8. Turnstile - GLOW ON

With GLOW ON, the Baltimore based hardcore group Turnstile come through with their best and most fully-realized work yet. Turnstile has been cranking out some of the most melodic hardcore you can put your ear to for the better part of a decade now, however, their newest is a significant moment in the realm of heavy music for just how forward thinking, tuneful, and instant the album has proved to be. Throughout GLOW ON the band notably toys with genre play- incorporating elements of dream pop, shoegaze, and even R&B in sparse measures (the album features the bands first ever collaboration with Dev Hynes A.K.A Blood Orange) while still remaining bleedingly faithful to their hardcore roots. A breakthrough album for not just the band but the genre, GLOW ON is a testament to how complex heavy music can be both musically and emotionally. 

16. Armand Hammer & The Alchemist - Haram

A breaking of new ground for one of the best contemporary hip hop producers in the genre. The Alchemist teams up with the independent and philosophical rap pioneers of Armand Hammer (billy woods & ELUCID) for a politically charged and intoxicating listening experience. In just 15 tracks, billy and ELUCID go on a 40 minute tear ravaging white supremacy, the systemic failures of capitalism, and the hypocrisy of religious fanatics. These criticisms hit hard with the vital backing beats of The Alchemist, who, throughout his extensive last decade, has established himself as something of an all time great producer. Each beat here adds an apocalyptic aura to the typically dread filled and stern performances from billy woods and ELUCID. Haram stands as a necessarily prescient and raw musical reminder of what is and what is to come if nothing is done to stop the aforementioned threats to humanity.

The albums of 2021 were likely some of the first full pieces of art created and completed while in the midst of a global pandemic. The year's best releases saw artists grapple with prolonged bouts of interiority, grief, a deteriorating and polarizing socio-political climate, and the desperate need for connection. Despite that not all of these albums are complete bummers if you can believe it!

Over the next three days, we'll be updating this post with our best of 2021, starting with our honorable mention and our 25th through 17th ranked albums. 

Okay, cards on the table, we’re putting this out late. We were supposed to put this out originally 

in time for Halloween proper- but our entire staff is made up of students, most of whom are unpaid, so cut us some slack. In any case, we here at the Moose believe there’s never a bad time to get into the spooky mood! So, from the zany, to the macabre, to the downright terrifying, these are U92 The Moose’s Halloween favorites! 

Aggression, emotion, and community: an interview with Dogleg

Just before performing their final song, Retirement Party lead Avery Springer teases the next band with a cheeky warning. “We’ve got Dogleg coming up next,” she says through a grin “so y’all better be prepared to mosh.” Dressed uniformly in t-shirts and jeans, the band takes the stage around 10 PM on a Monday night, bleeding a raw energy deserving of that disclaimer and then some. 

1. Brockhampton - Buzzcut (ft. Danny Brown)

The lead single for the Internet-Era boyband’s newest record ROADRUNNER, "Buzzcut" is a track that is dripping wall-to-wall with the confidence and undaunted energy of the early 2000’s Southern Hip-Hop bangers from which it takes much of its influence. Comprising largely of two equally hard-hitting verses from frontman Kevin Abstract and guest vocalist Danny Brown and ending with a lush group oriented outro, the song perfectly displays the kind of colorful genre-bending craftwork that made this group so special when they first hit the scene. The song is far and away one of the most aggressive tracks the band has ever released, especially notable following their previous album GINGER in which some of their softest and most downtrodden tracks were put on full display. Following a string of controversies, vast sonic changes, interband turmoil, and mixed critical reception, “BUZZCUT” proves to be nothing short of exactly the comeback single that BROCKHAMPTON needed.

This week I’m changing things up a bit, so instead of reviewing a singular film that I highly recommend as a must watch. I’m instead going to write a reflection of sorts on a film trilogy. This particular trilogy has eluded me for a couple of years since I learned about it’s existence a while back. I’ve read many people sing its praises to the high heavens yet I never felt compelled enough to sink my mind into it. However, recently I finally experienced the cinematic world of Satyajit Ray’s, masterfully intimate,  Apu Trilogy. 

The trilogy follows the life of a boy named Apu. We witness his emotional, mental, and physical growth toil in grief, tragedy, happiness, selfishness, ambition, and love. However, as much as the films are about him they are also about the dynamics of parental relationships and responsibilities. These elements play a vital part in this symphony wherein it seems that Satyajit Ray is actively searching for the epiphany of life’s purpose. This ultimate purpose is, quite obviously, difficult to comprehend but in his effort I find solace that the search for unadulterated joy is the closest answer he could get to. 

Questioning reality is a seldom thought that pops up in one’s head very sparsely throughout life. From experiencing deja vu to experiencing extremely vivid dreams, or seeing things that you think you saw to genuine psychosis. The surreal nature of blurring the lines between reality and illusion is often a concept that is tackled in film, usually by absurd or imaginative means. However, in the case of Satoshi Kon’s directorial debut, Perfect Blue, this concept is conjured up in an atmosphere of terrified paranoia. 

On the surface level, Perfect Blue, serves to be a damning critique on the entertainment industry and its treatment of its stars. However, beyond that, the eye-opening commentary on the inherently misogynistic structure of media and entertainment seem to stand center stage. Blurred by deceit, confusion, and sinister motives; each meticulous cut grants us a terrifying entryway into the psychotic downfall of crisis in identity. This crisis is implicitly compounded by the patriarchal pressures and expectations that come along with the various “celebritized” roles famous women fulfill. Whether that be sexually motivated or monetarily motivated. Although, in the case for this film, it’s abundantly clear that sexual projections made from societal expectations create a bubble of uncertainty and downright maliciousness. 

The NCAA selection committee revealed the West Virginia Mountaineers as a number three seed on Selection Sunday. As always, ups and downs filled the regular season for West Virginia. The Mountaineers at one point won six-consecutive road games in the Big 12, but, on the other hand, the Mountaineers haven’t won against a ranked opponent in almost a month. U92 the Moose's Sports Staff picks how deep the team will go in the tourney, the MVP of the team, and more.

Before we jump into tournament talk, what was your favorite moment of the season?

Adolescent angst, misguided happiness, and faux maturity; these are just a few phrases that adequately detail this nostalgia driven coming of age monument from the wonderful Sofia Coppola. In her directorial debut, Coppola, establishes her mesmeric knack for storytelling through weaving perspectives, fitting needle drops, enchanting sequences, and by ultimately creating an aura of mystery and solace. It’s with these elements that set the stage for the plight of the five idelic daughters of the Lisbon family. As the title suggests, they all commit suicide, for reasons not entirely unknown yet not entirely too sure. Some could point to the set of rigid circumstances, enforced by their old fashioned, extremely strict religious parents. Or the pent up frustrations of hormone-fueled anxieties. Or possibly, it's the lack of understanding from their peers. Regardless of the source of their tragic and sudden end, The Virgin Suicides continues to prove to be a refreshing take on the “high school teen drama” flick twenty-two years later, nostalgia and all.