Gossip — “Real Power”
The release of “Real Power,” Gossip’s Rick Rubin-produced follow-up to 2012’s “A Joyful Noise,” is fast approaching. More political and dancy than the surprisingly sweet first single, “Crazy Again,” the album’s self-titled track features images of protest (“Somewhere in the night, a fire is burning / Energy is high, it’s getting real”) and an undeniable hi-hat shuffle. In support of “Real Power,” Gossip will be touring Europe this summer. Here’s hoping that they’ll eventually make their way back to Arkansas, the homestate of singer Beth Ditto and guitarist Nathan Howdeshell.
Funkanites — “Movin’ On”
After over a dozen years as a genre-fluid staple of the Central Arkansas live music scene, Funkanites have finally released their first recorded single. Unsurprisingly, it’s great. Precise and effortless, “Movin’ On” is chock-full of subtle keyboard ornamentation, powerful horn swells and deliciously controlled vibrato from singer Ryan Davis. The song shines the brightest on the refrain, when a gospel-tinged chorus of voices echo the title’s self-soothing declaration.
Ike Peters — “Just a Little Talk”
The opening lines of “Just a Little Talk” — one of three songs on Little Rock singer-songwriter Ike Peters’ new “Sundries” EP — hint at love, regret, doubt and divine intervention with the provocative efficiency of a good short story: “In 2017 I thought I heard the voice of God / Calling for communion through the speakers of my car / I should have pulled right over and let Jesus in my heart / But I just kept on driving toward the heaven where you are.” Add to the mix Peters’ charmingly creaky voice, and it’s impossible not to get drawn in, especially as his lonely acoustic strums give way to tremolo-heavy folk rock.
Yuni Wa — “Big City Blues”
“Big City Blues” begins all smooth and jazzy, led by an unfurling saxophone. It’s an unfamiliar sound from Little Rock producer Yuni Wa, who more frequently relies on synths to create his signature brand of gloomy electronica. Though the track remains keyboard-free throughout its runtime, the nostalgic opening is quickly complicated by an aggressive beat, swung so hard that it’s almost at risk of pulling the song out of time. The resulting product is one of Yuni Wa’s most unique grooves. For more, check out “Organized Soul,” a seven-song EP that came out in early February.
Kin & Company — “Are You Afraid?”
On “Are You Afraid?,” Kin & Company’s first new song in over two years, the Northwest Arkansas group sounds slicker, tighter and more textured than ever before. Perhaps more important than these sonic shifts, though, are the developments in bandleader Jonah Thornton’s voice, which is put to understated use in painting a picture of a relationship that’s approaching its inevitable end. “Maybe nothing is as simple / As the two of us letting it die,” Thornton sings calmly, allowing the bleakness of the moment to do the work for him. A new LP from Kin & Company is expected in April. In the meantime, spend some time with “Away, Away,” one of our favorite tracks of 2022.
Silas Carpenter — “No One Better”
With two full-length albums under his belt, 17-year-old Silas Carpenter is so busy that I’m not sure how he has the time for love, the subject of nearly all his songs. While romance isn’t a surprising preoccupation for a high schooler, Carpenter has this way of looking at relationships from a peculiar angle, especially on tracks like “No One Better.” While others might hide the darker parts of their heart, Carpenter shamelessly parades his selfishness over a bouncy electric piano: “I don’t care / About your happiness or true love / If I’m not the one that you love / What’s the point in going on?” It’s tongue-in-cheek, but we all know the feeling.
Hot Toddy Karate — “White Dots in my Peripherals”
Following six months of single teasing, the debut album from Hot Toddy Karate — or former Couch Jacket’s bassist and singer Ben Eslick — dropped Friday. The record is called “Scr0mbled Egg” and includes three features from Art Bobb, the moniker of Couch Jacket’s singer and guitarist Brennan Leeds. One of the best cuts is “White Dots in my Peripherals,” a dreamy instrumental crammed with scatterbrained sounds. The most striking textures are two distinct piano parts: one twinkly and electronic, the other woody and freighted with reverb.
Trevor Bates — “The Psychic”
Scratchy, often psychedelic guitar solos (Charles Wyrick makes an appearance) and organ shenanigans abound in the proggy, shape-shifting and never-boring “The Psychic,” a 16-minute voyage by Little Rock musician Trevor Bates that’s somehow not even the longest song he’s released so far. While his constant experimentation might overwhelm a less open-minded listener, the track contains a noteworthy breath of melodic air just after the four-minute mark, demonstrating just how capable Bates is of taking big, tuneful swings as well.
P.S. What did we miss?
