The iconic punk duo announce their first album since 2019’s Daydream Explosion, and have unveiled its rip-roaring lead single “Missing You (I Can’t Wait).”
The Dollyrots shook up the punk scene with a jittery, pop-influenced bite with the release of their 2004 first-ever LP Eat My Heart Out. Now, more than 20 years and multiple lineup changes later, the band have declared their eighth effort Night Owls a new kind of debut. “You know how they say a band’s first album is usually their best?,” member Kellly Ogden explained, “Well, I think because we had time for this one, you know, since the world stopped due to Covid, it’s a lot like a first album.”
This intention is especially apparent in “Missing You (I Can’t Wait”), a refreshing reintroduction to The Dollyrots. Even after 20 years, the band has bottled up the youthful energy that powered their early work and offers something familiar yet exciting for fans old and new. The title of the song is deceptively simple and is far from a sappy love ballad. Over screeching electric guitar, Ogden bleeds out all of her desires onto a faraway lover.
Lines like “I cannot wait to see your face” and “missing you” are constantly repeated throughout the track, which feel raw and unabashed. Sometimes lines don’t gel together much narratively, like “And everybody’s right on everybody / And everybody needs / I feel like such a fiend,” but this doesn’t matter. Ogden isn’t trying to write an eloquent love letter, she just really wants you to know how painfully in love she is.
“Missing You (I Can’t Wait)” is available now on major streaming platforms like YouTube, Spotify,and Apple Music. Night Owls is out October 13 and is available to pre-order digitally and on gatefold yellow vinyl (with a for-fans-only bonus track) here.
Cameron Landry is a former journalism student at The George Washington University, and a current writer for Alchemical Records. He’s shared a passion for music journalism for several years, and focused much of his reporting as an undergraduate on how independent music venues have been impacted by the COVID-19 pandemic. Based in Washington, DC, Cameron can often be found at local concerts (and record stores!) in the district.
Flow-bending artist aSanTIS discusses art, culture, and whether sound can solve the world’s problems in celebration of Hispanic Heritage Month.
My interview with Amy Santis aka aSanTIS began in the most unexpected way. The Maryland-based flow-bending artist and lyrical storyteller came prepared to engage in conversation around questions I had posed – and she also brought one or two of her own thoughtful prompts based on her curiosities around my view of learning.
This practice of taking in her surroundings deeply through observation and inquiry has come naturally to aSanTIS ever since she was a young child. In terms of her early starts in music, she notes that she began as a discerning listener. “Just listening to music from my mom, on the radio, just being a consumer in the world of sound. But I think mainly, my mom has always loved dancing and listening to music, so that was sort of like second nature. We play music at gatherings, we play music in the car, and these songs are sort of like diaries that take us into a specific place.”
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