{"id":2089836,"date":"2025-10-14T09:10:09","date_gmt":"2025-10-14T09:10:09","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2089836"},"modified":"2025-10-14T09:10:09","modified_gmt":"2025-10-14T09:10:09","slug":"check-out-new-music-from-10-columbia-sc-musicians","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/check-out-new-music-from-10-columbia-sc-musicians\/","title":{"rendered":"Check out new music from 10 Columbia, SC musicians"},"content":{"rendered":"

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This month\u2019s Local Frequency features new music from Columbia-area musicians, including hardcore, folk, punk and neo-soul acts. Keep reading for 10 tracks and projects to check out. And if you have a new song, EP or album you\u2019d liked considered for the next edition of Local Frequency, email editor@free-times.com<\/a> for consideration.<\/p>\n

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When I Say Jump\u2019s new album, \u201cBefore the Fall\u201d<\/p>\n

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When I Say Jump, \u201cBefore the Fall\u201d (album)<\/h2>\n

It\u2019s always a good sign for a collection of heavy music<\/a> when no one in the band lists a last name in the credits. When I Say Jump is a five-headed post-hardcore behemoth, and their sound is remarkably tight and surprisingly emotional. Lead vocalist R.C. has a voice that can handle tortured emotion and tortured vocal cords simultaneously, and the band moves as one brutal unit throughout, taking twists and turns and spewing riffs. Think: A closed fist contacting your jawbone at high velocity, but the guy who did it is SUPER sorry.<\/p>\n

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\u201cBoog and Chicken\u201d by Sean Thomas<\/p>\n

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Sean Thomson, \u201cBoog & Chicken\u201d (single)<\/h2>\n

We\u2019ve been listening to this compulsively, and we still don\u2019t really know what it is. Sean Thomson lists his \u201cgenre\u201d as \u201cblues\/noise\/ragtime sludge,\u201d but \u201cBoog & Chicken\u201d<\/a> is \u2026. something else entirely. This 9-minute piece starts out with oddly timed banjo (maybe a banjo?) plucking against sudden orchestral surges before building into a gorgeous, wide-screen soundscape. Then ,at about 5:40, a guitar solo that David Gilmour should be allowed to sue someone for takes us into a slow, sloppy blues jam. Then it goes back to the banjo plucking. We don\u2019t know either, but you will not hear anything else like it on the local scene. Or anywhere. Like, on Earth.<\/p>\n

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Scottie Barnett, \u201cThe Love Connections & the disconnects\u201d<\/p>\n

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Scottie Barnett, \u201cThe Love Connections & the disconnects\u201d (EP)<\/h2>\n

This is a \u201clocal release of the year\u201d contender, and one of the most immersive musical experiences we\u2019ve had recently. Vocalist Scottie Barnett is a masterful singer who can layer cascades of harmony vocals around her soulful leads. And she uses this incredible instrument on a five-track EP of immaculately produced neo-soul.<\/a> The songs deliberately drift into one another, creating a blissful mini suite of love, pain and inspiration. Think of the albums that artists like Maxwell and Alicia Keys used to make. That\u2019s what we\u2019re talking about here.<\/p>\n<\/div>\n<\/div>\n

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Henry Luther\u2019s latest single, \u201cRally Boyz\u201d<\/p>\n

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Henry Luther, \u201cRally Boyz\u201d (single)<\/h2>\n

First things first: Send the kids out of the room for this one, \u2018cause the f-bombs are a-flyin.\u2019 Now then, check out this sputtering fireball of a hardcore tune.<\/a> This adrenaline-fueled breakdown of Luther\u2019s recent tour chaos changes tempos about every five seconds, going from grinding hard rock to ferocious hardcore in a flash, and occasionally just, y\u2019know, stopping entirely. It\u2019s hilarious, it\u2019s bookended by a profanity-laden, slightly boozed up intro and a Beach Boys-style outro. You\u2019re gonna a need a shower afterwards.<\/p>\n

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Kilo Hotel\u2019s new album is \u201cFlirting with Disaster\u201d<\/p>\n

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Kilo Hotel, \u201cFlirting with Disaster\u201d (EP)<\/h2>\n

What\u2019s a player to do when he\u2019s feeling low? When even that 2 a.m. conquest at the bar doesn\u2019t excite you anymore? That seems to be the theme of Kilo Hotel\u2019s \u201cFlirting with Disaster\u201d EP.<\/a> After a ridiculously (and deliberately) over-the-top narrative \u201cIntro\u201d that fills us in on our hero, Kilo delivers the tale of a one-night stand that ends up breaking his heart (\u201cFilipino Birthday Party\u201d), a sleepy hip-hop ode to a sleepy girl named \u201cMadison,\u201d envies the hotter vampires in the dark shadows of the dance club (\u201cNight Machines\u201d) before ending with a thundering plea to stop the (emotional) violence with \u201cPut The Hammer Down.\u201d Not sure if it was meant this way, but it feels like we\u2019re listening to a complete five-song story.<\/p>\n

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Kevin K and the Bowery Kats\u2019 new album is \u201cShadow Work 38\u201d<\/p>\n

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Kevin K & The Bowery Kats, \u201cShadow Work 38\u201d (album)<\/h2>\n

A while back, we told the story<\/a> of a first-wave punk musician named Kevin K. The man once played at CBGB in New York but now calls Columbia home. Well, perhaps he figured it was time to pull the leather jacket out of the closet and start rocking again. Kevin K\u2019s band, The Bowery Kats, get a ragged-but-right groove going, melding sloppy riffs and tight rhythms with zero polish. And the \u201cShadow Work 28\u201d<\/a> album is a glorious throwback, but it\u2019s not pure punk by any means. \u201cWhy She Cries\u201d is a power-pop gem that The Replacements or The Smithereens would\u2019ve killed for, \u201cHick from The Sticks\u201d is a Joan Jett-style pop-stomp and \u201cCrazy For You\u201d sounds like a long-lost Stones ballad from the \u201cSticky Fingers\u201d era.<\/p>\n<\/div>\n<\/div>\n

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Boomtown Trio released \u201cDon\u2019t Wait Up\u201d this October.<\/p>\n

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Boomtown Trio, \u201cDon\u2019t Wait Up\u201d (single)<\/h2>\n

This song is a calling card for the Boomtown Trio\u2019s full-length release later this month, and if this tune is any indication, we\u2019re about to have a delightfully unique experience. \u201cDon\u2019t Wait Up\u201d<\/a> kicks off as a lively acoustic guitar and fiddle duet that refreshes like water from a cold mountain stream. Then it moves into a fascinating start-stop verse highlighted by Cat Galan\u2019s remarkably clear and flexible voice. The song structure turns itself inside out and becomes something entirely different, sounding like some intoxicating mix of Alison Krauss and Bjork. In a good way, we swear.<\/p>\n

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Public Mind released \u201cIf You Listen\u201d recently.<\/p>\n

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Public Mind, \u201cIf You Listen\u201d (single)<\/h2>\n

This single from Aiken\u2019s Public Mind<\/a> got past us earlier this year, but once it digs in, it\u2019s not letting go. A heartfelt slamfest that speeds by in a fast, sloppy blur, all childlike enthusiasm and that great emo combination of desperation and hope. Throw in a chorus that will wedge itself into your brain like a kernel of popcorn in your teeth and a cool little breakdown towards the end, and this single is a banger, as the kids say.<\/p>\n

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The Runout\u2019s new album, \u201cJust as Real\u201d<\/p>\n

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The Runout, \u201cJust As Real\u201d (album)<\/h2>\n

\u201cJust As Real\u201d<\/a> is quite simply some damn good Americana, with wistful melodies, melded acoustic and electric guitars, some laidback vocal harmonies and a delicious Hammond B-3 providing texture in the background. And somewhat unexpectedly, there\u2019s a run of wistful acoustic ballads that serve as the spine of The Runout\u2019s album, making it a perfect Sunday morning spin.<\/p>\n

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Kershaw Spong\u2019s new single, \u201cCarolina Home.\u201d<\/p>\n

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Kershaw Spong, \u201cCarolina Home\u201d (single)<\/h2>\n

Speaking of good Sunday morning songs, singer\/songwriter Kershaw Spong has come out with a locally focused take<\/a> on the trucker anthem \u201cSix Days on the Road.\u201d Over a burbling banjo and a sunny acoustic groove, Spong\u2019s Southern twang-heavy voice tells the story of a man headed back \u201cthrough the rain and the mountains\u201d to his \u201cCarolina Home.\u201d Check out the song\u2019s head-nodding chorus and quicksilver acoustic guitar solo, too.<\/p>\n<\/div>\n<\/div>\n