On Weatherglow, 5th-wave emo icons Weatherday and Asian Glow, masterminded by Sputnik and Gyungwon Shin respectively, team up to create a new high-water mark for the genre. While these recordings may sound comparatively hi-fi beside Weatherday’s Come In, and a bit closer in production style to Asian Glow’s Cull Ficle, the raucous, DIY ethos is present as ever. Dirty guitar textures blanket an atmosphere of shoegaze and pair it with vibrant riffs and intimate vocal performances. This duo’s comfortability in both crooning and screaming allows them to convey a full range of feeling while writing lyrics that sidestep cliche completely. No one else would sing lyrics like those on “Clockwalk Around the Ache”: “All of my penetrated spells were found to head to you through the neon signs / If we come to break right in time, no longer suffer from each other.” It is a loose poetry just barely audible under the scuzz of guitar and crashing cymbals. Most impressive is how they pull off something only the best emo bands can–they make melancholy really rock. A song like the opener, “Melt a Bed” showcases the variety of their strengths–from the starting get-up-and-jump riff, to the middle section of ambient, crackling synths–the band jumps between levels of energy with such ease that the song is barely more than three minutes–no big crescendoes necessary. “Look Alive, Sunshine”, meanwhile, has some of the catchiest melodies in either of the bands’ catalogs–a feat of its own. Weatherglow is an accomplishment that packs the brilliance of five genre-defining albums into one EP.

–Jaden Amjadi

Denzel Curry – Melt My Eyez See Your Future

Denzel Curry has never been one to cling to a single style or sound. While he may be best known for his more energetic tracks, complete with jarring, horror-esque production and raucous delivery, he turns away from his signature sounds in favor of a more reserved sound. Many of the beats are much more relaxed than on Denzel’s previous albums, but they still cling tightly to the alien, foggy sounds that are a key component of Denzel’s musical reputation. While the sound may not be as striking, the beats are still filled to the brim with zest and still capture Denzel’s musical personality flawlessly. While he has never shied away from opening up to his listeners, the emotion and tenderness is particularly dense on this record. On the lead single, “Walkin”, he touches on his personal demons and expands on how this struggle is not unique to him, but is a struggle brought on to many by the system. He preaches over a simple yet smooth beat, with a graceful beat-switch in the middle of the track that he glides over with multiple flows. On “Ain’t No Way”, one of the album’s more zestful cuts, Denzel joins forces with 6LACK, Rico Nasty, J.I.D., Jasiah, Powers Pleasant, and Kitty Ca$h, all of whom add a unique element to the track in what is by far the most feature-heavy song on the album. On “X-Wing”, Denzel’s originality in his production blossoms, fusing angelic strings and piano melodies with classic trap 808s and drums. This direction of sound and theme may not have been what most fans, including myself, expected, but the direction Denzel chose is clear and executed with few flaws.

–Evan Weidl

Charli XCX – Crash

After working with some of the most acclaimed artists in the hyperpop hemisphere, such as the late SOPHIE herself, Charli XCX has returned to rip out the barely beating heart of the pop industry to take a nasty bite. On her latest release, Crash, Charli plays up the big popstar trope with lavish outfits, choreographed dances, and even bigger hair while the music follows suit, drawing heavily from the glam pop of the 1980s and millennium-age dance pop. This tongue-in-cheek incarnation of the “pop diva” stereotype is elevated by the undeniably catchy and commanding pop songwriting the singer consistently brings to her work. On tracks like “Beg for You” and “Used to Know Me”, Charli interpolates the classic 00s hit “Cry for You” by September and the 1992 track “Show Me Love” by Robin S. These odes to her so-called pop foremothers not only uniquely reimagine the tunes, but also imbue the record with a shot of pop gold from the past. While it veers hard into the campy realm of mainstream pop, this record also steps away from some of the heavier hyperpop work she has done recently, specifically on her last release in 2020, how i’m feeling now. Throbbing bass and erratic synths are replaced with nostalgic, shimmery keys and light-footed staccato beats on the tracks “Constant Repeat” and “Lightning” just to name a couple. Though, while she may be moving into a territory that some consider superficial, over-the-top, and predictable, Charli proves that she is anything but your run-of-the-mill pop princess. She is indeed the bloody queen of the pop charts.

–Sydney Sjobakken

Soul Glo – Diaspora Problems

To live in the US diaspora population, in my experience, is to be in many ways removed from the culture some would assume of you. It is to recognize you live in a deeply racist, nationalist country while also recognizing, with respect to people in destabilized countries, that much of the terror the US perpetuates is somewhere far away. Of course, this is in no way equal for everyone in the US diaspora (it helps to be white, for one!). On Diaspora Problems, Soul Glo meets these contradictions with wit and grace–and a whole lot of energy. Sonically, the band sits beside emotional hardcore acts like Orchid and Converge–but with an added undeniable sense of groove. As vocalist Pierce Jordan cascades between high register screams and low register rhymes, he reminds the listener how negligible the line between rapped hip hop vocals and screamed punk vocals has always been. Afterall–what hip hop fan could possibly deny “Driponomics” with Mother Maryrose for the banger it is? While the quickly screamed lyrics can be a bit hard to make out, they’re well worth a look-up. Jordan writes about emotional subjects with great humor. Jordan’s lyrics are less about being some dialectical literary dork that politically “dropkicks MGK” and more about being–and through being the inherently political nature of just living on appears. But outside of any lyrical content, the passionately performed music on its own packs more of a punch than your average hardcore record. Soul Glo’s Diaspora Problems is the most exciting punk album to come out in a long time.

–Jaden Amjadi

Zeal & Ardor – Zeal & Ardor

There’s something to be said for musicians who ensure that a constant je ne sais quoi permeates their art; something that tells the listener, “Hey, you’re listening to my album!”. In the case of Zeal & Ardor, their commitment to creating a world through their music that asks, “What if enslaved people in America turned to black magic as a means of escape?” is right up that alley. The Swiss sextet’s newest self-titled album is both ambitious and insular in its sound with tracks like “Emersion”–a synth backdrop coupled with unintelligible death metal shrieks–and the blistering bare-bones black metal “Götterdämmerung” sharing space in this release and neither feeling out of place. Of course, the true highlights are when lead singer Manuel Gagneux brings out his blues-inflected vocals like on singles “Church Burns” and “Run”. Altogether it’s a dark churning mashup of the humid South and freezing Europe with something on it for just about everyone.

–Zachary LeBoeuf

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

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

–– Sydney Sjobakken  

Armand Hammer & The Alchemist – HARAM

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

— Jaden Amjadi 

Valerie June – The Moon and Stars: Prescriptions for Dreamers

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

-– Lela Lemke 

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

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

— Zachary Lebouef 

Bernice – Eau de Bonjourno

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

 -– Joseph Shanks 

Louisahhh – The Practice of Freedom

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

–- Tiger Slowinski 

Genesis Owusu – Smiling With No Teeth

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

-– Sydney Sjobakken 

Blanketman – National Trust

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

–- Daniela Rybarczyk 

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

This past month on March 24th, thousands of people around the nation, young and old, participated in the March For Our Lives. Incited by ever-increasing instances of gun violence, particularly school shootings, March For Our Lives advocates to create lasting legislative change that will end needless deaths. “Not one more. We cannot allow one more child to be shot at school.” reads their mission statement. Although the main focus has been on enacting legislation that helps to decrease school shootings, the movement declares “All lives are precious, and our country must make the safety of its citizens a number one priority.”

The main march took place along Pennsylvania Avenue in Washington D.C., accompanied by more than 800 other marches around the United States. Participators peacefully protested with signs and chants chastising the lack of gun control legislation. Gun-related violence affects all Americans, but the drivers of this movement and the ones facing the biggest consequences of it have been young people, who some choose to write off as “children.” Survivors of the Parkland school shooting and many other young survivors of gun violence gave stirring speeches to the crowds. There were also a few musical performances alongside the speeches, the performers including Jennifer Hudson, Ariana Grande, Andra Day, Miley Cyrus, Demi Lovato, & Common, among others.

A standout among the performances was the original song “Found Tonight,”  written by Lin-Manuel Miranda, Benj Pasek, and Justin Paul. This mash-up of various tracks from the hit musicals Hamilton and Dear Evan Hansen shared a heartwarming message of remembrance, inclusion, and freedom that echoed loudly through the nation’s capital per the remarkable voices of Miranda and fellow Broadway star Ben Platt.

The lyrics of this song discuss “telling the story of tonight,” showing the power of this movement and its status as part of modern history. Telling listeners “when you don’t feel strong enough to stand, you can reach, reach out your hand.” Bringing people together is the goal of the song and of March For Our Lives. Not only does this song carry emotional significance, it carries financial weight as well, a portion of the proceeds from the record being donated to the cause. 

Watching the current state of politics in the United States and society’s reaction, it is hard to ignore historical comparisons, most notably the Vietnam War. While on a much larger scale and an international rather than just domestic issue like gun violence, it sparked protests and movements from younger generations. By the end of the war, around three million people had died, more than half being Vietnamese civilians, according to History Channel. Questions and concerns regarding the United States’ role in the war and ethics of the troops involvement incited objections both on the home front and the battlefield.

Protests truly started to gain a following on the home front in 1964 and continued to grow in numbers and influence throughout the rest of the decade. Many young people resisted the draft that dragged them into a war they had no desire to be part of. Of those who did become soldiers, many either died in combat or came back with physical and or psychological issues.

The music of the Vietnam era similarly tackled the issues facing the nation, most often aligned with the views of protestors. While “Found Tonight” takes on the obstacles of the political system today, the songs during this time were a bit more explicit in their message. Edwin Starr’s “War,” released in 1970, has stood the test of time as an anti-war anthem. Most everyone has heard the song’s famous chant-like chorus, but the lyrics continue to voice a more specific message: “War has caused unrest within the younger generation. Induction then destruction, who wants to die.” Still today, governmental shortcomings have forced the following generations into a problem incited by the older group.

Buffalo Springfield’s 1967 “For What It’s Worth” strikes a similar tone, its lyrics echoing social problems during the Vietnam era that still apply today: “There’s battle lines being drawn, nobody’s right if everybody’s wrong. Young people speaking their minds, getting so much resistance from behind.” Polarization has taken over the political sphere and is bleeding into society. Opposing sides discount the other’s opinion without ever considering to talk out a feasible solution. Collaboration and communication between people is the beginning of a road to a more accommodating culture.  

During both Vietnam and the recent March For Our Lives movement, music speaks alongside those who dare to protest for a better country and a better world.

The post An Oldie But a Goodie: The Music of Marching appeared first on KRUI Radio.

#1: Gonzaga (61) V. West Virginia (58) (Sweet 16)

One of my three brackets had those dang Mountaineers winning the whole thing. And If they would have, I would have looked like an NCAA genius. Alas, the term “Would have” was used twice in that last sentence. A defensive battle through and through, these two teams relied on their ability to create turnovers and hit shots from outside the paint. The Bulldogs started to pull away midway through the second half, but Jevon Carter hit crucial shots to pull the Mountaineers close,

and even in the lead late. Gonzaga remained unfazed as they have been the whole year under Head Coach Mark Few, and Jordan Mathews hit the dagger 3 in the end. It was so refreshing to watch a college basketball game that relied so heavily on defense yet remained so close. Even though West Virginia out rebounded Gonzaga 41-34, They only shot 27% from the field. Yikes. That’s not a winning formula. Yet, they remained close the whole game. This was a classic nail-biter the whole way, and a true test for the Bulldogs.

#2 South Carolina (88) V. Duke (81) (Round of 32)

The surprise team of the bracket, South Carolina, started paving their road to the final four with this win against ACC champions, Duke. This game was all about momentum. Duke had a 30-23 lead at halftime. Grayson Allen was leading his Blue Devils as to what seemed like a certain sweet sixteen bid, until Sindarius Thornwell got hot in the second half, leading a 65 point surge against the Blue Devils with 19 points of his own. Which, is the most points allowed in a single half by a Mike Krzyzewski-led team. The swing of momentum and shooting in the second half led to a fall from grace for Duke, who had an impressive end of the season. And although the Gamecocks fell to the aforementioned Bulldogs, their run was a true testament as to how unexpected the month of March can really be.

#3 Xavier (73) V. Arizona (71) (Sweet 16)

The #11 Musketeers were the cinderella story of this year. They beat #6 Maryland and then went on to vaporize #3 Florida State. After those two tests of strength, Xavier met against the #2 Wildcats, who were favorites to not only win the game, but make it to the final four. This game, like most on this list, was close until the bitter end. Trevon Bluiett led Xavier with 25 points and was 9/17 from the field. But what made this game so interesting to watch were the final 45 seconds. Where Sean O’mara got one of the most beautiful passes I have ever seen to score down low to put the Musketeers up by two. After a missed shot and 20 seconds off the clock, O’Mara had the chance to be the hero once more, by

going to the line to put Xavier up by 4 and end the game. He, however, failed to make his first and only free throw, giving Arizona a chance to score. After passes galore from the Wildcats, Allonzo Trier missed his last shot of the tournament, propelling #11 Xavier to the Elite Eight. It was a crazy one to watch, and a bracket-buster for sure.

Honorable Mentions:

Oregon (69) V. Michigan (68) (Sweet 16)

North Carolina (75) V. Kentucky (73) (Elite Eight)

Wisconsin (65) V. Villanova (62) (Round of 32)

#4 Florida (84) V. Wisconsin (83) ( Sweet 16)

It what was arguably the most exciting last 3 minutes of the tournament, the Wisconsin Badgers and Florida Gators matched up in a sweet sixteen game that will not be soon forgotten. After a pretty even 1st half, both teams seemed to be in a good position to take the reins and lead the game away from the other team. Florida was that team. They came out with a high-energy attack that left Virginia in the dust in their Round of 32 victory. Playing fast, smart basketball is what Florida does best. Up 68-56 with 5 minutes to go is almost always a death sentence. Not for the Badgers. Creating turnovers and capitalizing on them was Wisconsin’s way of letting the world that they’re still kicking, and not going down without a fight. Zak Showalter became the hero for the entire state of Wisconsin after his incredibly awkward 3-point shot with 3 seconds left in the game. Sending the what was sure to be over game into overtime.

There, Wisconsin rode the momentum given to them by Showalter and jumped ahead. With the score being 80-75 with one minute left, the Gators seemed all but finished. But, they call it March Madness for a reason. Just like the Badgers before them, the Gators capitalized on Badger mistakes, bringing the game within 2 with a few seconds to go. And, like Zak Showalter before him, Chris Chiozza hit his mark at the buzzer. Forever enshrining himself in Gainesville basketball legend.

Excitement comes in the strangest of forms

Thinking about March Madness is well, maddening. The odds of a perfect bracket are so astronomically improbable, you might as well figure yourself a football playing king in space. With a mustache. Picking teams that you are likely not connected to in any way aside from, “I need the Tar Heels to win because Janice from Accounting has the Wildcats winning. And I want Janice’s money.” The typical affair. And these picks make our heads hurt when they lose, or our hearts light when the win. It’s all about being alive and experiencing the wonder of sport. Being a fan even if it is only for one month. And if this year taught us anything, the Madness won’t stop anytime soon.

The post After the Madness: A Story of Broken Brackets appeared first on KRUI Radio.

Bonded with an old man buying sunscreen today at work over being Irish and pale. Didn’t have the heart to tell him I’m not Irish, just pale.

— Alison Schwebach (@alisonschwebach) May 17, 2016

Even before I was of the age to partake in the green beer and other green-themed festivities, St. Patrick’s Day was always just a fun, random holiday that helped break up the dreariness of March and meant spring was coming soon. So in honor of St. Pat and the Irish, I decided this month to make Irish soda bread.

If you’ve never had it, I highly recommend trying some. My mom used to have our grandparents over for a St. Patrick’s Day dinner a couple years in a row (again, our family is not Irish AT ALL so I don’t really know why), and although I would not touch the corned beef and cabbage, I always ate SO MUCH Irish soda bread. I didn’t have time to get the recipe my mom used before I had to do this thing, so I found a recipe from Ina Garten. Because I trust her.

Time started: 8:00 pm

What I’m drinking: I decided to go all out on the St. Patrick’s theme so I picked up some Guinness and had one before starting as well as another midway through. I also drank my favorite Black Velvet whiskey, of course, because what is more Irish than Canadian whiskey, am I right??

Estimated difficulty: 3/5

This didn’t seem too difficult, but Ina said I needed to use a mixer to properly incorporate the butter into the flour and I do not have a mixer.

Challenges (besides being intoxicated): The no mixer did turn out to be a bit of a challenge, but wasn’t as awful as I was expecting. I ended up having to mash the cold butter into the flour with a potato masher because I also do not have a pastry cutter. Its fine, it pretty much worked. However what was NOT FINE was me dropping the orange into the buttermilk mixture because I was using my hands to talk too aggressively while I talked to my sister.

Time finished: 10:00 PM (it honestly didn’t take that long to mix together, the baking time was just super long.)

Results:

My drunk opinion:  “This is some good Irish soda bread. I am happy.”

Mollie’s opinion: “You actually didn’t do bad.” (Rude.) “It’s good, good job. I am thoroughly impressed.” (Still rude???)

My sober morning opinion: I can’t tell if it is slightly undercooked or just a really moist recipe. Either way, it is delicious.

Final deliciousness rating: 9/10

I would probably make this again, however it didn’t really keep very well after a couple days so eat it quickly if you decide to make it! Here is the recipe if you wanted to try it for your own St. Patrick’s Day celebrations.

Stop by next month to see what else I manage to throw an orange at or something.

Previous Episodes:

Episode 1: Orange Chili Brownies

Episode 2: Pumpkin Chocolate Chip Scones

Episode 3: (Almost) Vegan Dark Chocolate Cranberry Oatmeal Cookies

Episode 4: Peppermint  & White Chocolate Brownies

Episode 5: Vegan Coconut Lime Cake

Episode 6: Berry Tart

The post Whisks + Whiskey Episode 7 appeared first on KRUI Radio.

After its grand opening on January 23^rd of this year, the café has quickly developed a reputation for hot drinks and quality baked goods. Looking at the menu posted outside the establishment, potential customers can find almost any type of caffeinated beverage imaginable. Edible offerings appear subject to change; however, an abundance of variety is consistent across these listings as well.

Upon passing through the doors, I was greeted by two friendly baristas and a display case that featured several types of pastry along with twelve different flavors. I couldn’t remember the last time an apple Danish had entered my life, so ordering that was a no-brainer. I decided to pair it with a sixteen-ounce medium roast coffee (https://crema.co/coffees) and one of their namesake beverages—a cortado.

The total clocked in at $8.75, which struck me as kind of high, but three items from nearby Starbucks or Java House would probably ring in around the same price. Three has been called a magical number; nevertheless, this consumer experience revealed that its power is severely limited when one buys things at a coffee shop. It was all delicious, but I’m still skeptical about whether an equitable relationship exists between the cost of these items and that of a similarly priced burrito or burger available elsewhere. Some things may be beyond comprehension in our world; however, I think it’s safe to say that smart money would typically gravitate toward the heartier fare.

Anyways, I swiped my debit card, gritted my teeth, and hoped for the best. A receipt rolled out of the register. I signed on the dotted line. This virtual tour guide might have ended up late on March rent, but he would at least get to gorge for another day. Well, all things considered, maybe gorge is an overstatement. I ate the Danish while my caffeine brewed.  To be fair, service moves quickly here. It wasn’t long before I plopped down into a booth across from the counter with my loot, notebook, and a copy of Ben Marcus’s The Flame Alphabet.

Now was my time to take in the surrounding atmosphere. Cortado is a self-described “metropolitan-inspired, fast-paced, European style espresso bar,” yet I was picking up on vibes of embargo-era Cuba. The layout doesn’t evoke a sense of authoritarianism—I can’t imagine how Fidel Castro might have decorated a café—but its essential lack of frippery is underlined by subtle ornamental allusions to the Mediterranean as well as classic American diners. If what one drinks here will often have its roots in Italy, what one sees appears to stem from more diverse influences.

For instance, the simplistic wood finishes found around the room appear to be drawn from bistros across Cyprus, and Cortado’s ambient music consists primarily of the acoustic Spanish fusion that might be heard throughout tearooms in modern Madrid. What ended up invoking an aesthetic of post-WWII Americana for me was the classic seating (repurposed school chairs and painted stools) coupled with an unpatterned porcelain countertop set beneath a cluster of lustrous metal.

In addition, the black honeycomb tile at the base of the wall beyond the counter seemed to be a twist on the tacky checkered inlays characteristic of retro-American greasy spoons. These details coalesce into a sparse, minimalist style that pervades the larger environment.

This scantiness is typified by the primacy of a vast brick wall located behind customers in the main seating area. It bears nothing besides a coat of white paint. When one casts a cursory glance around the venue to discern sources of adornment, all that immediately stands out are a couple of large wooden panels made with fine tools from woodworkingquestions.

A keen eye will eventually notice the tripartite nature of ornamentation surrounding Cortado’s light fixtures. Above the counter, bulbs are encapsulated within lanterns. Over the central dining area, they hang in black wire globes. Finally, attached to the ceiling of the space, one can spot white track lights. These choices in lighting carry on the allusions to domestic, international, and minimalist influences that inform the overall interior design of the store.

If my first impression of the space was vaguely Cuban, my final one conjured a clear image of renovated Havana. Pictures of cherry wood benches, titanium rafters, and vintage Chevys in overgrown parking lots with Thermoplastic Car Park Line Marking ran through my mind. The layout of Cortado is interesting, but I think its bare walls could use some paintings or framed photography.When all is said and done, Cortado is ultimately a coffee shop. Customers arrive in pursuit of premium goods and services rather than a museum.

Toward fulfilling those needs, the café delivers in spectacular fashion.There is an excellent espresso maker with high-end coffee plus a fine selection of homemade pastries. You don’t need to order one of each, but splurging is definitely a possibility. I visited over the weekend at around 9:45 in the morning and it wasn’t too crowded. A lot of families arrived as time wore on, but that’s common across establishments after the workweek is over. The room can definitely get loud, so reading isn’t always easy. Regardless, Cortado is definitely worth a visit. If there happens to be a crowd, one can always order their items to go.

The post 522XX Tour Guide: Cortado Coffee and Café appeared first on KRUI Radio.