the music. It was some personal insight into a slice of punk life.

The energy of the crowd and the band never dissipated. The frantic, screaming voice of the lead singer accentuated the sharp ringing of intermittent guitar riffs. Lamentations of confused love were a common theme throughout many of the songs and gave an already melancholic atmosphere an even more bittersweet twinge. This is on full display in Joyce Manor’s most popular song, “Constant Headache“. Unrequited romance isn’t something one would necessarily want to jump up and dance for. However, the energetic recitation of the song by the crowd was grounded in the fact that almost anyone can relate to its lyrics in some way. It made for a powerful experience. At the end of the song, a collective weight was lifted.

The show culminated with a much different song, “Five Beer Plan“. It started off with a slow bass line, isolated and consisting of only a handful of notes. The singer belted out some measured lines and the crowd following not far behind. After a verse or two, the ambient buzz of the amp kicked on and hung in the air just long enough to build some tension before the lead guitar came screaming in, backing the bass line. Following a few repetitions of that same pattern, all the instruments stopped and came to a precipice with the line, “I f***in’ told you so”. The lyrics rang for a second before the instrumentals came crashing back in, pedals and cymbals being struck with lawless fury. This song was a perfect microcosm of how the night played out. A buildup of tension and then sweet release.

The post Joyce Manor @ Gabe’s 10/9/19 appeared first on KRUI Radio.

My dad recently bought a record player, his first since the 90’s, and he was eager to show me some of his old record collection. As a judgmental millennial, I decided it would be best to rate some selections from his collection (and my mom’s) and spare no feelings.

The Queen is Dead – The Smiths

We begin with what might be my father’s favorite album ever. I’ve already heard this album and I think it’s great. Morrissey is a pithy, sarcastic jerk and it is amazing. I’ve been forced to listen to The Smiths throughout my life, but I’m finally at the angsty teenage phase where I can really get into this band. They can rock out, get a little emo, and make fun of Margaret Thatcher all in one album. What more could you need? Not to mention There Is a Light That Never Goes Out is the death-obsessed anthem for all angsty teens, tweens, and in-betweens. No wonder it was so prominent in 500 Days of Summer. The song is a classic and so is this album. 9/10 because I would get in trouble if I gave it any less.

Play Deep – The Outfield

This was apparently a classic my dad’s freshmen year of college and was wildly popular at the University of Northern Iowa’s parties. Honestly, I could see it. It’s a genuinely fun and wild album full of 80’s synths and an insane amount of cheese. I’m into it though. Your Love is an amazing and memorable song, not only for the hilariously cheesy SNL skit from a few years ago, but also for it’s unabashedly fun attitude. This album makes me want to dress like a John Hughes character and throw a weird party in my basement. It’s a thoroughly engaging and fun album, although it’s a little depthless, with lyrics that border on annoyingly simple at times. 6/10, good for creating false nostalgia in hipster teens and making my dad think about college parties.

Parallel Lines – Blondie

This one actually comes from my mom’s record collection and is definitely one of my favorites in her records. This might only be because of “One Way or Another,” which is an amazing song often underrated by its repeated use in sitcom chase montages. Debbie Harry is a wild singer and the album is well varied, veering from pop-rock to the disco of “Heart of Glass.” I found myself bopping my head to this and pretending I was a young, hip kid born in the 70’s. I’m definitely going to check this out more and try to emulate the iconic Debbie Harry, who is already cooler than anyone I’ve ever met. 8/10 music I will play in the car and loudly sing while the cars next to me stare.

The River – Bruce Springsteen

Bruce Springsteen’s The River is a classic double album by the Boss. This album has a wide variety of styles but mostly deals with the same theme: sadness in blue-collar life. But even that is kind of fun on songs like “Hungry Heart” which is probably the most upbeat song portraying a decaying blue-collar relationship. It’s definitely a strong album and I could see myself getting into it more, but I feel like I need to listen to it while doing some tough, manly work. Maybe I’ll put this on while I change the oil in my car or something. Either way, a strong album and I like cuts like “The River,” “Out in the Street,” and “Hungry Heart.” But, it continues the complaint I have against all double albums, it’s a little too long and repeats itself a few too many times.  7/10, would listen to again and envision myself in 1970’s New Jersey.

Faith – George Michael

Listening to this from my mom’s record collection just left me with more questions. Was this cool at the time? Was George Michael a sex symbol for girls in 1987? Did my mom see George Michael as a sex symbol? I wanted to love this album more than I did. I enjoyed songs like “Faith” which was a fun romp that mixed acoustic guitar and electronics. And “Father Figure” had a nice tune, but a few too many daddy issues in it for me. “I Want Your Sex” felt overly long and cheesy with its grunts, which were way over the top. This might just not be for me, it felt like it was trying too hard. I’m surprised though because I love Prince and thought I would enjoy it. However, I just can’t get into this. 5/10 for making me think about sex while looking at my mom’s record collection.

Shaun Cassidy – Shaun Cassidy

Shaun Cassidy feels like the Justin Bieber or Shawn Mendes of 1977. According to my father, he’s Partridge Family adjacent and that explains the music’s “cheesy love songs aimed at tweens” vibe. Songs like “Hey There Lonely Girl” and “I Wanna Be With You” feel like the boyish Cassidy is singing to little girls in elementary school who dream about their future husbands. I don’t feel like I’m the demographic for this album and I was intrigued to find this in my dad’s collection. He claims it’s his sister’s. Either way, the music is sort of fun 70’s pop, populated with tons of gospel choirs, brass, and soaring string instruments. It can be enticing but it mostly feels childish, especially on the “hit single” “Da Doo Ron Ron” which was probably influential for Hanson’s “MBop.” The album comes with a poster of Shaun though, so can I really complain? 5/10 will be better if you imagine yourself as a 12 year old girl living in a small town in 1977.

Altogether, this deep dive into my parent’s record collection was surprisingly intimate and it’s always intriguing to try and expand your musical horizons. I could also see how my own musical tastes were influenced by my parents. A concept which normally makes me want to be angsty and go against what my parents do, but in this instance it was sort of nice. I felt connected to my parents, even if I thought some of their records were awful. 7/10 solid experience, would raid their record collections again.

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The anticipation leading up to the main act was filled with a ton of entertainment value from the openers. Maiden Mars, a band hailing from Iowa City, and Younger, an all-female band who also got their start in the home of Mission Creek.

Maiden Mars started off the night with the lead singer, Alex Skalla, in a bashful voice, introducing the band, and welcoming everyone to the show. Her timid approaches at interacting with the crowd slowly became a wall of bold riffs and a spectrum of guitar tones once the music started.

Maiden Mars gained confidence and momentum as their set continued, and by the time they started playing their third track they had hit their stride and audience member’s heads started to interact with the beats of the drum more.

Next up, as Younger took the stage, adorned in matching Younger band merchandise t-shirts, riled up the already excited crowd. The drummer of Younger’s floppy curls wavered through the music that along with the rhythm of the bass, set with the melody of the guitar, gave the cues the audience needed to participate in synchronized rhythms that the band played.

The audience itself grew more and more as Younger continued through their set. The last song performed by Younger was a song that, “we wrote last week so hold onto your seats.” But by this time there was little sitting occurring inside Gabe’s.

From the time Cloud Nothings got onto the stage, until the moment they stepped off, the room shook and rattled as people began springing off the floor. The crowd and Cloud Nothings’ energy fed off each other well to create an atmosphere unlike any show I had been to before. The once sparsely filled room, had very little area left unoccupied. Since all their albums have featured such unique themes and sounds from that of their previous work, their show contained something for every variance of Indie Rock fan.

The best part of the whole show was the last five minutes, where their last song ended, and their instrumental improvisation continued. The guitarist and lead singer, David Baldi, took to the floor to play out his impassioned strums. Although if you couldn’t spot him on the ground over the crowd, the drummer, Jayson Gerycz, could be seen at the back of the stage in his own reverberating bliss.

By the end of the set, the front half of the audience in front of the stage had formed a mosh pit of fans clearly feeding off the talent and entertainment of Cloud Nothings. The night ended in the same way that it began, with a steady flow of talented musicians boldly capturing their audience’s attention and creating lasting memories for Mission Creek concertgoers.

The post Mission Creek: Cloud Nothings @ Gabe’s 4/6/2017 appeared first on KRUI Radio.

Beyond what is immediately depicted on a chalkboard above the counter, Fair Grounds also offers breakfast burritos, omelettes and several styles of french toast. After thinking it over, I opted to go with the breakfast burrito and a cup of Honduras dark roast coffee. The total ended up ringing in at $13.50, which I thought was reasonable considering that there is an active wait staff who prepare meals fresh and then deliver them to customers. It could have been cheaper if I decided to keep my dish meatless, but I opted to add chorizo for $2.50.

While waiting for those items,  I took a stroll into the second seating section at the back of the restaurant. It was much less cluttered. A lounge spot featuring an L-shaped sectional sofa sat immediately to my left, and the rest of the space was comprised of the same wooden four top tables found throughout the establishment.  Pieces of surreal art hung on each of the walls for decoration. There was an especially strange portrait of an alien woman spitting out a millipede above an Illuminati bong.  But, if you can handle the art, I think this area would be an ideal place for studying. Its tables are away from the main door, two unisex bathrooms are nearby, and the surroundings offer little in terms of distraction.  When I finally got around to checking it out, most of the tables had already filled up. I visited on a Saturday around 10AM, but I feel like it would be less crowded during the week. It was great to finally be in a good seat at a good restaurant, lately, I’ve been leaning on Foodora for my meals quite a bit, so this was a nice change.

The food and coffee was brought out a few minutes after I returned to my original seat. The burrito was honestly amazing and a really good size. It came loaded with potatoes, cheese, mushrooms, and lots of chorizo. I was also happy that they gave a little side cup of salsa as well. For people trying to max out at breakfast, their specials come with toast. I had been here before and gone down that road (with their Italian sausage omelette), but it was always a struggle to finish everything. I ended up using some of the room that I had left over to get a coconut muffin from their Howling Dogs Bakery kitchen. That was really good too, and their scones have blown me away in the past. I think the only competition around Iowa City as far as baked goods go would be Nodo.

Fair Grounds is an awesome spot overall. It’s only a couple blocks from my apartment, so I definitely come through pretty often. My favorite time to visit is during the summer because there aren’t many other customers and I can read for hours in that back seating area. Howling Dogs might be the best bakery around town, so–if you go somewhere like Bluebird on East Market for breakfast–you should definitely hike over to South Dubuque and get some dessert at this location. They also serve alcohol here, so there are some adult beverages that can be the hair of the dog if you’re trying to lessen a hangover or act as a reward for sustained studying. Definitely make a visit, get a scone, and maybe sip a little bit (if you’re 21+, obviously).

Have somewhere cool around Iowa City for me to checkout? Send an email to 522xxtourguide@gmail.com!

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The first track, “Stardust”, a collaboration with Twin Peaks, was released as a single in early October. As expected of a collaboration with Twin Peaks, this track offers an upbeat opening song that sets the listener up for the unique soundscapes that they can expect throughout the album.

It is followed up by another single, “Blame” ft. Diplo and Elliphant, a song which was an instant success and has been the most popular song off the album. The combination of Diplo and Zeds Dead years of producing coupled with strong female vocals from Elliphant makes for a very clean sound that makes you want to listen again and again.

Next up, “Lights Out” ft. Atlas, is a personal favorite from the album. The progression of this track is stunning. The heavily reverbed vocals create a beautiful and eerie sound. This is the ideal song to listen to while driving down the interstate at night. “Lights Out” is nothing short of hypnotic.

“Too Young”, the shortest track on the album, is an upbeat 70’s sounding tune. The track is a collaboration with Pusha T, who does the rapping for the track, and Rivers Cuomo (vocalist and guitarist of the ever famous rock band Weezer) who sings the hook. This pop tune is followed up by “DNA” a hip hop influenced track that’s heavy enough to please the bass fans.

But if “DNA” wasn’t bass driven enough, the next track “Me No Care” is the heaviest track that the album offers. This drumstep track has a ‘grinding metallic bass-line’, that makes for another one of my favorites on the album. The song seems to be a big hit among long time Zeds Dead fans that love the duos heavier sounds.

“Frontlines” is another single from the Northern Lights. This track features NGHTMRE and GG Magree and offers an upbeat melodic sound. This happy tune is an easy listen and seems to be favored by the less bass driven fans.

“Already Done” ft. Ghetts is a gritty dubstep and rap combination. The song didn’t spark much interest for me, but I do think the song is well done and offers a unique sound for fans of both genres.

“Dismemories” serves as a bit of a reflective interlude for the album. The guitar chords make for a spacey, melodic sound that give the listeners a moment to process the album. The ominous four minute and thirty-four second long track isn’t a track I would personally want to listen to over and over again, although I do find the track beautiful, and I think it is a great demonstration of the deep artistic talent and passion that goes into all of Zeds Dead’s creations.

“Where Did That Go” starts off with a generic reverb covered beat as it works its way into a ghostly, upbeat female vocal hook. This is another track off the album, like “Frontlines”, that seems to be taking a more mainstream approach that appeals to many listeners.

By “This Is Me” ft. Lips, the theme of ghostly sounding female vocals throughout the album has become apparent. All of the female artists chosen to feature on this album have beautiful, strong vocals that I believe play a huge part in making the album what it is.

“Symphony” ft. Charlie OC is undeniably catchy. The vocals of Charlie OC work perfectly with the electronic sound that incorporates drums, piano and violin.

The album closes with “Slow Down” ft. Jenna Pemkowski, one last female vocal filled track. The stunning vocals and bass line make for another one of my favorites from the album.

While some fans view Northern Lights as a bit out of character for Zeds Dead, I think the album demonstrated their full range of musical talent by incorporating everything from drum and bass to rap to hip hop to future bass and beyond. The album as a whole is a work of art, filled with fresh and original sounds that take the listener on a journey from the first song to the very last note.

You can listen to the album on Spotify and SoundCloud. To keep up to date with Zeds Dead follow them on Twitter.

The post Album Review: “Northern Lights” by Zeds Dead appeared first on KRUI Radio.

contains mild graphic language

Welcome to my column, Too Glam to Give a Damn. This column will delve into everything makeup and beauty. I pride myself on being an avid lover of everything beauty related: beauty experts, beauty products, beauty queens, drag queens….if it involves makeup I’m probably fairly educated on it. This column will be dedicated to all things glamorous. I will share my thoughts and admiration about various aspects of the beauty community. Hopefully this column will show people that yes—makeup is indeed an impressive form of art. I especially love and highly recommend the makeup products from Islash Boutique.

Today we are reviewing the best TV Show on television, RuPaul’s Drag Race. For those unfortunate few who have never heard of this mystical show, let me give you a little bit of background information.

According to Wikipedia, RuPaul’s Drag Race is “an American reality competition series produced by World of Wonder for Logo TV. The show documents RuPaul in his search for America’s Next Drag Superstar”. So, it isn’t actually about drag racing. It’s about drag queens racing to become America’s Next Drag Superstar and win 100,000 and a shitload of makeup/clothing/a cruise/whatever else depending on the season. Which, in my opinion, is so much better than drag racing. Sorry actual car racing fans.

Last week, RuPaul wrapped up his second All stars season, which takes former queens from other seasons who did not win, and has them compete again to win a spot in the Drag Race Hall of Fame. IT’S SO EXCITING. Words can’t express how hyped I was, and still am, about All Stars season 2.

I probably should elaborate on how this competition works. In regular competition they have 9-14 drag queens enter the competition. This usually involves sending in an audition tape. Once they make it on the show, they compete in various challenges. These challenges can range anywhere from sewing challenges, dress up challenges, fashion challenges, impersonating celebrities….a plethora of talent is showcased during this time. During All Stars, as stated earlier, these are former contestants that are GOOD. Like they slay. Hard.

This seasons round of contestants is impressive, and if you want to read more about them, go here

There were several jaw dropping moments in this season. For instance….

1.  Adore Delano leaving the season in episode 2. The first contestant to ever leave the competition willingly. She cited emotional stress and Michelle Visage’s harsh critiques as a reason for leaving the competition

2. Phi Phi O’Hara ‘throwing shade’ at Alyssa Edwards….and Alyssa standing behind a mirror and hearing the whole entire thing.

3. Detox voting Alyssa off EVEN THOUGH ROXXXY HAD BEEN IN THE BOTTOM 2 FIVE TIMES AT THIS POINT.

4. Phi Phi O’Hara NOT showing up to the finale recap episode, and RuPaul CALLING HER OUT. ON TV.

Traditionally these kind of settings foster some rivalries and fights due to the high stress of the competition they are put through. I must impress upon everyone: Being a drag queen is extremely difficult and impressive. They transform themselves into women and brand themselves on that. They learn intensive makeup techniques and spend HOURS doing makeup and wearing afro hair extensions. They lip sync music in front of large crowds and perform difficult choreography to top it all off. They even glue there damn eyebrows down.

This competition has all of that, but to the extreme. These drag queens are the best of the best, competing against each other for a grand prize. There is drama, sass, one liners, humor, acting, modeling, impersonating, and fashion, sometimes all in one episode. If this kind of amazing thing interests you, you can watch all of All Stars here, for free. If you want to watch drag queens perform funny short skits, you can find them here.

I hope this review enlightened everyone about my deep and sincere love for female impersonators. Ironically, these men have taught me so much about makeup and how to be a lady. Please watch RuPaul’s Drag Race All Stars Season 2, it is worth an hour out of your day.

The post Too Glam to Give a Damn: Ru-Viewing RuPaul’s Drag Race All Stars Season 2 appeared first on KRUI Radio.

I simply saw the title of Okay Kaya’s “I’m Stupid But I Love You” and my stomach lurched. The title honestly explains the foolishness in falling into unrequited love. A listen and a read of the lyrics of this week’s Track of the Week, left me feeling incredibly connected with her sweet song of heartbreak.

As a fairly new artist based in New York, with Norwegian origins, Okay Kaya has been featured on a number of websites for the waves she’s making in music news. She has a few singles that have made it to Youtube, including “Clenched Teeth” and “Damn, Gravity” in which Okay Kaya serenades us about heartache, much like “I’m Stupid But I Love You.”

This somber track begins with piano chords that resonate and pair well with Okay Kaya’s high and sweet voice.

The song is instrumentally calming and creates a sad atmosphere that perfects the lyrics. This simplicity settles in the background and provides an important position for the lyrics at the forefront.

Okay Kaya poetically discusses the popular topic of heartbreak in an honest way that bares her soul and its insecurities. This lyrical poetry allows for a relation between Okay Kaya and the listener, including myself.

The lyrics (some of which are italicized above) are relevant for nearly everyone at one point, if not multiple, in their lives.

She somehow captures the sinking feeling of unrequited love that honestly tears open those old wounds without being overly sweet. It is my assumption that nearly everyone feels the same punch in the gut, heart, or whichever symbolically hurts the most after hearing this authentic track.

Check out the innovative video for Okay Kaya’s “I’m Stupid But I Love You”:

Main feature photo via: NME.com

The post Track of the Week: “I’m Stupid but I Love You” by Okay Kaya appeared first on KRUI Radio.