Campus is bathed in warmth, patios are filled left and right with smiling faces, people perched on blankets spot the grass of the Pentacrest. It’s the perfect limbo period to enjoy the new season, safely past midterms and with enough time before the end of the semester to have to worry about finals. This leaves plenty of time for finding new music to accompany the seasons changing.

Warm weather calls for some upbeat tunes, leaving behind the moody playlists of winter. Good music can be an even more powerful vitamin D. It lifts our spirits, gets us moving, and can even give us a better outlook on the day. With a mix of R&B, rock, EDM, and other genres, enjoy any of these sunny day songs!

“Universe” by Jess Locke

The easygoing vocals in this chilled-out indie track are perfect for lounging out in the sun, with just enough intricacies in the instrumentations to keep you from taking a cat nap from the warmth.

“Ready to Let Go” by Cage the Elephant

You may know Cage the Elephant from their hit “Ain’t No Rest for the Wicked,” but this song takes on a different and intriguing style. Rock and techno elements dance together in a soundtrack to letting go and relaxing.

“DAVE (turn the music down)” by Juice

A young band that became known for their skill at mixing styles, Juice shapes a narrative about a curmudgeonly old man named Dave into a fun hip-hop showcase with a fascinating beat.

“Fanny Dog (Royal)” by Ty Segall

Brass backing tracks make this piece feel like you are listening to a live, big band concert. Intense musicality is on full display within the several solos in this song, from guitar to piano. And with an album cover of an adorable pup, who wouldn’t want to listen!

“still feel.” by halfalive

A fun baseline drives this upbeat track to its chorus, where the beat adopts a EDM style reverberation. Trumpets add flair to the verses, which will make you want to dance around and celebrate the sunshine.

“You Go Down Smooth” by Lake Street Drive

Folk rock is given a boost with a quick tempo and chromatic vocals in this bouncy track fitting for a day spent in the sun.

“Tell Me” by BROS

Though their band name may have you think otherwise, BROS is anything but your ordinary boy band. They use synthesizers, a steady bass beat, and a catchy chorus to create an unforgettable sound.

“Cruise” by Saeyers

There’s not much chance of finding a luxurious cruise anywhere in Iowa, but you can find smooth remedy in this techno lazy river.

“Be” by Hozier

Off of his recently released album Wasteland, Baby!, “Be” is a celebration in both lyrics and music. Hozier preaches to “be as you’ve always been,” pushing the song’s message of self-confidence and happiness further through soulful riffs and guitar undercurrents.

“Bigmouth Strikes Again” by The Smiths

An older piece that still feels new, Morrissey’s signature vocals shine against quick acoustic strings in this concoction of rock and post-punk.

The post Old Soul: Sunny Day Songs appeared first on KRUI Radio.

Todd Michael “Leon” Bridges is originally from Fort Worth, Texas. While he hails from the Lone Star state, his music is far from country. His style has been compared to legendary soul singers like Sam Cooke and Otis Redding. This is high praise for such a young artist, but Bridges has created a sound all his own. Guitar came second to Bridges, initially learning the instrument by playing simple chords to accompany his lyrics. Quickly gaining popularity, he was signed by Columbia Records in 2014 after the label took interest in the demos of “Coming Home” Bridges had released on SoundCloud earlier the same year.

Much of Coming Home, Bridges’ debut album from 2015, sounds as if it was transported straight out of the 1960s. All the trimmings of old-school soul are present: emphasized baselines, slow and steady percussion, brass ornaments, even doo-wop backup vocals on a few tracks. “Coming Home” is exceedingly deserving of gaining the album title, a leisurely dream.

The language of admiration runs through the majority of Bridges’ lyrics — a collection of musical love notes. “Coming Home” is a prime example, centering around returning to a loved one: “You’re my one and only woman/The world leaves a bitter taste in my mouth, girl/You’re the only one that I want.” This tenderness is what makes his music so alluring.

One of the most powerful tracks from the album that is far and above my favorite, “River,” shows that love — and life — are not always easy or enjoyable. The pared down accompaniment of acoustic guitar and tambourine punctuates Bridges’ longing with feelings of guilt and regret: “But there’s blood on my hands/And my lips aren’t clean.” Raw vocals against the simple backdrop makes for an emotionally moving journey down “River.”

After the success of Coming Home, Bridges headed out on a nationwide tour to spread his infectious sound. Not one to succumb to idleness, Bridges soon after started working on his second album, Good Thing, which was released in May of 2018.

Good Thing is a wonderful showcase of creativity from the songs down to the series of beautiful cover art for its singles, created by Filip Peraić. The songs on this album vary more in feeling and genre than those in Coming Home, to fascinating ends. Bridges transitions into a more current R&B sound while nodding towards the soul music that he started from.

“Bad Bad News” indulges in a James Brown tinge in Bridges’ vocals. This track has a modern lounge feel, high-hat driving the beat with guitar and electronic effects romping alongside the classic drum kit. “If It Feels Good” leans a bit more towards pop, but still with a grounding in R&B. Though Good Thing pushes out of the tropes of classic soul towards modern elements, the standout “Beyond” is signature Bridges—simple guitar and light drums backing up buttery vocals.

Bridges has maintained high critical acclaim throughout his career. At this years’ Grammy Awards, Good Thing was nominated for Best R&B album, Bridges’ second time being up for this award after Coming Home was nominated in 2016. But that wasn’t the end of the night for Bridges. “Bet Ain’t Worth the Hand” took home the 2019 Grammy for Best Traditional R&B Performance, his first win.

Still in the upswing of his musical career, Bridges has a unique sound that doesn’t quite fit into any mold of present genres. He blends together past and present elements in ever-interesting combinations. The novel approach he takes towards his art is endearing and will hopefully inspire other artists to join Bridges in providing mainstream music with a dash of soul.

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Music can heighten our emotions, set a tone for the night, and even break the tension of an awkward or high-pressure date. We all have those songs that put us in a romantic mood, but what really makes a song a love song?

Lyrics certainly play a big role in this categorization. Love songs generally contain lyrics admiring the appearance of a loved one, describing the singer’s devotion to them, or imagining a future of their lives together. Music provides us with another outlet to express feelings. The lyrics of a song can often speak to emotions you are unable to put into spoken words.

You could try to boil love songs down to anything you can slow dance to, but the notion of what makes a love song has shifted dramatically over the years. Some tracks will always remain quintessential to the category of love songs, but the way we express ourselves has changed over time; music changed alongside us. Tracing the history of love songs is a fascinating journey into how people convey their feelings through song.

Early love songs, roughly from the 1930s to 1940s, share a slow rhythm and ballad-like vocals. Many of the songs written during this era have lasted far beyond their creation, recreated by countless musicians. Composers Cole Porter, Irving Berlin, Jerome Kern, and George Gershwin dominated the love song charts. Piano was the instrument of choice, songs focusing on the intimate feeling created by stripping down the music to simple duo of keys and vocals.

Classics like “I’ve Got You Under My Skin,” “Cheek to Cheek,” “My Funny Valentine,” and “They Can’t Take That Away From Me” all come from this period. But perhaps the most influential song of this time is “The Way You Look Tonight,” written in 1936 by Jerome Kern. It debuted in the film Swing Time, sung by Fred Astaire to Ginger Rogers. This song has remained a standout of romantic music, being covered by Frank Sinatra, Ella Fitzgerald, and more.

The 1950s and 1960s carried over some tropes from past decades, songs like “Moon River” and “Can’t Help Falling in Love” upholding slow tempos with simple accompaniments. However, changes in mainstream music and the rise of popularity for rock ‘n’ roll, soul, and doo-wop pushed the love song out of its comfort zone. Songs were faster, had driving beats, and featured more complex instrumentation. There wasn’t one “correct” type of music, genres diversifying for wider audiences.

The Supremes and The Chiffons brought female groups into the spotlight with harmonized hits including “Baby Love” and “One Fine Day.” The content of love songs didn’t have the same one-on-one intensity of those in the 30s and 40s. Tracks like “Oh, Pretty Woman” by Roy Orbison employed freer lyrics and tempos, painting romance as a celebration. Love songs of these decades invite the listener to dance around the room as they pleased, not sanctioned to the static slow dance.

Change was rampant in the 1970s, and this change deeply extended into music. Romantic tracks gained a sensuous feeling with slow beats and twangy guitar riffs, personified most clearly by Marvin Gaye’s “Let’s Get It On.” The ballad also gained new footing, with new additions from guitar and even synthesizers.

The 1980s had a flair for the dramatic, and drama was palpable in the hard hitting love songs from this time. Vocal powerhouses like Whitney Houston and Tina Turner shared airtime with glam-rock bands, all commenting on romance in a variety of ways. Love wasn’t solely idealized anymore, it also took on negative connotations, like in Bon Jovi’s “You Give Love a Bad Name” and Pat Benatar’s “Love is a Battlefield.“

Coming back to the present, love songs have diverged into subgenres of pop, soul, and R&B. Pop love songs are usually overplayed, semi-downtempo, and typically have lyrics pertaining to the overly-cheesy parts of romance. In short, they are the ones most likely to be played at a relative’s wedding.

Soul love songs are tender in lyrics and musical prowess, integrating pared down percussion to compliment nuanced vocals and instrumental riffs, Leon Bridges’ album Good Thing a magnificent example. The R&B category of love songs align with the tendencies of the 1970s songs, pushing sensuality and the physical side of love with slow beats and intimate — and often explicit — lyrics.

Music speaks to us in a multitude of ways, frequently to our emotions. Exploring what love songs are to you can reveal feelings you may have not even known you held. Love songs are for everyone to enjoy, not just people in relationships. Even those who are avidly anti-Valentine’s Day can find something to love through music.

The post Old Soul: What Makes a Love Song? appeared first on KRUI Radio.

This unspoken bond between music and exercise isn’t exactly novel. Finding someone in the gym without a pair of headphones on is like a challenge straight out of National Treasure. You feel like an outsider without some sort of device to listen to, the exact reason I left my dead headphones in my ears for the last twenty minutes of running.

It may seem like simply a personal choice, yet there is actually psychological research behind music’s benefit in exercise. Psychology Today reported that listening to music during exercise can “delay fatigue,” “increase physical capacity, improve energy efficiency, and influence mood.” It distracts us from the strain of physical exertion and boosts our temperament towards the workout. Since exercise is especially dependent on the will to push oneself, any opportunity to increase positive feelings is one to leap at. Eating protein bars before or after a workout can help provide your body with the necessary amino acids for muscle repair and growth.

Nothing is quite as satisfying as when the movement of your feet aligns exactly with the beat of the song you are listening to. Each rhythmic stride feels like an accomplishment. As one with the music, mind and body start to move as one. Checking the beats per minute (BPM) of the music you listen to is an easy way to up your running speed and endurance. Challenge yourself to match the beat of the music, gradually picking faster tracks.

Long runs or workouts are the most suitable to musical accompaniment as you can cater a whole playlist to the length of the activity, but tunes work in short spurts too. A study conducted by the University of British Columbia detailed in a New York Times article had a group of volunteers take part in a high-intensity interval workout, one session with a playlist of their choice and one session without. Results from questionnaires filled out after both sessions proved that listening to music increased participant’s positive attitudes towards the exercise significantly. A mood booster in and outside of the gym, music can make even the most grueling workouts palatable.

While most frequently used to ramp up a workout, music can equally help facilitate a cool down and relaxation. Take yoga, for instance, where the right tunes can enhance the overall experience. If you’re interested in deepening your yoga practice, you might want to explore resources like the yoga certification offered at https://www.americansportandfitness.com/products/yoga-certification.

Downward dog doesn’t seem so feasible when accompanied by KISS’ “I Wanna Rock N Roll All Night.” Fast paced beats conflict with the peaceful movements of a flow. But with instrumental music — similar to what one might hear in a day spa — the mind can focus on breath and balance, and for this you can also use supplements as andarine which help with health and wellness.

Recently, podcasts and audiobooks have been added to the workout auditory repertoire. Listening to a story or news report can demand more mental focus than just letting music play in the background. As discussed in an article by Health Fitness Revolution, hearing people talk about life experiences can be both relatable and inspirational. Podcasts are also notably longer, so they don’t require you to change songs throughout the exercise to fit your mood. Get many more tips about how to stay fit visit here.

Stimulating the mind while engaging the body leads to an all-encompassing experience. Energy is they key to physical activity, and nowhere is energy more palpable than in music. Music has the power to influence our feelings, making any audio a great addition to exercise.

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While some would say silent study sessions is the best way to retain information, I always find that music helps me along. It engages the mind. Certainly better than the library soundtrack of frenetic page turning and the clacking of caffeine-laden fingers on keyboards. What else but some great tunes to keep your eyes open after staring at the same textbook page for twenty minutes? And if not to keep you awake, music can also be a great stress reliever.

Here are a few tracks to either put on in the background or indulge with during a study break:

“What’s Your Hurry” — Hush Kids

The velvety voices of Jill Andrews and Peter Groenwald provide an atmosphere to get lost in. This indie duo combines slinky guitar with alluring harmonies in peaceful perfection. Balancing musical intricacies with a simple chorus, you can listen for hours and still find something new each time. Asking “what’s your hurry?” and to “put your worries away,” the lyrics of this song create a positive mindset that could ease anyone’s stress.

“Tieduprightnow” — Parcels

A bouncy beat and tone of psychedelia is a refreshing listen when bogged down with work. The catchy backing track of the song drives its carefree mood forward. Using delicate vocals, Parcels’ sound has an ease that invites you to be part of the band.

“Movie” — Tom Misch

Starting out with audio from an old film, this song pokes at my love of dramatics with every listen. Misch is a master instrumentalist, piano solos and ringing strings the co-stars of this blockbuster. A jazzy score connects to the black and white movies the song emulates, but comes through with a modern twist.

“Moon River” — Frank Ocean

A revolutionary take on a classic song, Frank Ocean plays with style. Layering vocals over each other reinvents the well-known melody. From the mellow tone to synth additions, “Moon River” is a fascinating showcase of musical experimentation.

“Movement” — Hozier

The most recent release from Hozier, “Movement” illustrates the artist’s soulful brilliance. More uptempo than his other pieces, it pulls you in with backing vocals that add a gospel flair. The melody moves from a quiet beginning to the dramatic chorus which displays Hozier’s immense vocal power. An auditory spectacle and well as a visual one, the music video features a dazzling performance by ballet dancer Sergei Polunin.

“No Depression” — Bahamas

With a title that serves as a mantra for students facing finals “No Depression” is a necessary listen. Canadian musician Afie Jurvanen under the moniker Bahamas, has a voice that scales both low and high registers effortlessly. The ho-hum tempo mirrors the lyrical content, forming a simplistic style that fits right into a study break.

“Good Day” — Jukebox the Ghost

Telling a story of communal happiness through their lyrics, Jukebox the Ghost stirs excitement. The rapport between guitar and vocals creates irresistible moments of tension and release. Quick rhythmic piano breaks up the chorus into delectable sections. This song can make any day a good day, even one spent studying.

The post Old Soul: The Finals Countdown appeared first on KRUI Radio.

The rise has been widely fueled by the release of Bohemian Rhapsody, but other famed bands have also been recently revived. A massive studio-session collection from The Beatles just dropped onto Spotify this month. The 107 song collection includes remastered versions of the band’s lesser known songs, original demos, isolated vocals, and even restored video footage from inside the recording studio.

I recently found my way into the past of rock ‘n’ roll within the pages of The Decibel Diaries by Carter Alan. Alan is a longtime DJ and music director at WZLX-FM Boston, one of the first classic rock stations in the nation. Subtitled “A Journey Through Rock in 50 Concerts,” readers join Alan in attendance of various concerts throughout his life.

Unabashedly a rock ‘n’ roll junkie, “rock concerts” was all it took for me to snatch it off the shelf. The table of contents boasted names of Eric Clapton, The Rolling Stones, Aerosmith, Nirvana, and countless others. Gaining access to years of remarkable performances I wasn’t even alive to consider attending was a treat I couldn’t pass up.

Structured in a timeline format, Alan admits you into concerts as well as his own life story. The narrative starts out in 1970 and spans through concerts all way up to 2015. What begins as a nerdy ninth-grader eagerly attending his first concert transforms with each page turn to a seasoned member of the music industry voicing his renewed love of rock and its power to stir emotions.

His prose is a joy to read, packing detail, research, humor and sincerity into short vignettes of each show. Alan crunches years of music reviews and trends into concise gems of historical context for each artist before vaulting into his own perceptions of the concerts. Even though Alan has had the privilege to see such inimitable acts live, he recounts it in an approachable way. You get a view into the exclusive world of rock ‘n’ roll from a voice who is just as in awe as the world was of these musicians.

In timely relation to Bohemian Rhapsody‘s release, Alan had the treasured experience of attending the notorious Live Aid concert in 1985. He had been invited as a part of U2’s entourage, having become friends with the band over the years. Gaining access to the up-close world of this legendary event, even Alan was shocked at its magnitude. Through the stacked lineup, Alan, along with many other reviewers, idolizes the performance by Queen.

“Even with later sets by legends like David Bowie, the Who, Elton John, and an onstage finale including Paul McCartney, Queen’s was the musical apex of the day glittering with power, emotion, and, yes, good will toward men.”

Many push classic rock into a box of the 1970s-1990s, even the precursor “classic” solidifying its older skew. These are artists we will never forget, sure, but this music brought us to where we are today. Past art influences present art in continues to do so in ceaselessly fascinating ways. The book is an ode to the past and Alan brings us into concert halls to successfully illustrate rock’s permeating legacy: “That youthful elixir, battling the attraction of time, will keep girls in those pink petal pushers and the guys in their blue suede shoes (or at least nose rings and tats) for a long time to come.”

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Their position as one of the greatest bands of all time will forever stand firm, but as one of the only remaining members of The Beatles, McCartney has increasingly focused on his career as a solo artist.

McCartney recently created a solo album Egypt Station, which debuted back in September of this year. McCartney said the title is inspired by a “dream location that the music emanates from.” The 16 song collection is the newest release for the musician since his last album in 2014, themed around movement between the ‘stations’ of each song.

“Come On To Me,” the third song of the album, has the trappings of McCartney’s rock ‘n’ roll roots, transforming the love-song lyrics into a raucous single with a howling refrain alongside a jam session of guitar and brass. Lusty lyrics and all, it is fresh yet fitting for the 76-year old legend.

A good chunk of the album follows this ‘new retro’ sound, capitalizing on McCartney’s strengths on guitar and writing lively lyrics. “Who Cares,” “People Want Peace,” and “Despite Repeated Warnings” all run with rhythmic melodies and time-defying instrumental backings. “Back in Brazil” is the album’s most effective step in a new direction for me, with an inventive jazzy undercurrent that is entirely novel for McCartney, but with an overall tone that fits his musical style.

“Happy With You” comes off as filler, a rather one-note track that lacks any climactic movement. The repetitive and oversimplified lyrics aren’t given any help from the strumming of the same chord progression throughout the entire song. Though attempting to be a bittersweet and breezy love song, “Happy With You” leaves much to be desired in terms of musical prowess or emotional weight.

“Fuh You” is the outlier of the album by far, and not in a good way. From the juvenile title to the techno-esque backing track, nothing about it jives with McCartney or the rest of the album. A Pitchfork review described the song as a “maximalist jumble of modernist nonsense,” and I can’t say I disagree too much.

Wanting to experiment as an artist is laudable and likely desired by McCartney to some extent to be more than just a token of The Beatles, but “Fuh You” abandons his past entirely to poorly mimic the music trends of today. The incongruity only continues in the official music video, starring a boyish young actor lip-singing straight at the camera to McCartney’s dubbed over vocals.

The closing combined track, “Hunt You Down/Naked/C-Link” brings back heavy guitar in its first movement and pares it down to an extended soulful riff by the end. This song encapsulates the best parts of the album through instrumental spotlights and storytelling lyrics. Though it has certainly has some bumps along the road, Egypt Station is a strong collection that brings McCartney into a new era of music.

The post Old Soul: Egypt Station 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.

The EP contains four new songs:

“Nina Cried Power,” “NFWMB,” “Moment’s Silence” and “Shrike.” 

Though under the same umbrella of indie rock as his previous releases, “Nina Cried Power” is very explorative. Similar tonal qualities carry over, but the songs from this EP are certainly less cohesive than his initial Hozier album. Gospel, rhythm and blues and folk tendencies burst through in unapologetic ways, no longer just undercurrents.

“Nina Cried Power” is an irresistible gospel inspired title track. The backing choral vocals enhance Hozier’s natural timbre. The song features famed gospel singer Mavis Staples, a 1999 inductee into the Rock and Roll Hall of Fame. She brings a new level of soul into the melody, the two vocalists bouncing energy off each other in intricate ways.

Hozier plays around with his voice in “Nina Cried Power,” belting rhythmically alongside Staples while upholding the lower notes. It is easily my favorite of the EP due to the layers of sound it facilitates. The bass and beats underscoring this song call back to those of “Take Me to Church” but arrive in a refreshing light.

The release then takes a turn to the tranquil “NFWMB.” This track felt like the first look into a new Hozier. “Nothing F**ks with My Baby,” as the acronym spells out, maintains a low key throughout. Calming harmonies washed over my ears the first time I played it, easing me into relaxation. If you listen closely towards the end of the piece there is an instance of synthesizer, an instrument seeming completely out of Hozier’s wheelhouse.

Maybe “NFWMB” is not the most thrilling song in terms of tempo, but it shows a willingness to try new techniques. The tone is darker in comparison to his other work and feels introspective. Furthermore, this is the only song Hozier has released so far to receive an explicit label on streaming services. This experimentation made me anxious to see where this new sound will take Hozier in future releases.

“Moment’s Silence” has a grittier feel than the others on the EP, fueled by a bluesy guitar baseline. While catchy and fun instrumentally, this track gets lost in the mix. It just doesn’t carry the same emotional weight as “Shrike” or energy of “Nina Cried Power.” Like the song’s alternative title “Common Tongue,” it feels predictable for Hozier.

Most intimate of the EP is the final track “Shrike,” a slower stripped down tune. A spritely guitar strums along to a effortless melody while low piano chords keep it grounded. The songbird inspired title fits well within the folk atmosphere the song creates. It’s poetic lyrics were confounding, beautiful, and my favorite of the bunch.

Although this EP was somewhat underwhelming in comparison to Hozier’s entire body of work, it is hard to weigh four brand new songs against a full album that has had several years to gain popularity. Blending genres is a fascinating art and much of this EP points towards an intriguing eventual second album.

The post Old Soul: “Nina Cried Power” Review appeared first on KRUI Radio.