Single Sentence Singles from local musicians: November edition
In an effort to keep you all abreast of the latest local music that’s not album or music video related, we present the latest installment of our irregular feature, Single Sentence Singles. We take a listen to the latest local singles to hit Soundcloud, Spotify, Bandcamp, et al, and sum them up in one sentence. Simple enough? Here we go.
The Way Way Back, “Pages”
The first track off ‘s new EP, Baggage or You’re Never Going To Leave It All Behind, is a pure distillation of everything I loved about early ’00s emo and indie—the melodicism, heartfelt lyrics, and ability to actually rock out when necessary—while leaving out the screamy bits which felt like an attempt to distract from the fact that these songs might actually make you cry.
Dustin McKamie, “Creature!”
Dustin McKamie’s best known for his work as a visual artist on shows like Westworld and The Walking Dead, but he’s also a musician, and his first single, “Creature!” would definitely fit in with the genre fare for which he’s crafted art, thanks to the dark synthpop vibes about a monster in the attic.
Oh, my goodness: this is one smooth, gliding number that makes me wish that Nisee was able to perform live, because I have this feeling that if she were able to get a crowd in front of the stage while she and Reggie B. dueted on this, it would turn into one hell of a sweaty dance party.
The Plymouth Furies, “Where the Spooklight Glows”
Named after a gang from cult film The Warriors, this new Kansas City act describes themselves as “Lee Hazelwood meets The Jesus and Mary Chain at a rest stop bathroom crime scene,” which is something akin to a lo-fi indie version of Deadbolt, meaning I’ll be eagerly awaiting whatever comes next from these creepy folks.
Jason Buice, “triptek”
With “triptek,” Lawrence singer/songwriter Jason Buice crafted something which is a far cry from last summer’s debut EP, Both Sides, in that this song—”conceived and written in the summer of 2020 in response to long hours in quarantine”—is a brilliantly-conceived five-part suite running the gamut from synthy atmospherics to instrumental prog.
Remy Styrk, “Boy”
Per Remy, “‘Boy’ is a short summary of 2020 being a catalyst for everything I’ve pushed under the bed being ignited into a debilitatingly unpredictable fire,” and the slow-burn opening into an absolute banger of a track reminds me nothing so much as a more politically-motivated Bad Rabbits.
Opening with an off-kilter version of “America (My Country, ‘Tis of Thee)” before dropping into a track which is unfiltered in its depiction of what it’s like to be black in America, thanks to Kemet and Kadesh spitting a slew of crimes from redlining to food deserts to police shootings — the end result being a track which slaps hard while refusing to let you continue on in ignorance, with a full choir driving the point home.
“Call me Stacey ’cause I’m Clueless” is a stellar line, but this R&B slow jam about star-crossed love manages to one-up the lyrical wordplay with a production job that captures the stark, lonely need to reconnect with someone.
Dandelions, “Take On The World”
The second track released from the duo of Brent Windler and Tim Gutschenritter is pure, gorgeous jangly power-pop that’s sure to find fans of R.E.M. and Superdrag falling deeply in love with their vocal harmonies and guitar work which absolutely delights.
Christena Graves, “Straight Line”
The first single off Christena Graves’ upcoming full-length, Finding My Footing (due out in February), “Straight Line” is a track which feels folky but powerful, as if Lucinda Williams had teamed up with the guys in Hembree to create something big and intense, addressing faith and family in a way which seems authentic.
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