LEO Weekly has Spotify playlists for each Listen Local column featuring selected tracks from each reviewed release. Check them out here!
Antietam
The Counting Game – album
Dromedary Records
antietamtheband.com
So what is a legendary NYC indie rock band doing in Listen Local? For those of you who don’t know, Antietam guitarist and vocalist Tara Key (No Fun, Babylon Dance Band) and bassist Tim Harris (Babylon Dance Band) literally founded the Louisville punk rock scene in 1978 before moving to NYC and forming Antietam in 1984. After more than four decades, they’re still going strong, creating music that refuses to fit neatly into any particular genre. And their 14th studio album, The Counting Game, proves they haven’t lost a step.
There’s a distinctly late-70s/early-80s stripped-down NYC punk rock feel here, but Antietam effortlessly folds in post-punk, alternative rock, folk, jazz, and garage rock to create something that is unmistakably their own. The flowing garage rock of opener “Way Too Well,” a reworking of a 1997 song that was never released, immediately establishes the tone, while the bluegrass-tinged “Dorado Gold” and the atmospheric, almost dreamlike instrumental “Winter Watch” demonstrate that even after 40 years, the band is still willing to explore new musical territories.
Other highlights include the jangly, poppy, garage rocker “Spy Vs. Spy,” the melancholic, jazzy “Every Other Star,” in which Tara and Tim’s vocals intertwine and dance together beautifully, the roots rock flow of “Coco Bella,” and the fuzzy, noisy guitar-driven instrumental “Coney Island,” which was originally recorded in 1996 and recently discovered on a DAT tape.
What’s most remarkable is how fresh this all sounds. The Counting Game doesn’t feel like a band resting on its history or simply recreating its past. Antietam remains adventurous, relevant, and completely unwilling to play by anyone else’s rules. After 40 years, that’s quite an accomplishment.
Black Dog Otis
Fire Hazard – album
blackdogotis.com
Three years after releasing their debut album Leather Factory, Black Dog Otis returns with their follow-up, Fire Hazard, a 12-song, 33-minute blast of Southern-fried rock. If I may be oddly specific, their overall sound is like Nine Pound Hammer covering The Stooges, who are covering ’70s-era ZZ Top. Dirty, bluesy rock ‘n’ roll with an outlaw country soul and a punk rock fuck you attitude, but with a sense of humor. “A band that’s every bit Louisville. Not quite Midwestern. Not quite Southern. And of course, not quite sober,” per their bio, which is a perfect description of what you’re getting.
According to the band, “These dozen tracks delve into broken hearts, broken bottles, fast cars, fist fights, loose humans, death, devils and escapism.” In other words, exactly what you’d expect.
“Speedball Mama” sounds like David Allan Coe jamming with The Allman Brothers Band, while “Bad News For You” is basically ZZ Top crashing headfirst into the Ramones. “El Camino” takes a bluesy acoustic approach with a cool Spanish flair. And then there’s “Lucky,” a dirty, blues-soaked Southern rocker that sounds like AC/DC got lost somewhere south of the Mason-Dixon Line. The addition of blues legend D. Jay Rice on “Smoke Show,” which sounds like if The Doors decided to get a little jazzy, funky and bluesy, is another highlight.
Produced by Seth Everhart, the whole damn thing sounds like it was recorded by guys who had absolutely no interest in playing it safe.
Fire Hazard is loud, sleazy, rowdy, and ridiculously fun. Roll the windows down, crank this motherfucker up, and try not to get a speeding ticket.
Cuverim
Fingerprints Found on Freezer Doors – EP
linktr.ee/cuverim
When I first heard Cuverim’s Fingerprints Found on Freezer Doors, my immediate thought was, “This could absolutely work at Louder Than Life.” There’s a darkness and heaviness here that feels tailor-made for the Loudmouth crowd.
Cuverim is the musical alias of visual artist Derrick Smith, who was inspired to start making music by Louisville’s hardcore scene. Instead of following that path, though, Smith channels his influences from bands like Deftones, Linkin Park, Paramore, Arctic Monkeys, The All American Rejects, and Bloc Party to create a sound that straddles the line between early-2000s alternative rock, pop punk, emo, and goth, while also incorporating elements of dark wave and shoegaze.
I went down a rabbit hole comparing Cuverim to bands that have played or will play Louder Than Life, and while I found pieces that reminded me of bands like Loathe, Superheaven, Bad Omens and Memphis May Fire, none of those comparisons quite stick. Cuverim has carved out a sound that is distinctly his own.
The five songs here – “Otherside,” “Seething,” “Pain,” “Shibari” and “Resuscitate” – are wrapped in a beautiful, almost haunting darkness. The music creates the perfect vessel for Smith’s vocals, which are easily the star of the show. His somber, almost low-humming delivery gives these songs an intimacy that perfectly complements the introspective, lovelorn lyrics and underlying sense of sorrow.
Smith may have started this project wondering if he could actually make music. After hearing Fingerprints Found on Freezer Doors, I think that question has been answered. Cuverim isn’t just an artist experimenting with a new medium. He’s an artist who has found another damn good way to make people feel something.
Deady
Hunka Junk – album
Romanous Records
linktr.ee/deady183
Although they’ve only been around for a few years, Deady have already established themselves as legendary in the local music scene. Thirty or forty years from now, people will still be talking about them with the same reverence that those of us who came up in the ’90s still have for bands like Slint, Endpoint, and Kinghorse (to name a few). From their frenzied, energetic live performances to their genre-bending, one-of-a-kind sound, Deady is a band you simply aren’t going to forget.
On Hunka Junk, their first full-length album, the band not only picks up where their 2023 self-titled EP left off, but they also venture into completely new territory, and the results are spectacular. Their punk roots still shine through, but this is anything but typical punk rock. Post-hardcore, indie rock, thrash metal, and even jazz are all thrown into the mix. And with Deady’s signature intricate-but-catchy-as-fuck riffs and quirky, unconventional song structures, you can never be quite sure where each song is going to go at any second. Timing changes and off-the-wall riffs seemingly come out of nowhere, sometimes jarringly, but somehow without ever sacrificing the melody or flow of the song.
Deady is an unstoppable force on tracks like “Systematic Slaughter,” “Outlaw Pornography,” “Gutter Kid,” and the title track, along with previously released singles “Hot Damn,” “Bad As It Sounds,” and my personal favorite, “R.I.P.” But it’s the three unexpected and genuinely beautiful acoustic guitar-and-vocal tracks – “Louisville,” “Goodnight Bitch,” and “Lie to the Police” – that may grab the most attention. All three showcase vocalist Mandy Keathley’s abilities as both a singer and lyricist.
Bottom line, Hunka Junk is anything but. This album cements Deady’s place in the annals of Louisville music royalty and is an absolute must-hear!
Distillery Dogs
“Rooster Run” (20th Anniversary Edition) – single
distillerydogs.bandcamp.com
Sometimes a song survives simply because it’s a great song. Other times, it survives because it captures a place, a time, and a cast of characters so vividly that people can’t let it go. Twenty years after it first emerged from Arizona cowpunk outfit The Earps, “Rooster Run” has returned courtesy of Earps former bassist Buckshot George and his current band, Distillery Dogs, and the result feels less like a remake and more like a long-overdue restoration.
Inspired by the legendary Rooster Run General Store in Nelson County, KY, “Rooster Run” is essentially a three-minute snapshot of rural Americana at its most colorful, featuring an interesting array of people interacting on what one would assume is an average day at the store. Like the best storytelling songs, it doesn’t judge its characters; it simply lets them exist and invites the listener along for the ride.
Musically, Distillery Dogs occupy a sweet spot somewhere between Buck Owens, Jason & The Scorchers, Southern Culture on the Skids, and the cowpunk side of Social Distortion. The band’s self-described blend of classic country, honky-tonk, and punk rock attitude fits this song perfectly. Buckshot George’s vocals deliver the lyrics with equal parts humor and authenticity, while original Earps guitarist Ump McCollum returns to provide exactly the kind of blazing lead guitar work a song like this demands.
Recorded by Dave Wathen and mixed and mastered by Jamison Weddle, the production strikes a nice balance between raw barroom energy and modern clarity.
Twenty years later, “Rooster Run” remains funny, memorable, and irresistibly catchy. More importantly, it reminds us that some local legends deserve to be preserved.
Robin Embry
Nothing Else Matters – album
facebook.com/robinembrymusic
Southern Indiana singer/songwriter Robin Embry has a knack for turning everyday experiences, family stories, and hard-earned wisdom into songs that feel both familiar and personal. On Nothing Else Matters, his latest 10-song album, Embry settles comfortably into Americana and roots rock, blending heartland rock, country, and acoustic influences with the kind of storytelling that has defined the genre for decades.
Embry is certainly in his wheelhouse on tracks like “Nothing Else Matters,” an upbeat roots rocker about a middle-aged couple rediscovering the simple things that bring them closer together. “Said and Done” which taps into the desire to be loved, even when your better judgment says otherwise. “It’s Your World” has a lighter touch, while “When the Guns Won’t Fire” turns a true family story about moonshine, fighting, and a gun that thankfully misfired into one hell of a song.
But Embry’s storytelling really shines on the quieter material. “Come Sit on the Porch” celebrates the simple pleasure of sitting with friends and loved ones, sharing memories and solving the world’s problems. “When This World,” written to honor a friend’s seriously ill brother, carries the emotional weight of someone nearing the end of his earthly journey. “Old Yellowed Papers” finds beauty in a family discovery of old letters and poems, turning forgotten keepsakes into a reflection on family and the people who came before us. And “Come On, Come On” is a bluesy newgrass stomp that takes on gospel tones and serves as a fitting expression of Embry’s faith.
There’s plenty of Springsteen and Mellencamp in Embry’s sound, with a touch of Garth Brooks thrown in for good measure. Backed by a remarkably tight band, Nothing Else Matters proves Embry isn’t just a talented songwriter—he’s a hell of a storyteller, too.
Future Fossils
Exhume – album
auralgami SOUNDS
futurefossils502.bandcamp.com
Future Fossils have come a long way since their 2022 self-titled EP. Originally formed during the pandemic as a sample-driven trio featuring Carrie Neumayer (Second Story Man, Julie of the Wolves), Clayton Ray (Deady, Parlour), and Brittany Segura, the Louisville band has since expanded into a five-piece with Juliana Rodriguez (Los Dolores) and Sean Pike Gardner (Neighbor, Twenty First Century Fox). And damn, what a difference a few extra musicians can make.
Exhume, the band’s debut full-length, takes the base sound the band built on their self-titled EP and greatly expands on it. The samples that drove the EP have taken a backseat, and the uniquely original, beautifully melancholic soundscapes that made their EP so damn hypnotic and interesting have been fleshed out, creating an absolutely stunning sound that pulls you in deeper and deeper with each passing minute. Dream pop, shoegaze, indie rock, and 90s alternative all collide here, with plenty of atmospheric punch thrown into the mix. Think Cocteau Twins, The Sundays, Slowdive and Lush, but with enough personality that Future Fossils never come across as simply another nostalgia act.
And I’d be remiss if I didn’t mention that this is yet another remarkable recording and mixing job by Anne Gauthier at La La Land Studio, bringing warmth, depth, and richness to each instrument and vocal, creating an inviting listening environment that makes you feel like you are in the room with the band as they play each song.
Ten songs. Thirty-eight minutes. Not a dud in the bunch.
Future Fossils have officially graduated from promising local experiment to one of the most interesting bands in Louisville right now.
The Leroy Project
Blue Sky Cathedral – album
instagram.com/theleroyproject
Although the Louisville music scene is a sea of bright lights, some still manage to shine brighter than the rest. Don’t take it lightly when I say that The Leroy Project could easily be Louisville’s next major breakthrough band.
After releasing his solo album Through Years in 2025, singer/songwriter/guitarist Chris Evans decided it was time to get heavier and return to playing live, leading to the creation of The Leroy Project, named after his grandfather. Evans has been part of Louisville’s hard-rock scene for quite some time, previously playing with The Constant and Never the Man before joining Heaven Hill, who went on to earn some serious major label attention.
Blending modern hard rock and metal along the lines of Incubus, Deftones, Nonpoint, Taproot, Crossfade, and 12 Stones, The Leroy Project would be right at home on the Louder Than Life main stage, which is exactly where I expect to see them in the next few years.
The Incubus-meets-Faith No More groove of opener “Open Handed” immediately sets the tone, followed by the flowing stomp of “Weighted Words.” “Lose Myself” is an absolute powerhouse and, in my opinion, the best song on the album. “I Didn’t Fade” has a bit of a Linkin Park vibe, while “Unsaid” channels the darker side of Staind. The title track delivers a solid alt-rock kick before the band brings everything home with the epic “The Great Flood.”
Perhaps most impressive is the consistency. There isn’t a weak track here, and every song could easily be a hit. Evans’ vocals really shine, while the songwriting and musicianship are superb throughout.
The production is rich, powerful, and polished without sacrificing the band’s edge. Blue Sky Cathedral sounds less like a local debut and more like a major-label release waiting to happen.
Carl Stuck
Better Late Than Never – album
carlstuck.com
After spending decades as a staple of the Louisville music scene, Carl Stuck has certainly earned the right to call his debut studio album Better Late Than Never. A singer, songwriter, producer, and hell of a guitar player, Stuck averages more than 150 live dates a year, has opened for REO Speedwagon, The Tubes, and Flock of Seagulls, worked as a guitar tech for Sugarland, played alongside Randy Owen of Alabama, Ruben Studdard, and members of Poison, Warrant, and Night Ranger.
But the résumé isn’t what makes Better Late Than Never work. The songs do.
Across these 10 tracks, Stuck delivers upbeat Americana with an unmistakable ’80s rock flair. Think Bruce Springsteen and John Cougar Mellencamp with a little 38 Special, Counting Crows and Jason Aldean thrown into the mix. It’s accessible, melodic and, more often than not, just plain fun.
Standout tracks include “Hold Me Like That,” an upbeat, danceable, make-you-smile kind of rocker. “This Isn’t Love” is an insanely catchy tune with a bluegrass flair and a stomping beat that makes it damn near impossible to sit still. “Borrowed Time” is a huge, almost epic Americana ballad about watching his child grow up, complete with classical strings and timpani percussion. “Happy Independence Day” takes a more humorous route, rolling along with an upbeat country-rock groove while poking fun at people who celebrate the Fourth of July a little too much—and way too early. And “Best Revenge (the na na song)” brings a funky groove and a chorus that will lodge itself in your head whether you like it or not.
Better Late Than Never is a damn good collection of songs from a Louisville musician who clearly still has plenty left to say.
Why DOMS
“Put ‘Em Up (demo)” and “Kick in the Door”- singles
whydoms.bandcamp.com
If you’ve been following Louisville’s WhyDOMS for any length of time, you know this is a band that doesn’t like staying in one lane. Originally formed as a rap duo by Why Mark and J DOMS in 2016, the group became a full band in 2024, combining their hip-hop roots with a much heavier sound. I’ve previously described them as “a rap band with the soul of hardcore punk rockers,” and these two tracks demonstrate exactly why.
“Put ’Em Up” is the first full-band demo track, and it absolutely rips as Why Mark and J DOMS trade verses over an aggressive nu-metal flow that collides with a metalcore crunch and a hardcore stomp. Both frontmen go hard on their verses, and the repeated “PUT EM UP” chorus practically demands to be yelled back from the pit.
Raise your hand if you ever pictured “The Spirit of Radio” as the backbone for a rap song. Anyone? No? Why DOMS apparently did, teaming up with producer, engineer, and DJ Coach Cam to sample the opening riffs and drums of the classic Rush song with added bass to create, honestly, an unexpected one-of-a-kind rap song. What’s most surprising about this is how well it works. Why Mark and J DOMS trade rapid-fire verses over the familiar riff, turning it into a hard-hitting rap track that still carries the confrontational energy of the band’s live shows.
These two tracks show that WhyDOMS doesn’t need to choose between hip-hop and heavy music. They can comfortably exist in both worlds, and they’re damn good at both.
The post Listen Local: New Louisville Music For September 2026 appeared first on LEO Weekly | Louisville Eccentric Observer.
