Aussie noise rock band Tropical Fuck Storm’s third album, Deep States, is as messy and disorienting as the doomed political landscape it was birthed out of. Reflecting mind-poisoning social media discourse twisted through the filter of a distortion pedal, vocalists Gareth Liddiard and Fiona Kitschin deliver some of their most compelling melodies over lacerating guitar and synth lines. The opening track, “The Greatest Story Ever Told”, writes from the perspective of Jesus’ second coming to Earth to proclaim in a grand chorus “There ain’t no end of days.” Even at its loudest, a sense of unending weariness may be what holds the album together most cohesively. This is remarked on in the most detail by Liddiard on the second track, “G.A.F.F”–or ‘Give a Fuck Fatigue’–the result of constant news bombardment of tragedies which people have no immediate means of challenging. A softer moment, “New Romeo Agent”, is one of TFS’ most stunningly somber songs–rivaled only by the penultimate track “Legal Ghost”. Over a shuffling beat, Kitschin recounts a suicide mission–hope in the face of adversity–and ultimately, failure. The gorgeously ambient “The Confinement of the Quarks”, does give some reprieve after what has been something of a downer album. It’s an odd one next to the rest of their catalog, but given the circumstances, this feels like the only album Tropical Fuck Storm could have sincerely released, and it’s excellent.

-Jaden Amjadi

Lingua Ignota – SINNER GET READY

In many ways, the essence of Lingua Ignota’s music has always been the harrowing balance between beauty and an uncomfortably human ugliness which, on previous releases, has exhibited itself in a fervorously operatic cacophony of expertly constructed noise. Simply put, she does not hold back for anyone. On 2019’s CALIGULA, Lingua Ignota tackles intense themes of abuse in her unapologetically spiteful and searing lyrics that at times morph into agonizing howls and shrieks. Simultaneously, she weaves delicate piano playing and thunderous walls of noise that further imagines the sort of divine hell one might find themselves in as they are destroyed by someone’s “love”. A similar theme runs through her 2021 release SINNER GET READY, though this time it is aimed at religious trauma which she explores both lyrically and instrumentally. Lingua Ignota has always incorporated a regal and grandiose instrumental palette, but SINNER GET READY shows a slightly softer side to her work with elements of religious hymns and neofolk. Yet, despite drawing back a bit from her more abrasive tendencies, she still maintains the same level of harrowing torture and anguish that permeates her work. Instead of throat-shredding shrieks, Lingua Ignota allows subtle expressions of defeat to shine through in the quieting or breaking of her voice; Heavy static and feedback distortion hold back to allow strings and piano to carry the weight of her despair. Overall, SINNER GET READY is no less soul-crushing than her previous releases, but shows an incredible level of artistry in crafting such a doleful, heavy presence with quiet grace.

-Sydney Sjobakken

Deafheaven – Infinite Granite

It’s a wonder what a difference a decade makes. Deafheaven arrived in the music scene like a devil disguised as an angel. Their chiming guitars swirled upwards into the heavens while lead vocalist George Clarke’s growls were buried underneath, a constant reminder of the emotional turmoil bubbling below the surface. Infinite Granite does a complete 180 on this sound that made Deafheaven such a critical darling, and while some might find the new scene a disservice to their black metal roots, I think it’s this album that launches them into the upper echelons of shoegaze canon. The 90s influence is strong here, as almost every classic gaze band’s influence can be heard throughout the album. But instead of wallowing in mere mimicry, Deafheaven destroys the lethargy that plagues so much of shoegaze and gives it a swift dose of adrenaline instead. This can be heard as soon as the one-two punches of “In Blur” and “Great Mass of Color” begin. The guitars are crunching, the drums are going absolutely crazy, and the waves of noise threaten to suffocate anything in their path.  Clarke’s vocals pierce through the layers of haze, their cleaner sound intensifying the feeling of hopefulness that punctuates the entire record. While the growls do make appearances from time to time, “Villain” especially, they’re more buried in the background, defeated by the soaring atmosphere surrounding them. Hell, “Neptune Raining Diamonds” has no vocals at all, but the feeling and passion are still there. This album is a tribute to the years Deafheaven spent mired in malice and despair. The music is still emotionally charged but instead of feeling trapped within the sound, Infinite Granite offers a light at the end of a tunnel.  

-Zachary LeBoeuf

Eyedress – Mulholland Drive

Idris Vicuña of Eyedress creates 15 tracks experimenting with different styles, production, and subject matter on Mulholland Drive. The combination of Vicuña’s vocal talent and the musicians’ skills generates a cohesively meshed album. Mulholland Drive has a typical Eyedress feel with hazy vocals, a simple drum line, and accentuated synth. “Midnight on a Sunny Day” is the first song on the album that establishes Eyedress’ collaborative spirit, with a guest list including the likes of Bee Eyes, Vex Ruffing, and Paul Cherry. “Something About You” has clearer vocals with an ear worm-inducing chorus. A groovy, upbeat sound is found on “Long Nights at the 711” while “Ride or Die” has a sultry jazz sound. The grunge, alt-rock genre makes an appearance on “Spit on Your Grave” with croaking vocals, fast-paced drums, and discordant guitars. The heavy subject matter on “Body Dysmorphia” is beautifully contrasted by the guitar taking over the melodic line in the chorus creating an uplifting sound. It wouldn’t be an Eyedress album without the muted strumming of the guitar as featured on “Want You There Tomorrow.” Album closer “Prada” has a vibrantly rhythmic beat. Overall, the album experiments with different styles and production elements while covering basic themes of everyday life from extreme societal standards to the comforts of family.

–Daniela Rybarczyk

Pink Navel – EPIC

On Pink Navel’s newest album, the rapper and producer sets out with the lofty goals of reclaiming the word “epic” from the clutches of internet irony. The manner in which it was recorded is appropriate considering this intention–being entirely produced live in one seamlessly contiguous performance on their Twitch channel. Sonically, it resembles the experience of standing just next to the speaker at a live show–a buzz in the timbre of each sound that can only be captured in this setting. In an energetically animated delivery, they rap references to cartoons and intersecting music scenes with unwavering positivity. On “DANNY PHANTOM”, their perception of where they stand in hip hop is clear: “I’m the funny friends’ side character’s ghost dad / Shit, and I own that, when I get up on there and just giggle you are so mad / Like it’s problem officer, but you are lacking gonads.” These verses stitched together with auditory pieces of web culture create a collage of self-assurance and pride in identity. “I am the only rapper who knows Ze Frank”, they proclaim on “ZE FRANK”, and they also, to my knowledge, are the only rapper to sample an Angel Mamii Tik Tok. What is most apparent after a listen to EPIC is how much fun Pink Navel had recording it–and this fun is infectious.

-Jaden Amjadi

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

Cassandra Jenkins sets herself apart from her indie folk singer/songwriter contemporaries on An Overview on Phenomenal Nature in a variety of ways. Her vocal delivery is soft and calm but is imbued with confidence. Over palm-muted guitar, Jenkins begins her album with the line “I’m a three-legged dog working with what I’ve got / And part of me will always be looking for what I’ve lost.” Although the lyrics throughout this album are often sad, as she reflects on loneliness, family relationships, and death, but songs such as “New Bikini,” or the spoken word song “Hard Drive,” reach life-affirming conclusions. Her dry and evocative lyrics call to mind the work of David Berman, the indie folk pioneer and poet she was scheduled to tour with in 2019 before his passing—and whom she also references across the album. Aside from the emotional potency of her words, lush horns and restrained percussion support her guitar playing and add a layer of musical depth. These touches create a meditative and gentle atmosphere, allowing for the potentially upsetting lyrical themes to not overwhelm the listener. The ambient piece, “The Ramble” closes the record with birds chirping alongside strings and saxophone—a sun rising in the morning. On An Overview on Phenomenal Nature, Jenkins crafts what will surely be one of the most emotionally impactful albums of the year. 

-Jaden Amjadi 

 
The Body – I’ve Seen All I Need to See 

Hardly newcomers to the scene, the experimental metal band The Body manages to make abrasive music catchy on their eighth solo LP, I’ve Seen All I Need to See. Since 1999, the duo has been pushing the bounds of metal with their solo work and shown extreme willingness to collaborate with other alternative metal bands like Full of Hell and Thou. On this latest LP, they push their typically atypical brand of sludge and death metal even further with an increased presence of audio glitches and electronic manipulation as well a focus on earworm-inclined song structures. This is easily one of the catchiest metal albums this year, owing to the drums which are punchy and infectious, punctuated by harrowing howls and shrieks on tracks like “The City is Shelled” or “Tied Up and Locked In.” Simultaneously, the various skips and stutters of the recording and the buzzing and whirring of every track present listeners with an electronic or industrial sound on the opener “A Lament” and later on “They Are Coming.” Unlike past efforts of the band, there is very little emphasis on the throat-shredding vocals of frontman and guitarist Chip King. Instead, I’ve Seen All I Need to See focuses on using the vocals as yet another instrument, warping and incorporating them into the thunderous beating of the drums. This latest album proves the dynamism with which The Body is capable of playing. Their attempts at combining electronic elements with abrasive, lumbering sludge metal ideals are not only successful but also undeniably encapsulating. 

-Sydney Sjobakken 

Claud – Super Monster 

Do not let the Pop Art stylings of Super Monster’s cover fool you; the happy moments on this album are few and far between. Claud expands upon the bedroom pop genre while also sticking close to its roots. “Overnight,” “Gold,” and “Ana” are lo-fi slacker rock masterpieces, while “Soft Spot” indulges in shoegaze haziness, and “Jordan” is as anthemic a tune as bedroom pop may ever get. A true treasure in Super Monster is the lyrics. While Claud may stick to vague metaphors and universal themes, these devices make the dream-like nature of the album sound that much more refined. “In or In-Between” succinctly details the breakdown of communication in a relationship. “Ana” describes feelings of inadequacy, and “Guard Down,” despite the cheery music video with its cute animations, is a story of vulnerability and comfort zones expertly told. The impreciseness of these tracks allows for anyone to relate to them, but they remain personal enough to leave a lasting impact. Suffice to say, Claud is clearly taking the bedroom pop scene for a ride with Super Monster, and I am more than happy to follow wherever that road takes them. 

-Zach LeBoeuf 

Tele Novella – Merlynn Belle 

Tele Novella delivers a serene, dreamlike soundscape with charming, delicate vocals taking center stage.  Tele Novella is the musical project of vocalist Natalie Ribbons and multi-instrumentalist Jason Chronis, both of whom hail from southeast Texas.  On their sophomore album Merlynn Belle, they create an auditory anachronism.  From which particular time period is questionable, as they shift styles from flamenco waltz on “Words That Stay,” to psych-pop on “Wishing Shrine,” to the cowpoke western  of “Technicolor Town” and then something one could describe as medieval jester pop on “One Little Pearl.” The subdued instrumentation perfectly compliments each of these sounds. This multitude of styles results in a playful and beautifully surreal equilibrium of sonic texture.  The undeniable MVP is the vocal delivery of Ribbons. “You’ll only dance if it’s to gunshots, and you’ll move through it with grace,” Ribbons sings on the opener; her high register and inflection of syllables unique – yet reminiscent of an artist like Nico.  Listening to Merlynn Belle is like finding a time capsule with no contextual explanation – we’re just lucky it ever existed. 

-Ryan Knipp 

Pink Navel & Won Pound – Pink Pound 

On their new mixtape Pink Pound, Pink Navel and Won Pound deliver a set of short and direct hip hop vignettes with lots of personality. Pink Navel’s rap style is boisterous and fun as they drop references to cartoons, videogames, and internet culture. This subject matter is nothing new for them, though this time around, it would seem they’ve put extra effort into their pen-game and flows. On “TV Shows” they begin by spitting: “I’m a Dada rapper, if by that you mean I’m baby,” a silly line juxtaposing the Dadaist art movement and the “I’m baby” meme. A staple of Pink Navel’s past work—their shouted background overdubbing—returns to add energy to each of these tracks, although in a slightly restrained capacity to make them more approachable of an artist than ever. Producer Won Pound’s beats are vibrant and warm, mixing soulful samples and midi synths. These beats are enjoyable in their own right while allowing enough space for Pink Navel’s exuberant performance. With a running length of about 11 minutes, it’s a release that calls to be replayed immediately after a first spin. For anyone intrigued by the idea of a rapper who sounds like a Steven Universe character, this mixtape is a must-listen. 

-Jaden Amjadi 

Julien Baker – Little Oblivions 

Julien Baker creates a wonderful blend of indie pop, folk, and authentic lyrics on her album Little Oblivions. This marks a noticeable change in Baker’s discography as her first album with a consistently full band beyond her guitar. Baker’s album includes simple, ballad-like songs “Crying Wolf,” “Song in E,” and “Ziptie” which all include acoustic guitar, piano, and synthesizer for a hauntingly captivating sound. These songs leave room for Baker’s beautiful melodies and lyrics to shine. Tracks like “Ringside” and “Favor” represent the upbeat side of the album with a combination of guitars, drums, and vocals building to a climax that draws listeners in. “Hardline” and “Faith Healer” are stand-out tracks as they show off dynamic instrumental lines alongside Baker’s introspective lyrics. Baker discusses her struggles with mental illness, addiction, and religion on this album with a poetic flair. Little Oblivions is the satisfying combination of indie-pop instruments and emotionally rich lyrics that put complex feelings and experiences into enjoyable music. 

-Daniela Rybarczyk 

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