The Body and BIG|BRAVE have each earned their tenure in metal, but together they have created an album that defies any preconceived notions one might have had for them. On Leaving None But Small Birds, both bands veer into a brand of folk rock that is rife with an eerie grit. Twangy layered strings mesh with the heavy distortion of guitars that both The Body and BIG|BRAVE are known for, creating a delicate and foreboding atmosphere. Similarly, the guttural shrieks and growls of The Body are replaced by the haunting croons of BIG|BRAVE’s lead vocalist Robin Wattie, which runs on the verge of breaking at points and sounds seductively resilient in others. Even in the quieter moments on the record where instrumentation pulls back–as on “Black is the Colour”–there is still a great deal of texture to be found in the weaving vocals and thudding, droning rhythm of the work. While certainly not a traditional metal release, Leaving None But Small Birds retains some hints of its creators’ metal influences and proves the genre as an incredibly versatile one. 

–Sydney Sjobakken

Illuminati Hotties – Let Me Do One More  

From atop Illuminati Hotquarters, singer/songwriter Sarah Tudzin pens tunes to capture the last gasps of a dying Summer on Let Me Do One More. The band’s variety of sounds range from catchy pop-infused punk to endearingly sincere folk and beyond. The opener, “Pool Hopping” features a suave, yet energized guitar lead, as Tudzin navigates a complicated love-on-the-rocks situation in her signature ultra-charismatic vocal performance—emotional turmoil has never sounded so fun. “u v v p,” on the other hand, finds the songwriter taking a regretful tone over a tried-and-true folk rock chord progression, complete with steel pedal and a spoken word passage from Buck Meek of Big Thief. It’s a melody sure to put a tear in many a beer. For fans of punk rippers, there’s plenty here. “MMMOOOAAAAAYAYA” hones the chaotic energy showcased on Free IH into one of the wildest jams of the year. Though the lyrics throughout the album are consistently wittily funny or throat-punchingly pensive, Tudzin is at the top of her game here, juxtaposing lines, “Text me, touch me, call me daddy / I’m so sad I can’t do laundry.” On “Joni: LA’s No. 1 Health Goth”, the band takes on hardcore punk, as Tudzin describes a character of such abundant scene credit that her status is unachievable—perhaps vapid in her devotion to trendiness, but impossibly cool regardless: “you wish you were like her.” Let Me Do One More has some of Illuminati Hotties’ best-written songs, blending the band’s many unique styles in a masterclass of growth. 

–Jaden Amjadi

Yullola – Priestess 

Priestess captures the deep, rhythmic percussiveness of the hyperpop genre in combination with clear and emotive vocals. The album opener “Sell My Soul 2 U” sets the stage for the rest of the album. The contrast of angelic vocal harmonies floating on top of spacey, sporadic synths instantly grabs the listener’s attention. The repeated percussive line on “Is It Love or a Pyramid Scheme” paired with the uncomplicated chorus makes the song earworm worthy. Admittedly the lyrics of “Spit in Yo Mouth” are slightly obscured even to the most experimental-learnéd listeners, but by adding in the staccato drums and oscillating vocals, the song becomes fun and dance-y. Beyond the upbeat, techno sound of the album, Priestess features acoustic and melodically driven songs. “Afterglowow” has mellower electronic rhythms, and the foreground is Yullola’s beautifully clear voice and introspective lyrics. Perhaps the most lyrically-driven song on the album, “Bb Plz Don’t Go” leaves room for Yullola’s somber yet passionate vocal performance by stripping down the rhythmic section. Wrapping up the album is “Ur Not My Type Ur Just Some Type of Way” with the piano’s direct presence paving the way for the vocal line to experiment with layering and ornamentation. Overall, Priestess highlights Yullola’s vocal clarity and passion alongside intricate techno beats. 

–Daniela Rybarczyk

JPEGMAFIA – LP! 

On LP!, JPEGMAFIA follows a formula and sound similar to that of his previous albums and manages to sacrifice no quality in doing so. The experimental hip hop titan revives his distinctive, engaging, and humorous attitude and delivers yet another project full of heart, intelligence, and musical brilliance. On the two versions of this album–the Bandcamp version has songs uncleared for streaming and is thought to be the truest form of the record–Peggy showcases his signature production style. While this project is not as outlandishly abrasive as some of his previous projects, the beats ride a satisfying line between original, creative, and fresh-sounding while not being so flashy as to get in their own way. Peggy combines these sounds with his ever-charismatic and in-your-face lyrics and delivery. On a track like “DIRTY!”, he addresses social issues with sarcastic and amusing bars that engage the listener and paint an image of the artist as one who is serious about his craft and worldviews, but does not take himself too seriously. With this album, JPEGMAFIA furthers his case to be considered as not just one of the best experimental hip hop artists, but one of the best hip hop artists in the game. 

–Evan Weidl

Liily – TV or Not TV 

The band Liily carved out a space for themselves in the alternative rock scene with their 2018 single “Toro ”, but on their latest album TV or Not TV the band amps up their musical ambitions and presence. No longer just meddling in the realm of alternative rock, the Californian quartet seems to dip their toes into the sounds of post-punk revivalism that has become increasingly popular throughout the 2010s via bands like Squid, IDLES, and their American contemporaries, Protomartyr. In a similar stride, Liily employs a fiery attitude and decisive force on a tracklist that feels at times both compulsively restrained and unhinged. The vocal performance on songs such as the opener, “Mr. Speaker Gets The Word” deviates between a strict monotone delivery to one that unfurls the tension that the instruments build relentlessly. The band also employs an occasional burst of horns, exceptionally discordant, squawking guitars, and notably groovy basslines that keep the atmosphere of the album incredibly light and danceable. As their first full-length release, Liily’s TV or Not TV proves the band is not merely a one-hit-wonder, but has a promising future in post-punk and alternative rock spheres. 

–Sydney Sjobakken

Quantic & Nidia Góngora – Almas Conectadas 

As the days get shorter and the temperature plummets, every music review site is already pulling out those “comfy albums to cozy up to while wrapped in a blanket” faster than you can say “Daylight’s Saving Time”. Allow me, then, to be a contrarian, and offer up an album that rejects the slightest hint of frost and freeze. Almas Conectadas, the collaborative effort between Quantic, an NYC-based producer, and Nidia Góngora, a singer/songwriter from the Colombian coast, offers up a scintillating Afro-Caribbean experience that is sure to chase away any wintertime blues. From the very beginning, rhythm is the name of the game here. The drums, the strings, the horns, and, of course, the vocals all combine to form an unstoppable groove that, while not always danceable, is nonetheless hypnotic. And that’s where the beauty in this album comes in. To some, Latin music starts and stops at the dance-pop that controls the airwaves over here in the US, but to Góngora and Quantic, the true beauty of traditional music is all the emotions that are contained within, not just joy, but melancholy and sadness as well. Góngora carries this album, both musically and emotionally. On my personal favorite, “El Chiclan,” her voice slides seamlessly through the tropical percussion and background vocals, sounding both triumphant and mournful at the same time. On the closing track. “Vuelve”, most of the rhythm is stripped back to piano and woodwind, and Góngora’s melodies glisten in the relative silence left behind. But, the most important aspect here stays true throughout. This record is sun-drenched, wistful, and pensive without ever sounding depressive or cold. And to me, there’s no better way to wait out the cold than putting this album on, and pretending I’m somewhere else, if only for an hour or so. 

–Zachary LeBoeuf

The World is a Beautiful Place & I am No Longer Afraid to Die – Illusory Walls  

The world of Dark Souls is not one that can be saved. It conjures an interminable dread at the end of times that, for some curious reason, in this age of stagnant workers’ wages and rule by corporate interest, has captured the imaginations of millions. With this new album’s multiple references to the series, some members of The World is a Beautiful Place & I Am No Longer Afraid to Die also seem to be among the affected. On Illusory Walls, the band takes on the haze of shoegaze to texture their traditional emo sound and further communicate this sense of doom. Synths and orchestral strings added to the mix make for the band’s most sonically ambitious work to date. Lyrics surround themes of loss and hopelessness. On the opener, “Afraid to Die”, singer David Bello begins by giving intention to the theme of eternity, singing over soft guitar, “This is where we live and this is where we stay forever.” Keyboardist and vocalist Katie Dvorak takes the reigns as lead vocalist on many songs to fantastic results, such as what may be the catchiest song on the record, “Queen Sophie for President”, a tribute to her late grandmother. “Blank // Worker” is a nearly ambient piece, above which Bello tells a story of his childhood–a spill in Parkersburg, between Ohio and West Virginia, where DuPont knowingly dumped carcinogenic chemicals into the local water supply. The final two songs, “Infinite Josh” and “Fewer Afraid,” which each blow past the 10-minute mark are some of the greatest highlights on the record. Far from overly indulgent, they manage to leave the listener with a sense of hope: “The world is a beautiful place, but we have to make it that way / Whenever you find home, we’ll make it more than just a shelter / If everyone belongs there, it will hold us all together / If you’re afraid to die, then so am I.” Illusory Walls is the band’s strongest and most impacting work in years. 

–Jaden Amjadi

Full of Hell – Garden of Burning Apparitions 

One of many impressive metal releases this month, Full of Hell continues to show how dynamic their brand of grindcore and power metal can be on Garden of Burning Apparitions. The band has always been one owing itself to evolution and diversification, as is evident in their collaborations with electronic-leaning artists such as HEALTH. It seems that on this latest release they have incorporated some of the ethos of their former collaborators to create a sound that is even more glitchy and experimental than any of their past work. On tracks such as “Derelict Satellite” the band devolves into full-blown bouts of noise and ear shredding static that shows their new interest in experimental and electronic glitch. Conversely, the album also shows a more melodic side of the band, as on “Celestial Hierarchy”, which offers a slight moment for breath in a tracklist that barely exceeds twenty minutes. While the run time is short, Garden of Burning Apparitions manages to merge the genres of power metal, grindcore, experimental, and glitch to entrap their listeners in a whirl of sound sure to keep them hungry for more. 

–Sydney Sjobakken

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

The opener, Kansas City band The Greeting Committee, exploded onto the stage with lead singer Addie Sartino pumping up the crowd right from the start of the performance. Their indie rock is playful, energetic, and doesn’t take itself too seriously, which makes it incredibly fun to listen to. Even those who had never heard music from the group before began to dance along to the beat. Sartino was a powerhouse in vocals and stage presence, dancing and engaging with the audience through each song.

The Greeting Committee gained popularity over the past few years after the success of the song “Hands Down” from their 2015 EP It’s Not All That Bad. A jaunty combo of guitar and tambourine give this song a lively bass that only grows as more instruments are layered in. Only continuing to grow, the group is scheduled to tour with Hippo Campus—who performed in Iowa City this past spring—throughout the rest of the fall.

After a brief intermission, the Bad Suns began their set with a thunderous drum intro from percussionist Miles Morris. Fresh off the release of their new album Mystic Truth this spring, the alternative rock group has climbed up the charts since their hit album Disappear Here in 2016. The band’s sound is as edgy as their look, full of heart and spunk.

Bad Suns played a mixture of songs from their new album as well as their 2014 debut, Language & Perspective, catering to both longtime fans and those who were hearing them for the first time at the homecoming performance. They commanded the stage, frontman and guitarist Christo Bowman leading the charge.

Their lyrics verge on poetic, creating a sense of awe around even the most basic of situations. “Daft Pretty Boys,” one of the group’s most popular songs, gives a lovers’ squabble a literary twist: “She’s a sunrise dressed like dusk / Going out, she’s getting into something / He’s a moth drawn to a flame / He’s going in, he’s going all or nothing.” They play with metaphors and meaning, all wrapped up in a indie bow with a slight influence by 80’s new wave, which the group leans into in their music video for “This Was A Home Once.”

The free concert drew a large crowd of students, both The Greeting Committee and Bad Suns provided a warm dose of alternative rock to the cool October night and bringing the the second to last day of Homecoming week to a joyful close.

The post Bad Suns @ The Pentacrest 10/18/19 appeared first on KRUI Radio.

I mean, we already have our very own pumpkin king.

The recent turbulent senate confirmation hearings of Brett Kavanaugh and his subsequent appointment as a justice of the Supreme Court has thrown questions of socio-political justice up in the air.

Controversy surrounding the sexual assault allegations against Kavanaugh prompted President Trump to claim it’s “a very scary time for young men in America.”

Trump went on to say that this aforementioned ‘scariness’ comes from the potential “to be found guilty of something of something you may not be guilty of.” But what is there to be afraid of if you haven’t done anything wrong?

I’d really like ‘scary’ to just have to do with skeletons and Halloween costumes again, not toxic masculinity and obtuse judgement towards sexual assault victims.

Dr. Christine Blasey Ford, among thousands of other sexual assault victims, suffer in silence for years, unsure if they will ever recover or get to tell their side of the story.

No matter the extent of the assault or when it occurred, if it has caused someone emotional distress, it merits investigation and justice. All human beings deserve a basic respect of emotional sympathy.

And that sense of sympathy extends to Kavanaugh as well. This trial has no doubt tinged his reputation and will impact his life for a long time. Neither party deserves to be written off completely.

The investigation into this assault was not, as Kavanaugh seemed to understand it, an attack on him and his family just because he is a conservative nominee. It was a way to find recompense for a clearly distressed woman and measure Kavanaugh’s character as a person and future justice.

President Trump construing Blasey Ford’s testimony as false on a national scale illustrates a placement of personal allegiances over the pursuance of justice. Democracy is a system designed to be as fair as possible and avoid a one-sided power structure like the monarchy it was created to escape.

The lack of trust between genders mimics the polarization between political parties, and neither appears to have a clear solution. Without a open conversation on what and how to fix the blatant opposition between sides, nothing will change.

Though difficult and unlikely based off the current climate of the political system, consolidations need to be made on both sides to create a more unified system that works for the country.

While fodder for SNL and other late night shows, if you take a minute to really consider everything that has happened in the political sphere since Trump’s inauguration in 2017, it really is scary. Almost apocalyptic. The twisted world of Halloween Town from “The Nightmare Before Christmas” doesn’t seem that far removed from the partisan free-for-all we are currently living in. I’m half expecting for Trump to kidnap Santa Claus just for the hell of it.

You can help make the U.S. political system less scary by

 registering to vote in the upcoming midterms!

The post Old Soul: A Scary Time for Everyone appeared first on KRUI Radio.

hair intermittently came straggling up to the stage with beers in hand. The unabashed first chords of their opening number burst through Gabe’s, fitting of Commander’s description on the Witching Hour website: “We’re a band. Some of our songs are loud and fast, some are less loud and less fast.”

Guitar and percussion heavy, Commanders’ inventive rock sound has an unyielding focus on beat that reverberated into my bones. Shawn Haigwood, the lead guitarist, tackled countless solos, each more complex than the last. Overlapping guitar melodies between Haigwood and the other two guitarists, Dustin Kelly and Ben Minniear, created a revolt of sound that materialized the overall vibe of unruly freedom in the music. The final piece to the puzzle, Dan Davis on drums fueled movement with his driving beats.

To compete with the intensity of sound from the instrumentals of Commander’s music, strong vocals are necessary to cut through the pulsating rock base. That is exactly what you get from lead vocalist, Chris Burns. Powerful belts stuck out yet complimented the fascinating mania of the music. Though sometimes he tiptoed into shouting territory, Burns’ voice handles subtle melodies and climaxes equally well, impelling you to listen.

Burns was a enchanting figure to watch on stage. He swayed and shimmied along to the beat, even cradling the microphone at moments during the performance as if his life depended on it. The physicality and devotion Burns brought to the stage made each song its own unique experience.

The majority of the set hailed from their 2017 debut album, “Stones, Stooges and Spacemen”, but they featured a couple songs from their forthcoming EP, “Odd Disasters”.Though not available for streaming yet, Little Village’s review of the EP signals it as a promising showcase of experimentation for the band.

Hardly pausing between songs, the band members were of few words and let their music do the talking. “Go Back Down,” a high-energy track with simple lyrics and a catchy guitar hook, was my personal favorite.

Each member seemed fully absorbed In the middle of the set; a PBR can knocked over on stage and they weren’t even fazed, Haigwood simply sliding the still-fizzing beer out of the way with his foot while completing a guitar solo.

Finishing out the night with the cacophony of noise that is “Under the Feral Spell,” I felt like a groupie for a rock band as the final guitar chords faded out to the whoops and hollers of the crowd.The carefree nature of their sound transferred into the demeanor of the audience as well, a few listeners hopping up and down around in front of the stage, just free. Toeing the line between rock and metal, the Commanders music could make anyone bang their head along to the beat.

The post Witching Hour: Commanders @ Gabe’s 10/12/18 appeared first on KRUI Radio.

The defending National Champions in the Major Baseball League manage to survive. For now. The mounting of a comeback has begun in Chicago. In a low scoring match between the Chicago Cubs and the LA Dodgers, the Cubs would top their adversaries 3-2 in Wrigley Field.

This particular addition to the series would face off Jake Arrieta and Alex Wood. Unlike other faceoffs between the Dodgers and Cubs, this matchup would only allow runs scored off home runs. In similar fashion to Game 3, the Cubs would strike first on a second inning home run from Wilson Contreras. A 491 foot bomb into left field.

Contrasting the previous outing, Chicago would not merely score once this inning. The 437 foot belt into left by Javier Baez would further the gap. This hit is very significant for the second baseman. The end of a 0 for 20 streak slayed the demons which haunted Baez for longer than any Cubs fan would enjoy.

Despite this, the Dodgers would respond the next inning. Another homer, this one from first baseman Cody Bellinger. The score would stay at a 2-1 standstill until the fifth inning following the 378 foot blast.

Off of another pitch by Wood, Baez would once again swing for the fences. And succeed. A 380 foot solo shot into left field put the Dodgers into a 3-1 hole. In spite of their best attempts, LA would stay in the hole. An eighth inning home run by Justin Turner tightens the gap to a single run once more. Nonetheless, this would be the last run scored by either side.

The bullpens for both Los Angeles and Chicago performed well in Game 4 with both sides totaling more than 10 strikeouts a piece. The Cubs would total 12 strikeouts and the Dodgers, 11. The Dodgers would end up pulling 6 members of the bullpen onto to mound in opposition to Chicago bringing only Arrieta, Brian Duensing, and Wade Davis to close.

In the top of the ninth, Game 4 ends in dramatic fashion with a Bellinger hit turning into a Chicago double play. The Cubs stave off elimination to earn another fight. Game 5 between the Cubs and Dodgers will occur Thursday night at Wrigley Field once again. Clayton Kershaw will be on the mound for the Dodgers facing Chicago’s Jose Quintana with the first pitch at 7:08 pm CST on TBS.

The post Cubbie Comeback Continues into Game 5 appeared first on KRUI Radio.

The audience awaiting the band’s arrival was very eclectic. Most of the people that were there for Karen Meat had stayed for the whole evening with the intention of seeing Beach Fossils as well, even if their sounds are very different.

There were also a lot of people showing up that were older than the audience for the previous two bands but not by too much. They could have been in their late 20’s or early 30’s.

As soon as the band begins playing, I can see why. This is the kind of music I love, that provides a special kind of comfort, kind of like a nostalgia but for a time you can’t pinpoint. The echoey, drawn out notes on an electric guitar that seem like they might fly.

The vocals slick over the subtle beat of a drum. The sound is timeless, something lasting. I could see anybody listening to Beach Fossils, since their music is clearly about the feeling a person gets while listening to it.

I wish that the band had interacted with each other more or had been less formal, for lack of a better term. Their music was amazing, and it’s important to focus on making music sound great in live performances.

It still would have been nice to create a dialogue with the audience or with each other to make the experience a little bit more accessible.

They did say that they were inspired by a trip to Jimmy John’s to write a song about their trip to Iowa.

As a born and raised Midwesterner, this was a much appreciated sentiment. He also told us a little story about a guy outside the restaurant eating shrooms. As a born and raised Midwesterner and University of Iowa student, this sounds about right.

I don’t know what it was, but something about the experience was off.

Of course, it could have been the table of 15 loud, drunk people sitting behind me, or it could have been the wrong venue for the band, but something didn’t click right for me.

I loved the music, I loved the band, but something kept me disconnected from the amazing feeling of being at a concert and seeing the music you love laid out in front of you.

I did, however and thankfully, find a new band I would love to listen to constantly. I’m glad to hear that on their recorded albums there are string influences! You can hear cellos in there!

A band that can appreciate classical music even in it’s tiniest forms automatically owns my heart. They create ideal road trip music, or at least music that makes you feel like you’re going somewhere.

Listen to Beach Fossils’ latest album, “Somersault”, below!

The post Witching Hour: Beach Fossils @ Gabe’s 10/20/17 appeared first on KRUI Radio.

But early this last summer I rediscovered and fell in love with the 6 song EP they have on Spotify, “She’s Drunk Like the Rest of Us”. The lyrics are relatable and funny and unique. I have never found something that makes me feel like their music does. It’s perfect and blunt and emotional and poppy.

So I already knew that I loved Karen Meat’s music when I showed up at Gabe’s last night, October 20th, for their Witching Hour performance. There weren’t very many people that beat me there.

Maybe only five people were hanging out near the stage or at the large tables that line the sides of the room. The room did slowly fill up to around fifteen or twenty people by the time the set started.

The first thing Arin Eaton and Dana Telsrow did was sing the harmonies of their song “6-12-16” with their faces close, almost nose to nose. “Your eyes open up a sea of possibilities/when I look into them, I see a place I’d rather be.”

Their chemistry on stage was immediate. Watching them perform was like watching to two of them have a conversation, like they were just hanging out making music and not on stage. It really, really works.

When Dana finished a guitar solo, Arin says “good job” before she starts singing again, and he responds with a “thank you”. They came up with choreographic tricks to perform throughout their set. Arin took a sip of beer, waterfalled it into Dana’s mouth which he was hanging upside down below her, and sang the line “I cope with it by drinking/every single day” only for Dana to create the most extreme spit take you would have ever seen in your life.

They were fun with their audience, and their camaraderie didn’t seem closed off. Before they performed “Sad”, Arin told the audience to close their eyes, and she’d tell us when to open them.

When we did, Dana was playing the guitar with Arin between him and the instrument with her arms wrapped around to his back.

The songs are also incredibly relatable in a more realistic way than most music. While they are very much 60’s pop influenced, they also talk about depression and rejection and breakups.

“Remember a few hours ago when you broke up with me/in your sister’s front yard in front of your family/oh my god/that was embarrassing” is the intro lyric to “Drone”. “I want to barf on you” is the first line from “Sad”. They’re comedic and cathartic and happy while also in the pits of a depression.

It’s not like all of these are there to make up for a lack of actual talent either. Arin’s vocals are incredible and her voice is perfect for her music. Dana’s guitar solos are nothing short of musical genius, and are so versatile as well.

This performance did nothing but intensify my love for Karen Meat’s music. I will never listen to their music the same way as I have before. If they’re ever in Iowa City again, as they often are, I will one hundred percent be there.

Listen to Karen Meat’s “She’s Drunk Like the Rest of Us” below!

The post Witching Hour: Karen Meat @ Gabe’s 10/20/17 appeared first on KRUI Radio.

I began branching out into what I discovered to be the nearly infinite amount of different genres of horror films: Italian horror, psychological horror, horror comedy, splatter gore, invasion horror. These different movies offered a very unique take on the horror genre and really opened up what the term “scary movie” actually meant to me. Don’t get me wrong, these movies can be terrifying, but they do offer a lot more than simple scares in their storytelling.

Bone Tomahawk (2015) – There are even Western horror movies! Except for some choice scenes, this film is a true Western in every sense of the word. The film follows a group of lawmen led by Kurt Russell who are on a mission to rescue some peaceful townsfolk from prehistoric-appearing cavemen.

There are gorgeous wide open shots of panoramic western plains that make you almost forget you are watching what is classified as a horror movie. Indeed, after the somewhat brutal opening scene the movie eschews nearly all standard horror elements until the film’s finale. The movie is not titled Bone Tomahawk for nothing though. The title object features as the tool of destruction in all of the films grisly bits. These include one scene that, without exaggeration is the single most physically graphic moment I have ever witnessed on film. Don’t say I didn’t warn you. Violence aside however, this movie is still worth a watch for both horror fans and seasoned western watchers alike. Just skip the above mentioned scene.

Deathgasm (2015) – Ah yes, the old metal-splatter-horror-comedy subgenre. As its name implies, Deathgasm is a movie not to be taken too seriously. As crazy as it may sound, a movie about two metal heads from New Zealand who accidentally summon an entity from Hell is actually quite silly, and even sweet. Oh yeah and there is a lot of blood. It is called Deathgasm after all. The core characters play well off of each other for occasional dialogue and story-driven moments, but the majority of the film is driven by a kinetic energy reminiscent of, well, a death metal track.

They Look Like People (2015) – This low budget pyschological horror film plays the most like a straight scary movie, but is also incredibly emotionally affecting. It followes a young man named Wyatt who believes that the people around him are turning into monsters that (name drop!) look like people. At the core of the movie is the relationship between Wyatt and his best friend Christian. As Wyatt struggles between his paranoia and preparing himself for the coming invasion, he must decide whether or not to help his friend even though Christian may be a monster himself. The film is very quiet and decisive in its scary moments, which amplifies their effectiveness and builds to a climax that is as heart stopping as it is heart wrenching.

Spring (2014) – What do you get when you combine low-impact yet high caliber dialogue with body horror reminiscent of The Fly? You get Spring, a romantic horror film. Yes, romantic horror films exist. Imagine crossing this year’s Sundance Festival hit Southside with You with John Carpenter’s The Thing. Stretching into even more adventurous territory is Spring , the story a man named Evan who takes a winding vacation to Italy. In his travels, he meets and eventually falls for Louise, a student studying in the field of genetics. That genetics major comes in handy for Louise because it turns out she has bouts of turning into horrific monsters every so often. Other than that, she is a total catch. The movie earns its points in the genuine relationship it builds between Evan and Louise. The viewer completely understands why Evan would stay and offer to help Louise near the end of the film rather than go back home and run away from the challenges she presents.

Holidays (2016) – Anthology horror films are notoriously unbalanced, which should surprise no one. If you get multiple directors together for a film there are sure to be some masterful segments as well as a few floppy duds. Holidays contains eight short films that pay homage to some of the more disturbing elements of our favorite times of the year.

The standout segment is Anthony Scott Burns’ Father’s Day. In the short film, a young woman named Carol receives a cassette tape from her father who she previously thought was dead. The tape contains directions from her father on how to find him as well as an explanation for why he had to leave. Jocelin Donahue gives an emotional and nearly silent performance as a daughter who is simultaneously stunned, grieved, and hopeful at the prospect of finding her father.

Likewise Michael Gross is a standout talent as the perfectly pitched dad, lending an air of fatherly love as well as morbid longing to his voice portrayal of Carol’s father. The conclusion of Father’s Day is left ambiguous, but this does not lessen the impact of the segment as a whole.

I absolutely hate when people get down on horror movies. With such a tremendous variety to choose from, everyone can find one that matches their taste. If none of these worked for you, don’t worry. I’ll be back with more choice horror gems later this month. Happy scary movie month!

Watch and Talk is a column about movies. It seeks to not only review movies, but to simply talk about them. Watch and Talk looks at the various cultural impacts and aspects that movies can have.

The post Watch and Talk: Scary Movie Month appeared first on KRUI Radio.