The Turning Wheel, Chrystia Cabral’s third album under the project Spellling, offers bewitchingly captivating progressive folk and neo-soul songs. A shift towards natural instrumentation marks a stark change from 2019’s synth-heavy Mazy Fly, giving these songs a new liveliness, and pushing Cabral’s songwriting towards the theatrical. The sonic palette on its own can be bewildering at first–veering off without warning into performances of soul, hard rock, classical, folk, and of course, synthwave. It’s no surprise that the personnel list reveals more than thirty performers–all of whom sound great. The songs are left with an enchanting sense of otherworldliness and magic. The opener, “Little Deer” showcases the album in all its grandeur. Instrumentally expansive but melodically simple, Cabral uses the symbol of a hunted deer to explore ideas of love and shared consciousness across living beings–oneness–themes returned across the album in lyrics that read like incantations. The title track, “Turning Wheel” is a surprisingly catchy and approachable folk pop tune. Here, the narrator struggles with conflicting ideas of unity and isolation, though the chorus affirms the solace in loneliness. “Queen of Wands” finds strings morphing into synths held up by electronic drumming, reminiscent of some of the eeriest moments of her previous work. This album is a witchy and mind-altering experience–one I could recommend to anyone.

–Jaden Amjadi

Japanese Breakfast – Jubilee

Japanese Breakfast’s third album, Jubilee, balances dance-worthy anthemic tracks with a storyline that pulls at the soul, highlighting moments of tragic beauty at the center of the human experience. Songwriter Michelle Zauner explores moments of weakness in love, in personhood, and in coming to terms with the nature of loss, but within these themes she masterfully paints a picture of hope and perseverance. In the opening track, “Paprika”, listeners are called into the world of Jubilee with repetitious horn melodies & symphony strings while Zauner reflects on sharing her loss with the world through performance. In the following track, “Be Sweet”, she juxtaposes lines like “Tell the men I’m coming” with “Be sweet to me baby, I wanna believe in you” telling the ever-relatable story of wanting to dive back into love while at the same time being painfully aware of vulnerabilities revealed in past encounters. Similar themes of vulnerability are explored in “Posing in Bondage”, where Zauner uses the idea of waiting for one’s lover in bondage while time passes and the lover’s failure to show becomes increasingly apparent. Another noteworthy track, “Side Tackle”, composed of punchy synth and revelatory sax melodies, reveals Zauner’s objective as she sings, “I’m tackling this void”. This line feels like a perfect metaphor for the album–a story about finding jubilee in the void. In the album’s seventh track, “Savage Good Boy”, Zauner strays from personal exploration and steps into the shoes of the wealthy to highlight a more tangible vulnerability that exists in classism and socioeconomic disparity. In Jubilee, Japanese Breakfast has constructed a deeply personal yet relatable inquest into the nature of human vulnerability. It is a testament to her incredible artistry and a beautiful listen.

–Marisa Rude

Backxwash – I LIE HERE BURIED WITH MY RINGS AND MY DRESSES

On the newest album from Backxwash, she continues down the path of dark, industrial metal-infused hip hop, rapping verses that mix the personal with the occult. Following a short introduction, “THE PURPOSE OF PAIN”–which introduces the album’s themes of pain and healing–Backxwash spits her opening verse over distant screams and waves of distortion on “WAIL OF THE BANSHEE”. The first single and title track “I LIE HERE BURIED WITH MY RINGS AND MY DRESSES” is a perfect encapsulation of why this album rules. Ada Rook’s screeched chorus is cathartic and infectiously catchy. In shouted bars, Backxwash points to the enemies of liberation and their advantageous co-opting of Black and queer identity: “Lost in addiction / Exiled from my sisters / The colonies and their vision / Robbing me of my diction.” On “TERROR PACKETS” she recalls the pain of drug addiction at her lowest points, and Censored Dialogue opens with a laid back verse concerning the fracturing of relationships after coming out–they even have a hook after this verse which is memorable in its own right–before Backxwash comes in with her own screamed chorus. While Backxwash stuffs a lot of quality into just over thirty minutes, it seems to go by much quicker–another great entry into her catalog.

–Jaden Amjadi

Squirrel Flower – Planet (i)

Planet (i) by Squirrel Flower feels like a trip down memory lane, as songwriter Ella Williams guides the listener with her captivating voice and introspective lyrics. The album starts with the dark, brooding “I’ll Go Running” with the guitar and drums crescendoing towards the finish. “Hurt A Fly” flirts with poppy melodies, her voice backed by energized drums, piano, and guitar solos. This track feels like indie pop, but it fits into the album because of Williams’ silky vocals. Tracks like “Roadkill,” “Big Beast,” and “Flames and Flat Tires” start off barren with airy vocals but soon transition to a stronger vocal performance accompanied by grounding electric guitar and drums. Williams lived in Iowa for a bit and reminisces on playing her guitar in the love-song-like “Iowa 146.” A prime example of Williams’ thoughtful lyrics is “Pass” with lyrics like “I’m staying up all night/To wrestle with it/The good and the bad.” “To Be Forgotten” features layered vocals and large melodic leaps creating an expansive sound that is heart-wrenchingly beautiful. From the dark sound on “I’ll Go Running” to the calm acceptance on the album closer “Starshine,” Williams assures listeners there is hope in the dark with the comforting and reflective sound of Planet (i).

–Daniela Rybarczyk

The Mountain Goats – Dark In Here

Lately, John Darnielle of the Mountain Goats has been a personification of the working writer. When not penning novels, his prolific songwriting makes a year without a new album or EP a rarity. It just so happens that this new set of songs on Dark In Here is some of the band’s best work in years. The instrumentation is never particularly showy–folk rock guitars, some keys across piano and organ, some spare woodwinds–restrained drums which only hit hard when the time is right. Attention is primarily on Darnielle’s lyricism and vocal performance, which he keeps on the softer end of his register. These songs are sad, or at least, they explore different aspects of loneliness and darkness. On the first single from the album, “Mobile”, Darnielle returns to his classic calling card of biblical imagery. A narrator reflects on Jonah’s travels in shame after rejecting God–each verse ending with a return to their current situation–”I’m on a balcony in Mobile, Alabama, waiting for the wind to throw me down.” Meanwhile, “The Slow Parts in Death Metal Songs” also addresses a kind of loneliness, one rooted in social anxiety and the easing of it with devastating music. Dark In Here does what many of the best Mountain Goats albums do–and greets the most disaffected and alienated among us with open arms.

–Jaden Amjadi

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

Squirrel Flower sounds like driving home in this tunnel of simultaneous half-remembered youth and ancientness.

Ella Williams has a way of sucking the air out of the room with her arresting yet understated ballads on love, memory, time and loneliness. With a voice as bright as a jet stream, she sings terrible truths in an unassuming way. I feel what is said before I hear it. When she sings “Condtions”, and the heavy rock sound underscores her singing, I feel a restrained anger pacing beneath the chords.

Don’t look at me like that, like you’ll kill me

I can outrun you and I’ll do it gracefully

‘Cause I’m gentle but I can’t move slowly

Don’t you dare say you do not know me.

Both awful and hilarious for its complete surreality, Williams tells us that “Conditions” was ripped off by a popular Russian rapper. She says she imagines the thousands of presumably hyper-masculine Russian men enjoying the performance of her song. It is an incongruous image with a song that is laced with undeniable female nuance. The emotional and lyrical themes of “Conditions” strangely reminds me of Gwen Harwood’s poem, The Lion’s Bride.

… she came daily with our special bowl

Barefoot into my cage, and set it down:

our love feast. We became the talk of town,

Brute king and tender woman, soul to soul.

In the end, the lion devours the woman in a fit of delusion over what he believes she is over her humanity. Squirrel Flower offers an antithesis to this in her marble-smooth voice in “Not Your Prey”.

Feel you lurking, on the move, eyeing my back, making me shiver.

But if you touch me I won’t be still.

You’re no predator. I’m not your prey, I’m not your kill.

Unerring as an arrow, Williams’s lyrics land true. Understated but no less powerful for their stripped back honesty.

As she takes the center stage alone to finish out the set, the lights dim until only two green lights remain. Two green searchlights illuminate her, and these eyes glow as she paints a mist of time and loneliness over the room.

For a second, she sets a thousand mile stare over the audience into a memory that we can’t see, and she can’t reach. Midwestern Clay is a vignette from the grasslands of middle America and feels like the musical equivalent of watching a sunrise alone.

I got no idea what’s keeping me in the air

But nothing’s keeping me on the ground.

//

I got no idea what I’m doing here

But I’m here cause I got no place else to be.

There is an interesting distinction between ‘no place else to be,’ rather than ‘no place else to go.’ There is a kind of passivity, a sense of floating from place to place rather than actively swimming.

If you enjoy the kind of grungy sound and lonely girl rock of Mitski and the suburban nostalgia of Lorde’s “Pure Heroine”, Squirrel Flower is a must listen. Listen to her most recent album “Contact Sports” below, and find her on social media.

Instagram

Facebook

Bandcamp

Twitter

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She started off with her vocals echoing throughout the auditorium, the Englert Theatre being the perfect place for her performance. It is a seated auditorium and nuanced in a way that was fitting for Squirrel Flowers’ setlist. Being a rockstar can be overwhelming, no rockstar is abstaining from using any kind of drugs, well, you are not a rockstar and you are not on top of the world yet if you are not passing a drug test at work, there are products like gummies that will make you pass the test as if nothing happened.

All of her songs were very melodic, with mostly simple guitar riffs. It highlighted her beautiful vocals, that were angelic sounding with the added echo effect.

Her demeanor was sweet as she played through her music, mostly featuring songs that are on her new album, Contact Sports.

Halfway through her setlist, she welcomed her band onto the stage, fellow Grinnell College students who played bass and drums. I really like the rounded sound they got with the whole band. It added more dimension to the songs.

There was almost a storyline, where Squirrel Flower would start off with just her guitar and commanding voice, then lead into a buildup of sound that featured the bass and drums.

They always ended like the beginning, though, leading back into a soft vocal ending that showed you the meaning of these stories.

Some of my favorite songs played were: “Conditions”, “Not Your Prey”, “Daylight Savings”, and “Heavy”; All on her album Contact Sports. 

I think my favorite part of her performance, other than her inevitable incredible talent at singing, was the emotion conveyed in every line and note of her songs.

When she held out a note as she sung, and her guitar and vocals echoed, I felt like crying. The emotion sparked empathy in the audience where they were taken right into her shoes and could relate fully to her music.

Here is a live example of her sound:

I really appreciate the loud importance she wanted to display through the simplicity of her setlist.

She has a lot of musical talent that helps her get across her life and feelings through that act of art.

I highly recommend taking a listen to her music and also consider finding a way to see her live so you can feel that nostalgic, bittersweet emotion she portrays so well.

The post Mission Creek Festival: Squirrel Flower @ Englert Theatre 4/7/18 appeared first on KRUI Radio.

I showed up about an hour before her set and watched one of her openers — Squirrel Flower. I’m not here to review Squirrel Flower, but damn, they blew me away. The lead singer has a voice similar to Julien Baker’s, which made them the perfect opening act.

Finally, the lights dimmed, and Julien Baker casually walked on stage in her all-black outfit. She’s a tiny woman, but she is full of passion, which was apparent from the very first song.

Soft white lights beamed down on her as dark blue lights set the perfect backdrop for her slow, mellow songs. Her music is so mellow and quiet that you could hear pretty much everything that was going on in the audience — knuckles cracking, people flipping through programs, the clicks of a camera every time a picture was taken.

It was relaxing, though, to see a set like this. Honestly, Baker could put me to sleep — and that’s saying a lot, and I mean that in the best way possible. Her voice is so soothing, her guitar and piano work so smooth, and the softness in her music just makes me want to curl up and drift away. It’s very atmospheric, which I love so much.

At one point, she had a violinist join her for a couple songs, and w.o.w. it was amazing. The violin added so much dimension to her songs, so much that it almost made me regret taking up the clarinet and not the violin in middle school.

Baker switched between her electric guitar, acoustic guitar, and piano. Honestly, she’s so talented — normally I don’t see many artists switch it up that many times in a show.

One of the things I loved most were the mistakes she made — for example, she hit the mic stand with her guitar, took a step back, and bowed. It was so refreshing to see that she’s just a normal person like you and me. Which tbh, she kinda is — she’s only like a year older than me. Her sense of humor during that was one of the highlights of the night.

After singing a slow and mellow song, she would softly say “Thank you,” into the microphone.

Sprained Ankle by Julien Baker.

Baker is a singer/songwriter from Tennessee, and she released her debut album in 2015 called “Sprained Ankle” on Bandcamp. Her most recent LP, “Turn Out The Lights,” just came out in 2017. Her music is the perfect music to chill to, vibe to, cry to, study to, etc.

The night soon wrapped up, and Baker walked off the stage just as casually as she came on. I’ve been to a lot of Mission Creek shows, so believe me when I say that this was one of the best.

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Ella Williams, who goes by Squirrel Flower for her solo project, is based in Grinnell, Iowa, as well as Boston. She grew up in Boston and now lives, sharing time between, Grinnell and her home city.

She writes songs that are calm and melodic and make you feel deeply while listening along.

Her sound has a very distorted guitar and an angelic vocal sound. She has an album Early Winter Songs from Middle America that was released in 2015.

Her newest release was her EP, Contact Sports (2016). The EP features “Conditions” a great single that is her most played song on Spotify.

Williams says, in an interview on Gardner Sessions (through Grinnell College), that she was really inspired by the change of environment that moving to college brought. She says that changing environments is not always positive, but can be when you are making art.

Which is what she has done. She grew up in a choir and has been influenced by the choral style of singing, mixed with the experimental scene later discovered as a teen in Boston.

With the idea of change in environment, it is important to add that her music really reflects that feeling. Her albums, especially Early Winter Songs from Middle America, have a wavering sound of nostalgia. They sound light and reflecting.

The music makes you want to cry and her voice adds to an overall feeling of missing something, but also enjoying a new life in a new place. Squirrel Flower is able to really master the feeling of sweet bitterness. It is something everyone can relate to, especially after moving away from home as a young adult.

I wanted to feature some of my favorite songs off of her albums.

Early Winter Songs from Middle America (2015) really fits the nostalgic feeling, that she was so inspired by originally, through a more simple sound:

“Train”–  The sound of the guitar is melancholy and soft, which mixes with the clear feeling in her voice. This song fits the bittersweetness of missing home most to me.

“Open Door”– Her voice sounds more sweet, going along with a happier sound, but still sticking with a nostalgic feeling. The lyrics are about moving away from home, fitting the theme.

Contact Sports (2016) has a more distorted, heavier sound.

“Conditions” – This is her most played song on Spotify and for good reason. It features a distorted guitar and her classic sweet sounding voice. This song doesn’t feel sweet though, you can tell there is anger behind the passion of the song.

“Not Your Prey” – Squirrel Flower’s voice is more prominent in the opening of this song, as the music gains a heavier, rounded sound. The song goes in and out of crescendos.

Although these are the songs I highlighted, I recommend listening to all of Squirrel Flower’s music. Every song is very relatable and mesmerizing at its core.

I will be going to see Ella Williams, as Squirrel Flower, on Saturday, April 7th. Gabe’s 19 and over show will feature Squirrel Flower and Julien Baker for $20 general admission. See Mission Creek Festival’s whole lineup here and don’t miss out on a show that is bound to be entertaining and meaningful!

The post Mission Creek Festival Promo: Squirrel Flower appeared first on KRUI Radio.

Featuring: Built to Spill / Wye Oak / Jamila Woods (Reading + Performance) / Carrie Brownstein + Roxane Gay + Amber Tamblyn (In Conversation) / Julien Baker / Lidia Yuknavitch / Quinta Brunson and Friends / Margaret Glaspy / Kaitlyn Aurelia Smith / Algiers / Cakes Da Killa / Laurel Halo (Live + DJ Set) / Hanif Willis-Abdurraqib Xylouris White / Deb Olin Unferth / The Weepies/ Horse Lords / S. Carey / ONO / Alex Zhang Hungtai / Horse Feathers / Current Joys / Gordi /Kundiman / Lambda Literary / VIDA

IOWA CITY, IA – We are proud to announce that Mission Creek Festival will return to Iowa City April 3 – 8, 2018 for its 13th year, produced by The Englert Theatre. Join us for a week of performance, literature, and community-minded programming across downtown, stretching south to Big Grove Brewery & Taproom and north to Hancher. Full week passes for all six days of events will be available for $150, and — new this year — festivalgoers can purchase a weekend pass ($75 for access to events Friday through Sunday). Individual tickets to select shows will become available in January 2018. The lineup will be released and passes will go on sale simultaneously this Friday, December 8 at 12:30 p.m. CT.

The lineup reflects Mission Creek’s commitment to exploring and showcasing live performance, the literary arts, and radical community happenings.

Headlining this year’s festival are Carrie Brownstein + Roxane Gay + Amber Tamblyn (In Conversation) at The Englert Theatre. All proceeds from ticket sales will benefit Girls Rock! Iowa City, a nonprofit dedicated to fostering creativity and self-esteem in young girls and trans-identified youth through musical instruction and expression. This event is co-presented by local literary speaking agency, The Tuesday Agency.

Mission Creek’s 2018 musical programming boasts a characteristically diverse range of artists and groups, weaving into the week many fast-rising and genre-defining artists across indie rock, singer-songwriters, electronic and experimental music, rap, and spoken word.

A feast for indie rock fans, this year’s music program will include Built to Spill, who have been at the forefront of the genre for more than twenty years; rising singer-songwriter Julien Baker, known for a confessional style landing her on multiple “best album” lists since her surprise debut album in 2015; and returning festival favorite Margaret Glaspy, who performed with Andrew Bird and Bridget Kearney at Mission Creek in 2017. Mission Creek will partner with University of Iowa student group SCOPE Productions to present soul singer-songwriter and poet Jamila Woods (performance and reading) and dream-pop duo Wye Oak.

In 2018, Mission Creek Festival will also feature avant-garde composer and master of the Buchla synthesizer Kaitlyn Aurelia Smith, who paints “warm, absorbing and gorgeous” music ( Rolling Stone ); groundbreaking gay rapper Cakes Da Killa ; Atlanta post-punk/gospel/blues outfit Algiers ; World-music party band Xylouris White featuring Cretan lutist Giorgos Xylouris and Australian drummer Jim White (founder of chamber-rock band Dirty Three); and Bon Iver member S. Carey. The lineup will also have deep Iowa representation, including Iowa City-based, nationally-known indie pop outfit The Weepies, performing at Mission Creek for the first time; Extravision (Des Moines), Squirrel Flower (Grinnell), Sister Wife (Rock Island), Paul Cary, Purcha$e, Collidescope, Peanut Ricky & The Fiends, Elizabeth Moen, Jack Lion, Younger, and Hot Tang (all Iowa City). Comedian Quinta Brunson will perform with a roster of comics,comedian/satirist Bassem Youssef, who will perform, and Chef Dave Wieseneck (formerly Motley Cow Café) will return to prepare a special meal on the opening night of the festival (details forthcoming).

This year’s literary programming will be led by best-selling essayist Roxane Gay ( Bad Feminist, Difficult Women, Hunger); Carrie Brownstein, who chronicled her life in riot grrrl band Sleater-Kinney in the memoir Hunger Makes Me a Modern Girl ; poet Amber Tamblyn. Friday and Saturday’s literary programming will now reside under Litscape , which includes the Lit Walk (formerly Lit Crawl), a book fair hosting independent writers and presses, ICE CREAM comics and zine fair, and readings and conversations. 2018’s Saturday keynote reading (sponsored by The Iowa Review) will present Lidia Yuknavitch, whose lyric memoir The Chronology of Water gained an online cult following; poet and singer-songwriter Jamila Woods, and poet/essayist/culture critic Hanif Willis-Abdurraqib ( They Can’t Kill Us Until They Kill Us ,The Crown Ain’t Worth Much ). Additional readings from Iowa Nonfiction Writing Program graduates Sarah Viren, Lina Maria Ferreira Cabeza-Venegas, and Sandra Allen; and many more.

On Saturday, April 7, the festival will offer a series of free, daytime community events, including its Art + Life + Tech (ALT) speaker series, a book fair featuring literary magazines and small independent presses, the ICE CREAM comics and zine fair, a free rock show at Big Grove Brewery & Taproom, and other community happenings taking place downtown.

Festival Dates:
April 3 – 8, 2018

Pass & Ticket Information: 

Festival passes will be available for purchase beginning Friday, December 8 at 12:30 p.m. CST, online at missioncreekfestival.com or at the Englert Theatre Box Office. Individual tickets to select events will go on sale in January 2018.

Full Week Pass – $150
Our usual full week pass, granting access to all Mission Creek Festival ticketed performances (music, comedy). Entrance to ticketed events at The Englert Theatre and Hancher is guaranteed at all times. Entrance to other venues is subject to capacity. Special programs like culinary events are not included in the festival pass and require the purchase of additional tickets.

Weekend Pass – $75 (NEW THIS YEAR)
Introducing the weekend pass, friendly to folks with busy schedules or those traveling from afar. The weekend pass grants access to Mission Creek Festival ticketed performances (music, comedy) Friday through Sunday, subject to capacity at all venues. Special programs like culinary events are not included in either festival pass and require the purchase of additional tickets.

Confirmed Lineup Includes:
Performance – Music
Built to Spill
Wye Oak
Jamila Woods (Reading + Performance)
Julien Baker
Margaret Glaspy
Kaitlyn Aurelia Smith
Algiers
Cakes Da Killa
Laurel Halo (Live + DJ Set)
Xylouris White
The Weepies
Horse Lords
S. Carey
ONO
Alex Zhang Hungtai
Horse Feathers
Current Joys
Gordi
Paul Cary
Squirrel Flower
Younger
Peanut Ricky & The Fiends
Hot Tang

Collidescope
Extravision
Jack Lion
Mission: Beat
Sister Wife
Purcha$e
Dana T
Bstar
Elizabeth Moen

Performance – Comedy
Quinta Brunson and Friend

Bassem Youssef

Literature
Roxane Gay + Carrie Brownstein + Amber Tamblyn (In Conversation)
Lidia Yuknavitch
Jamila Woods
Hanif Willis-Abdurraqib
Deb Olin Unferth
Sarah Viren
Lina Maria Ferreira Cabeza-Venegas
Sandra Allen
Jesus Carrasco
Lyz Lenz
Brandon Taylor
Stephen Ira
Hafizah Geter
William Johnson
Cathy Linh Che
Helene Achanzar
Melody Gee
Kundiman
Lambda Literary
VIDA
The Believer
The Rumpus
Dorothy, a publishing project
Forklift, Ohio: A Journal of Poetry, Cooking, & Light Industrial Safety
The Iowa ReviewTwo Dollar Radio

Iowa Youth Writing Project

Rescue Press

Title Sponsor:
University of Iowa Community Credit Union

Little Village

General Festival Sponsors:
City of Iowa City
SCOPE Productions
Iowa City Downtown District
The Tuesday Agency
Iowa House Hotel
Big Grove Brewery
Iowa Public Radio

Event-Specific Sponsors:

The Tuesday Agency (Carrie Brownstein + Roxane Gay + Amber Tamblyn [In Conversation])
SCOPE Productions (Jamila Woods, Wye Oak)
The Iowa Review (keynote reading with Lidia Yuknavitch, Jamila Woods, and Hanif
Willis-Abdurraqib)

Grant Support:
Iowa City/Coralville Area Convention & Visitors Bureau

About Mission Creek Festival:

Mission Creek is dedicated to delivering a riveting 6-day artistic experience for our community that builds on the cultural geography and capital of downtown Iowa City. Programming focuses on music performances, literary readings, film screenings, public lectures, local food culture, and educational outreach. Nestled in the heart of downtown Iowa City, with most venues within a five minute walk of each other, Mission Creek thrives on intimacy and cross-medium experiences, turning music lovers on to new literature, writers on to new music, and expanding
appreciation of arts, community, and culture. Our focus is on quality, independent-minded sounds, words, and events. We are keen on emerging artists and embrace renegade spirits who have been around for years. Intimacy is integral to the Mission Creek experience: Our smallest festival venue fits 30 people and our largest holds 1800; but most rooms are in the 200-300 capacity range, allowing for visceral connections between artists and audience. The festival is presented and produced by The Englert Theatre, Iowa City’s 105-year-old historic
performing arts space.

Website: http://missioncreekfestival.com
Facebook: http://facebook.com/missioncreekfestival
Twitter: http://twitter.com/missioncreekic
Instagram: http://instagram.com/missioncreek

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