Local Music Singles Roundup: November 2026
Local Music Reviews
The days may be getting shorter and shorter, but the local release radar is still going strong. Warm up your November with SLUG’s monthly roundup of fresh singles from Utah musicians making moves. From basement show energy to genre-bending experiments in craft, these tracks prove the local scene never sits still. Hit play, find a new favorite and keep supporting the artists making noise in your own backyard.
SLWBRN
“The Cost”
Self-Released
Street: 09.23.2026
SLWBRN = Stepson + Mummy + Houses We Die In
Melodic hardcore, while sounding like an oxymoron, is a genre that allows the music to adapt to the listener. The level of diversity within the genre makes room for the listener to connect to the music individually rather than being told how to feel by the music. SLWBRN’s new song “The Cost” is introspective, angry and visceral. The band found harmony between the melodic undertones and the raw vocals. This musical strategy is one I have seen many artists try, and fail, to accomplish — but SLWBRN hits the mark, and I hope they continue to do so. “The Cost” starts out with an almost Novo Amor-esque melody, which on first listen really threw me off of what type of song I had thought I had just put on. The moment the vocals jumped in, I was taken aback; ten seconds later, I was damn impressed. The line between anger and sadness is blurred beautifully within the song. There is no right way to listen; there is no necessary mood: It is fluid, agile and kickass. —Jaia French
Graveyard Violet
“One Last Bite”
Self-Released
Street: 06.13.2025
Graveyard Violet = The B-52’s + She & Him + a kiss from Elvira
Graveyard Violet has summoned a vexing cocktail of a catchy, cheeky, cool (but not too complicated) sound that’s fit for a summery seaside séance. Simple as it is, “One Last Bite” features straight-beated, beach-vibe guitar-full and whammy-bar riffs that echo ocean waves, playful vibrato on the solo and overdubbed vocal harmonies that work together to mimic those Dick Dale-type ditties from the 60s. It’s all beachy, light-hearted fun until you tune into the lyrics. Summoning all the witticisms of the gothic genre at hand, the lyricist taunts: “It’s dangerous falling in love / because maybe I’m the genesis of all your misery / but baby you knew my tongue was forked the moment you kissed me.” Cheeky camp overlaid with the rhetoric of gnarled, dark intent? Does it work? I wasn’t sure, until I took “one last bite” in the form of one final listen, only to get bitten by a haunting earworm more viscous than the serpentine-esque love the toxic tune describes. Nibble if you dare. —Remy Stark
Sean Marshall
“Begging for a Change”
Practical Music
Street: 05.02.2025
Sean Marshall = Justin Townes Earle + Zach Bryan
I’ve been listening to a lot of Noah Kahan lately, so my soul has been perfectly primed for some folksy, moody tunes, and Sean Marshall didn’t disappoint. “Begging for a Change” is the kind of song you put on as background music for a scenic autumn drive through the canyons, witnessing our earth turn over from vibrant autumn fire to bristling winter. Is it the song to combat the seasonal depression creeping up on you? Perhaps not, but it will comfort you in those melancholic moments that you just want to wallow in for a minute or two more. Maybe I’m waxing poetic, but that’s exactly what the song asks of you: to feel deeply and embrace the passage of time. The acoustic instrumentals are paired with introspective lyrics that will leave you thinking. Marshall has a knack for capturing raw, bittersweet human emotion, and he will be added to all of my winter playlists. —Grace Simpson
Myopic View
“Dear You”
Get Outta My House Records
Street: 01.01.2026
Myopic View = The Ramones + The Who
They say that sleep is the basis of good health, and I counter that by saying a groovy bassline is the basis of any good song. You can have a fine day with no sleep like you can have a fine song with no funky bassline, but you’ll never do anything great without it. This song has a bass hook that undeniably captures you from the first moments, vaguely reminiscent of Curtis Mayfield’s “Superfly,” followed by a melody that smacks of some of the classic punk influences like The Ramones. Throw all this in with some fun pedals on the guitar and a vocal track that you’re not afraid to mess with, and baby, you got a good thing going. Certainly listenable, maybe even excellent. Also, as an aside, their album cover is just a good old-fashioned collage of stuff, a real middle finger to AI… now that’s class. —Cameron Elliot
Mousley
“Coffee McCougherson”
Self-Released
Street: 02.13.2026
Mousley = Spoof of (Atmosphere + Earl Sweatshirt)
“Coffee McCougherson” feels like catching Mousley in the middle of a freestyle session, just letting the beat rock and seeing what happens. The drums and 808s caught my attention right away, giving the track enough bounce to keep it rolling. The vocals sit pretty low in the mix, with the mumbling and humming making some of the performance hard to catch. The whole track has an unmistakably unserious feel to it. The loose delivery, abstract lyrics and exaggerated vocal choices make “Coffee McCougherson” sound like a spoof of the underground styles associated with Atmosphere and Earl Sweatshirt. Whether that’s the point or simply how Mousley approaches the track, it gives the song a goofy, off-the-wall personality. The production gives the track a solid foundation, but the writing could use a little more focus. Bringing the vocals forward and giving the lyrics a few lines that really stick could make the humor land harder without taking away from the track’s rough, playful character. “Coffee McCougherson” feels like Mousley taking the mannerisms of underground rap and turning the dial all the way up on the zany. The idea has personality; it just needs a little more shape to become something that sticks. I guess we know enough to know, we don’t know enough! —Ishjon Hawkins
Wasatch Valley Drifters
“Drunk & Wired”
Self-Released
Street: 09.26.2025
Wasatch Valley Drifters = Neil Young + Townes Van Zandt
Man, I need to go to more farmers’ markets. When I turned on Wasatch Valley Drifters’ EP, my first thought was how fitting it would be to hear their single “Drunk & Wired” while curing my Saturday morning hangover with an overpriced bagel and a pumpkin-spiced something. The contemporary bluegrass band, with songwriting by Hunter Wright, creates a sense of rhythmic hope in their melody, while at the same time stomping it out with the sadness of their lyrics: “You could see me crawling on my hands and knees / it’d be a shame you once loved me.” My second thought was that 1970s Neil Young would both relate to and appreciate this record. It is cool to see Wasatch Valley Drifters’ progression as a band, specifically in how they have added more string elements to further highlight the haunting nature of “Drunk & Wired.” The track feels like Townes Van Zandt’s “Dead Flowers” and Neil Young’s “Four Strong Winds” are fighting over custody, and Wasatch Valley Drifters are right where they want to be. —Sam Goodman
Read more Local Music Singles Roundups from months past:
Local Music Singles Roundup: October 2026
Local Music Singles Roundup: September 2026
Want to help SLUG continue spotlighting local singles? Consider joining our community of donors!
