Review: ‘Parking Lot Dialect’ by Dru Wills
Parking Lot Dialect is a multi-faceted album that collects the voices and stories scattered in different places into its own non-linear narration. Taking a loose form, the opening track establishes itself more of a sonic installation than a “song” trapped in a structure. Its immersive mix meets an expressive, modern tone. “Dead Because of Me” is a little edgy but overall, it’s smooth, romantic, but violent. Duality, at that point, has its subtlety.
“South Side Vera Cruz” consists of fragments from love, trauma, relationship, and everything in between. Immediately, it explores a dark sonic palette with more intensity. “Sakks Fifth freestyle” pushes on instability with an illusive soundscape that pulls the heart’s string. From the music aspect, it’s very Austin and translucent. It’s fragile and beautiful, but at the same time, it doesn’t lack street-level honesty. It gets real as real as life can be.
“Elevator Music” feels like another dimension. Somewhere around “Sakks,” Dru Wills pulls you out of its world and situates you in a new reality, which is quite an incredible thing to do in music. The Augusta, Georgia-based producer-writer’s ability to transport you into a completely different reality in a snap of fingers is very rare to see, but in Parking Lot Dialect, it happens a few times.
“Whoop That Trick” would later explain that the idea behind Parking Lot Dialect is different things coming together at a meeting point. The album was never meant to be a unified story but one that’s filled with different voices, even though some sounds are harsher for the ears. There’s nothing quiet or silent about “Silent Hills.” The emotionally intense track feels like a fresh wound — raw and exposed, haunting and bloody, and it captivates you with its authenticity and honesty. It also freezes you up in a way. Just for a few moments.
The choice to jump into the song that has the most luscious soundscape in the entire album right after “Silent Hills” is thought-provoking. It’s hard not to wonder whether it’s intentional. “Converse” is sensuous and bright, but something seems to be missing. There’s a sense of hollowness in the sound. For a couple of tracks, time stays still, almost in a surreal way.
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