Welcome to this week’s edition of Weekly New Releases on bsideguys.com, where we dive into the fresh tracks shaking the foundations of the indie scene. From the underground beats of neo-soul visionaries to the heart-wrenching strumming of folk troubadours, we’re here to guide you through the newest gems that deserve a spot on your playlist. Whether you’re searching for the anthems that will define your summer or the ballads that resonate with the deeper chords of your soul, our curated selection is tuned to every frequency of your musical heart. So sit back, plug in, and get ready to update your sound with the latest and greatest from the world’s most promising artists.
Rory Ryan – “In The Future”
“In The Future” by Rory Ryan is a sonic journey that feels like a conversation between past and future selves, set against a backdrop of lush, psychedelic soundscapes reminiscent of Tame Impala, with the emotive lyricism akin to the storytelling prowess of 70’s icons like Carole King. Ryan’s introspective questioning lays a foundation of relatable vulnerability that echoes through the moody chords and chilled vibes of the track. The self-produced nature of the song, recorded in the tranquility of Galway, Ireland, adds an intimate layer to the music, allowing listeners to feel the solitude and hopeful curiosity that spurred its creation.
The track serves as an appetizer for Ryan’s upcoming debut album ‘When You’re Alone, How Does It Feel?’, promising to delve deeper into the themes of solitude and self-reflection. With the mixing talents of Sean Cook and mastering by Philip Shaw Bova, “In The Future” strikes a fine balance between homemade authenticity and professional polish. It stands as a testament to Ryan’s dual roles as both a thoughtful songwriter and a skillful producer. The collaboration with Wall Of Sound PR and the upcoming features on indie platforms such as ‘I’m Cyborg But That’s Okay’ are poised to introduce Rory Ryan’s evocative sound to a wider audience, all eagerly awaiting the rest of the narrative that will unfold in March’s full-length offering.
Walter The Producer – “THEY TOOK THE NIGHT”
“THEY TOOK THE NIGHT,” the latest auditory delight from Walter The Producer, is a masterclass in genre-blending, encapsulating the vibrant energy of psychedelic rock with the rhythmic pulse of indie pop. The track, birthed in the creative haven of Slumbo Labs in Brooklyn, carries the spontaneity of its creation into every beat. The song’s inception—a guitar lick that evolved rapidly into a full-fledged production—is testament to Walter’s intuitive musicianship, influenced by the eclectic sounds of David Bowie and Daft Punk. His choice to speak rather than sing over the beat adds a raw, conversational texture to the track, setting the stage for a narrative that’s as gripping as a cinematic heist.
With its backstory of bank robbers and midnight escapades, “THEY TOOK THE NIGHT” doesn’t just tell a tale; it immerses the listener in a story, inviting them to become accomplices in the musical mischief. This single follows in the successful footsteps of “MUST BE THE AIR” and “SLOW DOWN,” as well as his viral project “No Substance Mixtape,” cementing Walter The Producer as a name synonymous with inventive and rebellious sounds. At just 20, Reid has already established himself as an old soul in the music world, crafting songs that defy time and genre. His unique ability to mix, master, and produce his work only adds to the mystique surrounding his persona—a Kombucha-loving enigma from Massachusetts whose music hits as hard as his accolades suggest. In “THEY TOOK THE NIGHT,” Walter The Producer confirms that his creative journey is far from over; it’s a thrilling ride that’s just getting started.
Mirja Palo – “Vuoiŋŋa”
“Vuoiŋŋa” by Mirja Palo is a poignant embodiment of the primal and transformative experience of childbirth, set against the stark, ethereal backdrop of Sápmi’s arctic landscapes. Palo’s ethereal vocals and the resonant strums of the Kantele weave through Gustav Afsahi’s rich, cinematic production, creating an auditory experience that is as expansive as the northern skies. Her song, a tribute to the resilience of a woman from Inga Eriksson’s story, captures the intense solitude and beauty of bringing new life into the world under the most challenging of circumstances. The production, masterfully handled by Afsahi, melds traditional Finnish folk with an experimental edge, as Jonas Sjöblom’s flute and percussion punctuate the track with a heartbeat-like urgency, encapsulating the raw, unstoppable force of nature both surrounding and within us.
The single “Vuoiŋŋa,” which translates to “Breathe,” is not merely a song but an evocative journey. It implores the listener to breathe through the vicissitudes of life, mirroring the tale of a woman giving birth in the wilderness, reinforcing life’s continual cycle of breath and being. Minimalist yet evocative lyrics, sung in the Northern Sami language, add to the song’s mystique, and Palo’s performance is a conduit to a time and place where every breath marks the rhythm of life and survival. As the narrative unfolds, the listener is drawn into a harrowing yet triumphant odyssey across frozen expanses, with the sledge and the reindeer becoming symbols of life’s resilience. In “Vuoiŋŋa,” Palo offers not just music but a profound meditation on the elemental act of breathing, and in doing so, delivers a masterpiece that is as timeless as the lands that inspired it.
NEYKID – “Drift”
“Drift” by NEYKID is a delicate tapestry of dream pop introspection, weaving through the ebbs and flows of life’s perpetual currents. The song’s serene soundscape belies a deeper contemplation of acceptance in the face of life’s inexorable progress. NEYKID marries the melancholy of reflection with the ethereal hope of drifting through time, capturing the sweet surrender to life’s rhythm. The melancholic undercurrent of the lyrics, juxtaposed with the dreamy optimism of the melody, encapsulates the duality of life’s nature—sometimes sad, but invariably precious. The song serves as a gentle reminder that while we cannot control every aspect of our environment, there is solace to be found in the act of letting go and appreciating the inherent beauty of existence.
The track’s lyrical journey, set against a backdrop of chilled beats and airy synths, invites listeners into a momentary reprieve from the chaos of life. NEYKID’s ability to articulate a sense of peace amidst the turmoil—encouraging listeners to see the silver lining in tough situations—resonates deeply. The recurrent metaphor of a sweater’s scent serves as a poignant emblem of past regrets and the universal longing for connection in an increasingly disconnected world. As the song progresses, the repeated call to “drift away, wide away” becomes an anthem for resilience and a call to embrace life’s fleeting nature. In “Drift,” NEYKID encapsulates the human experience—a blend of transient sorrow and the enduring pursuit of joy.
Storm Franklin – “Y.O.U.R.A.S.T.A.R”
“Y.O.U.R.A.S.T.A.R.” by Storm Franklin is a rousing anthem of self-acknowledgment, a hook-laden track that mixes the nonchalance of slacker rock with the earnestness of indie pop. The collaboration between Juanita Stein’s evocative vocals and Ben Hillier’s seasoned production crafts a sound that’s both fresh and reminiscent of indie’s golden age. This single from their debut album ‘Loneliness In The Modern World’ serves as a modern hymn for the underdog, a chant for those still on their journey to self-realization. With its reassuring lyrics and driving rhythm, the song is a call to action, a reminder that within each person lies a star waiting to be recognized and embraced. It’s an ode to the inner light that often remains obscured by the shadows of past and fear.
The track’s lyrics are a powerful collage of motivational speech and poetic introspection, posed as questions and affirmations that resonate with anyone struggling with self-doubt. The repetitive chant “Y.O.U.R.A.S.T.A.R.” becomes a mantra that could easily echo in the minds of listeners long after the song has ended. Storm Franklin’s approach is both intimate and universal, bridging the gap between personal narrative and collective experience. In the simple yet profound assertion that “You don’t have to lose yourself to find yourself,” they distill a complex existential truth into a digestible and catchy chorus. This song is a sparkling standout from their debut release, indicative of a promising new presence in the indie scene.
Ethan Lyric – “Messing Things Up Again”
Ethan Lyric’s “Messing Things Up Again” is a beautifully paradoxical piece that juxtaposes an upbeat, toe-tapping arrangement with introspective, self-critical lyrics. It’s a track that captures the all-too-familiar human experience of self-doubt and retrospection, framed within the bright soundscapes of indie pop. Lyric’s voice conveys a sense of earnest vulnerability, making the song’s theme universally relatable. The simple yet evocative lead guitar line, developed in collaboration with Jeremy Haywood-Smith, serves as the track’s musical anchor, weaving through the song like a persistent thought that can’t quite be shaken. This musical motif mirrors the song’s lyrical content, emphasizing the cyclical nature of self-sabotage and the inner critic that reminds us of our perceived missteps.
The beauty of “Messing Things Up Again” lies in its ability to balance the melancholy of its lyrics with the light-heartedness of its melody, creating a space where listeners can both reflect and find solace. Lyric’s songwriting shines as he crafts a narrative that is deeply personal, yet open enough for others to see themselves within it. The lo-fi production adds a layer of intimacy, as if Lyric is performing in a cozy room rather than a grand stage, inviting listeners into a moment of shared vulnerability. It’s this quality that positions Ethan Lyric as a kindred spirit to the likes of Conan Gray and Cavetown, artists who have also mastered the art of dressing poignant confessions in charming melodies. As a preview to his upcoming EP “Saskatoon Berries,” “Messing Things Up Again” is a promising glimpse into the growth and potential of this Winnipeg native’s artistry.
Koalra – “Disasterclass”
Koalra’s “Disasterclass” thrashes into the consciousness with a raw, post-punk energy that’s as compelling as it is turbulent. The title track from their upcoming album encapsulates the controlled chaos that has become the band’s signature sound—a sound that doesn’t just borrow from the likes of Dinosaur Jr. and Sonic Youth, but morphs these influences into something defiantly modern. The track’s guitar riffs are a masterful disaster, distorted and heavy, laying the foundation for vocals that simultaneously haunt and energize. “Clean sweep / And we killed all the silence,” the song begins, a line that effectively sets the stage for an auditory assault that’s both an ending and a beginning, a destruction that’s somehow creative.
What’s particularly striking about “Disasterclass” is how the lyrics flirt with nihilism, yet the music drives forward with an irrepressible vitality. This is not the sound of defeat; it’s the sound of struggle, of fighting against the void with every strum and beat. The sonic landscape Koalra creates is immersive, the kind of track that demands to be played loud, not just to hear the rich textures of the music, but to feel it reverberate through your bones. It’s music that recognizes the disaster but chooses to dance within it, finding a strange comfort in the chaos. As the song says, “It’s kinda tough / To see anything / When you started at / The point where it’s gone,” yet “Disasterclass” doesn’t just see through the tumult—it finds a strange beauty within it, a testament to Koalra’s artistry and vision.
davis & james – “precious years”
The title track from davis & james’ debut album “precious years” is an introspective journey that pairs rustic acoustics with digital flourishes, emblematic of the duo’s stylistic crossroads. The song opens with the simplicity of raw guitar strings and intimate vocals, reminiscent of a live session that captures the essence of the moment. As the track unfolds, it blossoms with electronic elements that subtly enhance the emotional depth without overwhelming the core of the song. This sonic duality mirrors the album’s theme of embracing life’s fleeting moments, with lyrics that evoke the nostalgia and introspection of looking back on “golden light and silver tears.” It’s a reflective and soothing soundscape, inviting the listener to cherish the memories while acknowledging their transience.
davis & james manage to encapsulate the bittersweet sentiment of recognizing the ephemeral nature of life’s stages. The production by Andy Schichter enhances the organic essence of the track, creating a tapestry that feels both familiar and innovative. The song is a reminder of the beauty found in the natural progression of time, even as it slips through our fingers. “precious years” stands as a testament to the duo’s ability to convey profound truths through a blend of traditional musicianship and contemporary production, striking a resonant chord with those who find themselves yearning for the simplicity of the past while navigating the complexities of the present.