Cine Local’s latest installment covers all the bases and features some of the hottest acts in Kansas City right now. You’d do well to crouch down, slip on your headphones, and let this collection of superlative visuals and great tunes take over for the next hour of your life.
Khrystal, “Come on”
The opening track from Khrystal’s new album, Life is life, “Come Over”, features the musician expressing her desire for an unnamed person on a calm and insistent bassline. Katheryne Johnson’s video does much the same. Using close-ups of Khrystal’s face and bass, the short track video makes a lot of use of the singer’s expressive face, which in turn is thoughtful and eager.
You can broadcast Life is life on Spotify.
Hembree, “Operators” ft. Corpse
With each new track from Hembree, we get more and more excited for their next album. As I said during the last roundup, it seems that the group translates the pleasure of their concerts into a recorded release. It’s the funniest song Hembree has made so far, thanks to a stupidly catchy saxophone riff from Warren Huang and a guest verse from Bodye, aka Marty Hillard of Ebony Tusks. Put it all on top of Coco’s stylish video, and I can’t stop watching.
Hembree plays the Truman on Friday November 26, with Madisen Ward & the Mama Bear and Dreamgirl. Details on this show here.
Blackstarkids, “All cops are bastards*”
The title of Blackstarkids new album for Dirty Hit, Puppies forever, may not let expect a song called “All Cops Are Bastards *”, but the trio manages to take their sunny pop and create the most subversive political song I’ve heard in ages. Guitar and fuzzy keys bounce back, but the lyrics are pure energy of 1312, letting kids know that Blackstarkids “aren’t any cop’s friend” because – as Deiondre unequivocally puts it – ” They kill us in the streets “and” I know you hate my type. “
You can broadcast Puppies forever on Spotify.
Cuee & Silky Ganache, “Silky”
In June, the Lawrence Cuee rapper performed at a fundraiser for Haus of McCoy, the new center for queer and trans youth founded by Cody Charles. As part of this set, Cuee composed a song featuring RuPaul’s Drag Race competitor Silky Nutmeg Ganache. Now that song is available to everyone, thanks to this video from director Matthew Cox. Not only is this a hell of a collaboration, but it’s also amazing to hear that Cuee can trap as well as he can rap.
If you like the video, you can donate to Haus of McCoy and support their mission âto build a community that dreams of seeing all queer and trans youth not only survive, but thriveâ.
Tech N9ne, “Face Off” ft. Joey Cool, King Iso & Dwayne Johnson
There are some great things about this video. They shot all the footage live in the newly remodeled bottleneck and it looks like it was pure fucking fire in the club the afternoon they were on stage. There are a lot of references to a classic Travolta / Cage film piece.
We discover the answer to the question “Who is the better rapper: The Rock or John Cena?” And the answer is quite surprising (spoiler: one debuted on a piece of Murs and the other not). At least Dwayne Johnson is putting on a plug for Teremana, although I’m surprised he doesn’t have one for ZOA either.
Jenna Rae, “I’m running”
Whenever Unfit Wives’ Jenna Rae comes out to perform solo or duet shows with her partner, Martin Farrell, she sets up a camera and gets amazing live video in every location. Earlier this summer, for example, she did âI’m Staying Right Hereâ on a pontoon boat in the middle of a lake. However, this video from Palo Duro Canyon, outside of Amarillo, captures the meaning of the song and its talk about the desire to be free. Bonus points for the guest appearance of Jenna and Martin’s dog, Roy.
Lonnie Fisher and the Funeral, “Wrong Way”
Lonnie Fisher and the Funeral has been starring in Lawrence for a long time. While they’re one of those bands that don’t play as often as the younger ones, that just means it’s worth seeing them when they do. The band’s mix of roots, goth rock, and indie creates an odd mix, but it’s a powerful mix. This track, the first single from their new album Haunted– recorded by Duane Trower at the Weights and Measures Soundlab – to start all those notes in one track.
The video is a collection of weird stock footage with a few effects thrown over it, but it works quite well. However, I would like to note how awesome it is that they use the actual MTV video font for the opening and closing titles.
You can see Lonnie Fisher and the Funeral, as well as the Shebangs and Alien Hellbop at the Replay for a morning triple album on Friday, November 19. Details on this show here.
Dead Ensign, “Jerk on the Business Dime”
“We’re from your place,” read Dead Ensign’s email regarding their new album, Q: What else is there to do? Their Bandcamp bio reads: âCreate without waste. No further information is required. The lo-fi dance floor video, “Jerk on the company’s dime,” is archival footage of people at work interspersed with waving hands and very unsubtle insertions that certainly suggest that, if you get paid a shitty salary, you should definitely jerk off during the clock. I don’t have any notes.
Q: What else is there to do? can be found on Bandcamp, although Dead Ensign requests “that no physical copy ever be made”.
Les Brownz, “Work So Hard”
I’ll let the folks at Omegalistic take the reins to describe this one:
“‘Work So Hard’, through the song’s lyrics and video, describes 2 different perspectives of an artist’s struggle, cleverly told through a Jordan Peele thriller, We scenario. The first verse is about a battle with the old demons per se, who are trying to bring you back to your old ways, while the second verse is the frustrated rant of the underground artist who continues to work as hard or harder than the rest, with more successful artists without the benefits and rewards.
Great production values ââfrom FiveOneVision too. It sounds like a million dollars.
Kannabis Club, “Whenever We Smoke”
With their latest single, cannabis enthusiasts at Kansas City Kannabis Club are getting a little jazzy. It’s an incredibly relaxed track that feels like a throwback to the mid-90s, like Digable Planets. The collective opted to use all the instruments live while recording, which feels like it was put together while the team packed a few bowls and let things rock. Melo Miles’ video at Viewpoint Visuals has a really old time Reefer Madness atmosphere that goes well with the cut.
Are you a local musician with a new video to share? Send an email to [email protected]