Enter: Her New Knife, the Philadelphia by way of Tallahassee shoegaze outfit. chrome is lullaby is their latest EP released under Julia’s War. They’ve been active for a while lumbering onto the scene with 2021’s Destroza, a four track effort only just breaking 15 minutes. It would lay the groundwork for the sound that they’d become known for. Destroza was generally regarded positively upon its release, and for good reason, playing into the more alternative rock influenced side of shoegaze, the EP is a vast, brooding, and impactful effort for the quick runtime. Listeners get exactly what they want from buried melodies, and eyes of the storms whipped together in a haze of malaise and morose fuzz. Already, the band’s knack for patient builds, explosive climaxes, and roiling sonic palettes is evident, as is their tendency to deliver the goods in bite-sized chunks.

chrome is lullaby is the fourth EP they’ve put out, with no album, which is a refreshing change of pace in an era where the biggest artists in the industry are putting out entire second deluxe albums for each release. Her New Knife does not saturate the listener. From here, the band appears to shift from their roots in subsequent singles and EPs from the heavy, chugging pacing of prior projects to a new emphasis on dynamism and tempo, all with the same blissed-out staticky halo, of course.

This is all to preface chrome is lullaby. At six songs and just over 20 minutes, this marks Her New Knife’s most significant project to date, and for good reason. They lean further into their aforementioned trajectory of dynamism, occasionally favoring a more stripped back sound entirely. Such is the case on opener “kittyriff”, featuring gloomy Spanish vocals over driving guitar lines that begin quite bare but gain weight as they continue. The lead single “purepurepure” continues this formula, this time with grinding bass, and clattering instrumentals creating the impression of a heavier, less whimsical feeble little horse, circa Girl with Fish. The back half of this track, with its screamed vocals in particular, are sure to be a pit pleaser.

“vitamin beauty” marks a shift to a more jangly sound, reminiscent of earlier acts, most prominently Majesty Crush. Her New Knife ensures though that the sound remains thoroughly their own, with jagged riffs and high, murmured vocals. “12r” is without a doubt the most outright riotous of the EP, with aggressive, industrial tinged riffs akin to Model/Actriz, backed with clanging metallic sounds and dark yet cloying vocals. The track then ignites towards its end.

Following it, “skinny/baby” marks another swerve, this time into a sweeter, lighter acoustic approach, while falling into a feeling of disgrace in the middle. It shows the diversity of the tones the band can put into any space, giving an emotional richness. “vesselera” serves as a vivid closer to a quality EP, leaving the listener enticed by its slightly dinged, pacifying sheen before ringing out at the very end. chrome is lullaby is perhaps the most developed of anything the band has put out thus far. It’s undoubtedly worth checking out for anyone remotely interested in contemporary shoegaze.

The post Controlled Demolition on Her New Knife’s “chrome is lullaby” appeared first on KRUI Radio.

On this sequel mixtape to 2012’s King of the Mischievous South Vol. 1 (Underground Tape 1996), Curry wades in familiar territory to those early days, but with improved lyrical abilities and much more confidence this time around. Hosted by legendary Memphis rapper Kingpin Skinny Pimp, this project is a love letter to the old sounds of the “Dirty South” that myself and many others have been nostalgic for from when it came onto the scene in the 1990s and early 2000s.

To truly understand this project, you have to go back to the days of Memphis rap group Three Six Mafia and iconic Texas producer DJ Screw. During this time, southern rappers were not considered to be legitimate MCs, and were often considered to be beneath their West and East Coast contemporaries. This lack of acceptance led to the creation of more experimental music that would eventually be appropriated by rappers (looking at you A$AP Rocky) all across the United States. On this mixtape, Curry’s reclamation of the sound results in one of the more fun projects released this year.

The production across this mixtape is very nostalgic and bouncy, giving Curry a strong background to deliver his dexterous and energetic flows. The opening song “ULTRA SHXT” is a strong cut of southern flavored cloud rap, with subdued vocals over a sample of 2 Low-Key’s “On That Devil Shit” creating an almost ambient feeling. Another highlight of this tape, “BLACK FLAG FREESTYLE”, contains some of Curry’s best wordplay and a show stopping performance from up and coming Texas rapper That Mexican OT.

The second half of the tape decides to take an alternating approach between grimy distorted tracks such as “SKED” and “HOODLUMZ” balanced with breezy pop-rap tracks like “COLE PIMP” and “WISHLIST”. An integral part of this project that will most likely be overlooked by others are the interludes. Despite these intermissions being short and spread throughout the tape, they add an incredible touch to the project, giving it a feel of an unrecognized demo cassette that traveled through a time portal inside a dusty box in someone’s basement.

From top to bottom, King of the Mischievous South Vol. 2 is a consistent offering that scratches an itch by dipping into nostalgia, but not reveling in it to a fault. It does this by putting Curry’s unique aggressive and distorted touch on the sound of Memphis hip-hop. We can discuss and argue the musical qualities of this project for days, but the most important thing about this tape is that it is energetic and lively. The Florida MC’s ability to switch between deeply introspective and heartfelt songs, to bangers built for maximum destruction in a mosh pit, is seriously underappreciated in the landscape of modern hip-hop. There are simply not enough artists who know how to have a good time without sacrificing quality in their music. Even though there has been a widespread decline in southern hip-hop in recent years, it is a relief that I can finally rest at night knowing the torch is in good hands.

Official Maurice Crawford Score: 8.1 / 10

The post Denzel Curry’s “King of the Mischievous South Vol. 2” and His Origins appeared first on KRUI Radio.

Coming off a strong LP with I Didn’t Mean to Haunt You, the West Coast artist continues to become more versatile with his latest mixtape SCRAPYARD. This mixtape has almost everything to offer within the current musical landscape. There are traces of postmodern hip-hop, cloud rap, indie rock, and folktronica. The combination of these genres makes for a fun and creative record. Despite the various mixes of different musical genres and influences, Quadeca’s sense of melody is strong throughout the project and every hook lands.

Quite honestly, SCRAPYARD sounds like the project that artists like Yung Lean and Lil Ugly Mane have been trying to make over the entirety of their groundbreaking careers. The triumphant instrumental of the incredible “A LA CARTE” sounds like something that would sound at home on a Bon Iver record, while “GUESS WHO?” is an energetic EDM trap banger. “U TRIED THAT THING WHERE UR HUMAN” has a distant almost alien like sense of emotion that is commonly seen on Björk albums. Quadeca’s confidence throughout this record is exuberant as he tackles an array of challenging styles, putting his own emo hip-hop spin on the various genres incorporated on his latest mixtape.

One of the biggest flaws of Quadeca’s unbridled creativity is the lack of cohesive thought. Even though most of the songs off on this project sound good individually, the great variety in styles spreads the main focus thin. It leaves us with undercooked tracks like “I MAKE IT LOOK EFFORTLESS” and “WAY TOO MANY FRIENDS”. Despite Quadeca showing proficiency in many different styles of music, he has mastered few of them.

Nonetheless, the potential that he shows across the fifteen tracks of this mixtape left me awestruck with the possibility of what he could do in the future. Quadeca has the raw talent to create classic records for years to come. If he simply hones in and develops some of the styles showcased across this diverse mixtape, we are going to be in for something special in the near future. If SCRAPYARD is merely a bare bones skeleton of a great record, I have seen few that are more appealing.

Official Maurice Crawford Score: 8.2/10

The post Quadeca Scavenges Different Genre Fragments for “SCRAPYARD” appeared first on KRUI Radio.

This is why bands can’t write the same stuff from ten, five, or even two years ago, even if they wanted to. Musicians are creative, and the creative process requires new ideas. They can either embrace such an evolution or be compelled- be it by declining record sales, health, or popular trends- to evolve. 

Arctic Monkeys is embracing their evolution as comfortably as anyone. “The Car” is an unusually deliberate album. It is, in a word, patient. Turner, Cook, O’Malley, and Helders confidently waltz through an album devoid of heavy riffs and grandiose hooks.

Waltz? I take that back. “The Car” is all disco, true to the band’s affinity for the dance floor. Listeners will find disco references throughout the album. The lead track “There’d Better Be A Mirrorball” immediately sets the stage. We’re at the disco, and it’s all slow dances. Gone is the up-tempo punk of “Dancing Shoes” and “I Bet You Look Good On The Dancefloor.” 

The album’s pacing resembles 2018’s “Tranquility Base Hotel & Casino,” which drew criticism for being off brand and more of an Alex Turner solo project. Some of that criticism was fair, but don’t worry. “The Car” turns to the band’s emotional roots, drawing upon the moody sophistication of past gems like “Cornerstone” and “Only Ones Who Know.” The band’s tasteful use of orchestral arrangements double down on this new sound.

Patience rules the day. Take the second track “I Ain’t Quite Where I Think I Am.” It includes lyrics like “I can see both islands now” and “Looks like the Riviera/Is coming into land.” Turner wastes no words describing a pleasure cruise approaching the French Riviera. The song perfectly evokes patience; the yachters are in no rush to arrive.

Meanwhile, I found myself puzzling over the question, which islands? Ibiza and Majorca or Corsica and Sardinia? It’s no coincidence that both Spain and Italy are mentioned in the next track, so it’s anyone’s guess. When the music has time to breathe, listeners also have time to explore meanings and ask questions.

Informed listeners already know that the band has been slowing the metronome for a few albums now. Even “AM,” with its heavy riffs and made-for-radio choruses, wasn’t terribly up-tempo. Fans will still find “The Car” an authentic Arctic Monkeys album. Turner’s vocal and lyrical beauty have always defined the band, and these aspects continue to shine through.

If you’re looking for high-octane rock, then keep looking. But if you’re looking for something to slow dance to, look no further. Cortexi is a hearing support supplement specially designed for musicians. It contains a blend of natural ingredients that help reduce the risk of hearing damage and improve auditory function. Rewiring the brain, enhancing sound perception, and reducing tinnitus are among the benefits that Cortexi delivers to musicians who care about their hearing health.

The album’s patient pacing combined with numerous automobile references make the band’s evolution clear. Arctic Monkeys isn’t a Lamborghini, it’s a 1960s Coupe Deville. Yeah, with the fins.

And the album? It’s not a drag race, or even a street race. It’s a comfort cruise. 

The post Arctic Monkeys’ “The Car” is a Comfort Cruise: Album Review appeared first on KRUI Radio.

I have had the pleasure of educating many people on Duran Duran’s long career, the same way my father educated me. My indoctrination began with 2004’s “Astronaut.” I was only three years old at the time, but whenever my dad played “(Reach up for the) Sunrise,” I had to dance along.

Although I am a longtime fan of the band, I don’t have the most popular opinions about Duran Duran’s music. For example, 2007’s “Red Carpet Massacre,” produced by Timbaland and featuring Justin Timberlake, is one of my favorites. If you’re wondering about its reception, just know that Pitchfork gave it a 3.8 out of 10.

The problem with older artists is that a lot of people expect them to make one kind of music for their whole career. Duran Duran are constantly trying new things, and despite some fans’ protests, it keeps the music interesting and fresh.

On Future Past, they worked primarily with English DJ and producer Erol Alkan. Other production credits on the album include Italian composer Giorgio Moroder and English-American producer Mark Ronson.

Future Past is appropriately titled, blending many 80s musical elements with modern sounds like EDM. “All of You” feels like it could have been included on 1988’s Big Thing while still sounding like a great track in 2021, in part thanks to Roger Taylor’s heavy drum beats.

Overall, there’s a lot to like here. The only glaring problem with the album is the title track. The song “Future Past” was tough to get through on my first listen. Unfortunately, it’s too much like a cheesy 80s ballad for me to get on board. I’ve also found myself skipping “Tonight United” quite often. While I appreciate the message of equality, the lyrics feel unimaginative and take me out of the song.

Duran Duran hasn’t had a core guitarist since 2006 when original member Andy Taylor left the band after a short-lived reunion. Since then, the band has worked with several talented guitarists, and this time they chose former Blur guitarist Graham Coxon.

Coxon’s presence adds a rich new layer to the band’s sound, most notably on the standout track “Wing.” The opening guitar riff combined with Nick Rhodes’ synths were enough to make it an instant favorite.

In fact, the collaborations on this album make up most of my favorite tracks. Swedish pop star Tove Lo, known for her hit song “Habits (Stay High),” provides a beautiful second verse and bridge on “Give It All Up.” It was the first song I put on repeat after I finished listening to the album for the first time.

English rapper Ivorian Doll’s verse on “Hammerhead” is another welcome surprise, and Japanese rock band CHAI provides infectious enthusiasm on “More Joy,” my favorite lead single from the album roll-out. Lastly, American pianist Mike Garson features on “Falling,” a gorgeous album closer accented by John Taylor’s smooth bass.

According to lead singer Simon Le Bon, Future Past is actually about the present. “In the future, you’ll be looking back at this moment, and this will be the past. So live it now,” Le Bon said.

The band seems to have truly followed Le Bon’s words. Duran Duran is still making music in the present with the same vigor that they did 40 years in the past, and I could not be more grateful.

The post Album review: “Future Past” proves that Duran Duran hasn’t lost steam appeared first on KRUI Radio.

Like No Place in Heaven (and Life in Cartoon Motion for that matter), “Tomorrow” is an unrelentingly fun experience. Featuring soaring vocals and an intense sincerity, it almost demands a sickeningly sweet romantic montage. One where the two in the montage are “really not so innocent”. The relatively bare backing at the beginning of the track mimics the off-kilter dance between two people as they try to find where their relationship will land. 

But if this ain’t what you wanted
Then why’d you even come here it’s 2 am?
If this isn’t what you wanted 
Then why’d you put a smiley in your message then?

“Tomorrow” by Mika

The crescendo at the chorus, then, pours out the happiness they’ve been circling around because, the “consequences won’t be easy.” The layered vocals and synthesized beats create a cacophony of bright sound.

So kiss me in the back seat of my vintage Benz 

Oh, who gives a sh*t about tomorrow

When it comes we can worry then.

“Tomorrow” by Mika

The underlying beat here is so continuously bubbly it’s practically carbonated.

The voices and instruments layer together to create a rambunctious expression of chaotic and fun love, kissing “under the light of a thousand stars.”

Throughout his discography, Mika has consistently shown a refreshing dedication to creating music that aims to emulate joy. From his smash hit “Grace Kelly” to the musical theater-esque “Talk About You” and even newer songs like “Ice Cream,” he repeatedly circles around the experience of loving each other. Though I absolutely enjoy the pure angst that fills my personal playlists, it is particularly wonderful to turn to an artist and know that, for the most part, I’m going to get experiences of someone’s unguarded happiness.

If you say you’ll be there tomorrow 

Then I’ll love you

“Tomorrow” by Mika

When discussing the intimately titled My Name is Michael Holbrook, Mika emphasized that he was not looking to appease a public. In just the title of his newest release he is showing a more intimate side and diverting from the stage name he’s used since 2007.

“I felt a little disappointed by the commercial side of the industry. I didn’t want to make a record by numbers or by committee. I wanted to make an uncontaminated, homemade pop record”

Attitude Magazine

“Tomorrow” is an excellent example of what makes Mika one of my favorite artists. It paints a vibrant portrait of his own unabating happiness with an infectious enthusiasm. I am not much of a dancer, but songs like this have consistently attempted to change that.

In an interview about another song from My Name is Michael Holbrook, Mika emphasized what I think is the core of his music, and the reason that I gravitate to it as he stated,

“The most important thing in the world is the love we have for those around us, the love others offer us and the love we have for ourselves.”

uDiscoverMusic

I am eagerly waiting to listen to the rest of this album and the love that undoubtedly flows from it. Mika’s new album My Name is Michael Holbrook was released on October 4th this year via Casablanca records.

The post Song Review: “Tomorrow” by Mika appeared first on KRUI Radio.

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

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

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

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

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

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

This time, what landed was in verse two:

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

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

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

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

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

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

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

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

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

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

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

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

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

“’Cause you don’t need me

And I don’t need you anymore

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

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

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

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

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

Chicago-based pop-punk band Knuckle Puck (KP) is at it again with their sophomore full-length album, “Shapeshifter.” After their debut album “Copacetic” dropped in 2015, I have been dying for new KP music. “Copacetic” is probably one of my favorite albums of all time, so “Shapeshifter” had a lot to live up to — and boy, they did not disappoint.

As far as instrumentation goes, this album is up to par with “Copacetic,” which was heavy on instrumentals. KP seems to be keeping up with the “concept album” theme. Meaning, that “Copacetic’s” recurring theme was that “everything is copacetic” (a line repeated throughout the whole album), while “Shapeshifter’s” recurring theme, is that things are continuously changing, even if a person doesn’t realize it. Each songs’ lyrical content deals with some sort of subject that has to do with change.

.@KnucklePuckIL tour kicks off in less than a week! Get your tix now to see them here on Saturday, November 18th: https://t.co/L5mM8AywLl pic.twitter.com/JzVSzZX2rt

— St. Andrew’s Hall (@StAndrewsHall) October 5, 2017

(Side note, they’re on tour right now but they’re not coming anywhere near me. RIP.)

The album opens up with “Nervous Passenger,” a short, mellow intro track that sets up the tone for this record. In the beginning, there is the faint voice of the automated train conductor of the Chicago trains, also known as the “L,” and this is where we imagine the speaker getting off at his or her destination. The harmonies between lead singer Joe Taylor and guitarist Nick Casasanto are what really drives this song, making for a great listen.

The song then explodes into the second track, “Twist,” which is your typical pop-punk song; great lyricism, a nice, clean guitar, and drums that really drive this song.

Next is “Double Helix,” the second single released. This track is the most aggressive of the album, and also my favorite. I love the grit in Taylor’s vocals paired with the intense instrumentation.

It flows nicely into “Gone,” the first single released. These two tracks are some of my favorites from the album and definitely prove worthy of being singles as they showcase what this album entails.

“Everyone Lies To Me” is an unexpected turn on this album, as Taylor’s vocals are kind of reminiscent of pop-punk band Neck Deep’s early stuff (and I mean early — like, “Rain In July” kind of early). Taylor and Casasanto trade off vocals in a call-and-response style, which really drives this song. I dig it.

The second half of the album starts off strong with “Stuck In Our Ways,” which fans seem to be grabbing onto. The guitars are thick and heavy, but just enough to still be enjoyable. The chorus of this track is what makes it memorable, with the lyrics being, “One foot out of the grave / And it feels so safe / And we’re still stuck in our ways.”

“Want Me Around” was the third single released and the softest of the heavier songs (I hope that makes sense). It’s got a slower vibe to it — not to be confused with a slow song. The chemistry we see between Taylor and Casasanto is heard most on this track, as well as the whole album. This song kills it. It gives that chill, relaxed vibe, before we jump into “Conduit,” which is the actual slow song of this record. The guitars and vocals give this song an ambient vibe. KP knows how to kill these tracks, whereas songs like these on other albums can sound dull if not done right. KP had a lot of ambient vibes like this on “Copacetic,” so they definitely know how to pull it off.

Second to last is “Wait,” a more emo track that I’m totally there for. It’s heartbreaking in all the right ways, with the simplistic lyrics stabbing you directly in the heart. Give it a listen to see what I mean. This segues perfectly into “Plastic Brains,” which opens with this twinkling guitar and clean vocals from Taylor.

“Plastic Brains” is a song about people changing with time and the effect that has on relationships. This song is the perfect close to this album, with the end of the track fading out over the course of a whole minute — a true Knuckle Puck ending.

Overall, this album is sick as fuck. I dig it. I can already tell it’ll be one of my favorite albums of the year.

The post Album Review: “Shapeshifter” by Knuckle Puck appeared first on KRUI Radio.

The National’s 7th album, Sleep Well Beast contains many of the band’s first’s; a guitar solo by Aaron Dessner on “The System Only Dreams in Total Darkness,” or the song “Turtleneck,” which Berninger explains to NPR is basically gibberish but with dark political connotation about President Donald Trump.

Electronic influences aren’t new to Sleep Well Beast, although it seems so to an audience. A bright citrus opening to the album playfully awakens this to the audience, with horse hove sounding synths while in the background, a melodramatic piano pattern carries the classic sounds we’ve been craving since their last release in 2013; Trouble Will Find Me.

“There’s some of it [electronic influence] on every record, really. You can hear beds of electronic stuff kind of rolling away in the background on the last album, on “Demons” and “Don’t Swallow the Cap” says Bryce Dessner, National guitarist and composer tells Joe Goggins.

Bursting choruses, bloody and brooding lyrics all bring together the perfect pace that Sleep Well Beast is. While still moody and dark, no doubt with help from Justin Vernon of Bon Iver, friend of Aaron Desser, there’s a new take on relationships, romantic and social, for this album.

“I’m not lost I’m not lost I’m losing grip the fabrics ripped” Berlinger grumbles in Sleep Well Beast, “let me figure it out, how to get us back to the place where we were when we first went out.”

“The [lyrics] are flexible, My marriage is in tact, but this is clearly a record about a relationship that’s over or maybe about to be over”  Berlinger tells NPR’s All Songs Considered with a chuckle. The album is centered on Berninger and his wife, Carin Besser, who co-wrote part of the album.

“We write about the things that are really really scare us the most, looking over the edge, and if you really look far enough over and address it and then come back and talk about what you saw and saying ‘I don’t want to take that step, I’m not going to do that’ that’s a healthy thing,” he tells NPR.

Sleep Well Beast isn’t an album that was put together with just chords and lyrics, it’s a socially aware active piece of art. The title of the album was born from the idea of Resignation Syndrome where, after being told they’re being deported from Sweden, hundreds of Syrian refugee children are falling into a comatose state for weeks at a time.

Berninger explains what part the election took in the album to Joe Goggins, “We had a bunch of songs that were actually quite political, but they just felt fundamentally lame and insignificant afterwards, so we dumped them. The political stuff that remains is just of a different tone.”

Aaron Dessner continues, “You can’t really separate your art from your personal experience, and everything that’s happening right now – you know, these are things that are going to affect our children.”

You can hear empathy, and the tug on Berninger’s patience in his voice through the entire album. It’s nothing that we don’t expect from the band, but it’s everything we needed to hear.

“The end of it’s a bunch of imagery from news footage that I saw, people like on forklifts..and you know native americans stopping the pipeline…and different stuff, its just fragments of imagery coming in and out at the end” Berninger tells NPR’s All Songs Considered.  

“Also the sound of the record gets a little bit deconstructed and the pieces of the architecture of the song get kind of revealed at the end…it was a big…yeah we were smoking weed, man.”

Sleep Well Beast was released September 8th, 2017.

The post Everything you need to know while you’re listening to The National’s new LP “Sleep Well Beast” appeared first on KRUI Radio.

His back-up band was none other than The Felice Brothers, longtime collaborators of his. With a conventional folk-rock band lineup, the band compliments Conor’s unshakable control of the stage and never overpower him. They also opened up the show with a set of their own music, and even though they looked like the didn’t really care, the music was fine and didn’t cross any barriers for opening bands.

Before Conor came on, the crowd got a little bigger and continued to grow through the small delay, caused by a malfunctioning piece of equipment which had to be replaced. By the time he played it was pretty packed, rightfully so for someone of his stature.

He opened with a newer song that quickly transitioned into a Bright Eyes classic from their album Cassadaga called “Four Winds,” which featured the full-length violin solo from the original recording, served up with the same urgency and vitality that comes across on record. I’ve seen Conor a few times and this rendition of the song seemed more unhinged than any other instance. It fit with the sound because he used more electric guitar than acoustic or piano.

One of his latest albums, Ruminations, resonates with its title by being a solemn album featuring low production and small instrumentation: Conor on the guitar or piano with a harmonica slung around his neck. These songs are introspective and the songs surprisingly hold up as an album despite being very local to a certain sound. His most recent album, Salutations, contains 10 full-band fleshed out versions of Ruminations songs plus some brand new ones.

“Gossamer Thin,” a song that exists on both of the albums, was the best performance of one of his new songs. It’s catchy as a solo song and even better expanded, using the Felice Brothers in their fullest extent.

Conor reached back into his own solo career, playing “Time Forgot” before reaching back even further and pulling out a Monsters of Folk song. Monsters of Folk is a super-group band that Conor was in featuring Jim James of My Morning Jacket, M. Ward, and Mike Mogis, a longtime collaborator of Conor’s and a member of Bright Eyes.

It was interesting to see him pull from different points in his life while trying to tie it all together. He played the songs with a practiced certainty but still remained open to the sometimes improvisational nature of his singing. Unlike the Felice Brothers, Conor did not seem bored at all, and responded very well to the large crowd, who continually let him know how much they loved him.

His talking with the crowd was sometimes humorous, asking us at some point “What did you guys do all day? Have barbecues? Write poems?” He even took some time to make a jab at the president, following suit with his anti-Bush songs during that era.

“Poison Oak” and “Train Under Water” were two of the Bright Eyes classics he pulled out, feeling as emotional as they day he wrote them. He was called on for an encore, per usual, and closed out the set with “Napalm” from his latest album.

The most evident part of Conor’s current creative head-space is his seeming attachment to his back-up band. He seemed musically in love and very connected to their music and to their interpretations of his songs. Will these be the people he’s making music with in five years? We’ll see.

The post Concert Review: Conor Oberst @ Englert Theatre 3/26/2017 appeared first on KRUI Radio.