B-Side Guys

As June concludes, the music industry continues its relentless pace, offering a diverse array of sonic experiences for every taste. In this fifth installment of our June new releases roundup, we explore another eclectic mix of tracks that push boundaries, evoke emotions, and showcase the ever-evolving landscape of contemporary music. From established artists refining their sound to emerging talents making bold statements, these releases reflect the vibrant creativity pulsing through the veins of the music world.

Constant Follower – “See You Soon” feat. GNAC

Constant Follower’s “See You Soon” is a haunting exploration of memory and longing, wrapped in a delicate tapestry of folk and slowcore sensibilities. The collaboration with GNAC (Mark Tranmer) adds layers of subtle complexity to the track, with falling piano arpeggios and atmospheric electric guitar work enhancing the song’s already poignant atmosphere. Stephen McAll’s vocals, hushed and intimate, carry the weight of unspoken emotions, perfectly capturing the essence of “saudade” – a profound nostalgic longing – that inspired the song.

Lyrically, “See You Soon” is a masterclass in minimalism, each sparse line evoking a world of feeling. The repeated refrain of “You say nothing / See you soon” speaks volumes about the silences that can exist between people, while lines like “Beer for breakfast / Better soon” hint at the struggles of daily life in the face of overwhelming events. The song’s structure, building from quiet verses to a more expansive outro, mirrors the ebb and flow of memory itself. As a preview of Constant Follower’s upcoming album, “See You Soon” promises a deeply introspective and emotionally resonant listening experience, cementing the band’s reputation for crafting music that touches the soul.

Anberlin – “Walk Alone”

Sorry, I just need to go back in time and tell my teenage self that one day I’d get the honor of being asked to write about an Anberlin song. As a longtime fan, writing about their latest single “Walk Alone” feels like a surreal journey back to my teenage years, when their music was the soundtrack to my life. This new track, however, proves that Anberlin isn’t content to rest on past laurels. “Walk Alone” marks a bold evolution for the alternative rock veterans, seamlessly blending their signature sound with fresh energy brought by new vocalist Matty Mullins. The track strikes a delicate balance between nostalgia and innovation, with Christian McAlhaney’s guitar work providing a familiar foundation for Mullins’ emotive vocals.

Lyrically, “Walk Alone” tackles the weighty subject of depression within a relationship with both sensitivity and raw honesty. The song’s structure, building from introspective verses to a cathartic chorus, mirrors the emotional journey of supporting a loved one through mental health struggles. As the lead single from their upcoming album “Vega,” “Walk Alone” sets a promising tone for Anberlin’s next era, suggesting that even with lineup changes, the band’s ability to craft emotionally resonant rock anthems remains undiminished – much to the delight of longtime fans like myself.

The Violet Lights – “One I’d Like”

The Violet Lights’ “One I’d Like” is a captivating time capsule, finally seeing the light of day after being recorded in 2007. This track, the first collaboration between Joel Nass and Amber Garvey, showcases the raw chemistry that would eventually define the duo’s sound. The song’s indie rock sensibilities, reminiscent of early Death Cab for Cutie, blend seamlessly with pop-infused melodies, creating a nostalgic yet timeless atmosphere. Nass’s vocals, likely imbued with the earnestness of youth, are complemented by Garvey’s keyboard work, hinting at the musical synergy that would flourish in their later releases.

As the opening track of their upcoming EP “Old Goodies,” “One I’d Like” serves as both an origin story and a reintroduction for The Violet Lights. The decision to release this early work speaks to the duo’s evolving approach to their music career, prioritizing artistic expression over commercial success. While the song may lack the polish of their more recent productions, it offers fans a rare glimpse into the band’s formative moments. “One I’d Like” not only sets the stage for the rest of “Old Goodies” but also builds anticipation for their forthcoming full-length album, promising a journey through The Violet Lights’ musical evolution from their earliest days to their current, more mature sound.

Leyya – “Pumped Up High”

Leyya’s latest single “Pumped Up High” is a mesmerizing journey into the realm of experimental pop, showcasing the Austrian duo’s knack for blending electronic and indie sensibilities. Sophie Lindinger’s euphonic vocals float effortlessly over a backdrop of thumping synths and obscure digital samples, creating a sonic landscape that’s both familiar and refreshingly innovative. The track’s pulsating beats and captivating melodies evoke the atmosphere of a summer rave, perfectly capturing the paradoxical feeling of being alone in a crowd that inspired the song.

As a preview of their upcoming third album “Half Asleep,” “Pumped Up High” offers a tantalizing glimpse into Leyya’s evolving sound. The song’s hedonistic self-assurance and buoyant electropop, tinged with just the right amount of melancholy, mark a departure from the vulnerability displayed in their previous releases. This contrast highlights the band’s versatility and willingness to explore different facets of human emotion through their music. With “Pumped Up High,” Leyya continues to push the boundaries of genre, crafting a track that’s equally at home on a festival stage or in a moment of solitary introspection, further cementing their reputation as innovators in the electronic pop landscape.

Dylan Kight & The Nightbirds – “Halcyon Days”

Dylan Kight & The Nightbirds’ “Halcyon Days” is a mesmerizing blend of indie rock and folk pop that showcases the band’s impressive storytelling prowess. The track unfolds like a cinematic journey, with Kight’s soulful vocals guiding listeners through a landscape of nostalgia and introspection. The instrumentation builds gradually, creating a rich sonic environment that perfectly complements the emotional weight of the lyrics. As promised, the song’s crescendo at the 3:21 mark is indeed a highlight, offering a cathartic release that’s bound to become a crowd-pleasing moment in live performances.

Lyrically, “Halcyon Days” is a masterclass in evocative imagery and emotional resonance. Lines like “Every memory is cursed / By the space it takes up” and “Two worlds collide you know it can be messy / But it’s worth it” speak to the complexities of relationships and the bittersweet nature of reminiscence. The recurring theme of finding sweetness in distance adds depth to the narrative, suggesting that sometimes we need perspective to truly appreciate our experiences. As the fifth single from Dylan Kight & The Nightbirds, “Halcyon Days” solidifies their reputation as a band capable of crafting songs that are both intellectually engaging and emotionally affecting, drawing comparisons to the poetic storytelling of Phoebe Bridgers and the atmospheric soundscapes of My Morning Jacket.

JAY PRAY – “Nothing Inspires Me”

JAY PRAY’s “Nothing Inspires Me” marks a powerful return after a six-year hiatus, blending slacker rock sensibilities with dream pop textures to create a sonic landscape that’s both energetic and introspective. Justin P. Romanos’ raw vocals cut through the mix, delivering lyrics that grapple with numbness and disillusionment over a deceptively upbeat instrumental backdrop. The juxtaposition between the dark lyrical content and the vibrant instrumentation creates a tension that perfectly captures the essence of a manic break, as described by the artist.

The track’s production, helmed by Jon Joseph and mixed by Brandon Bost, strikes a delicate balance between polish and grit, allowing the song’s raw emotions to shine through. Lines like “I calmed myself / I calmed myself with alcohol” and “There’s nothing that inspires me enough / There’s nothing at all” speak to themes of escapism and existential ennui, resonating with listeners who’ve grappled with similar feelings. As JAY PRAY’s first release since 2017, “Nothing Inspires Me” serves as both a reintroduction to Romanos’ unique artistic voice and a testament to his growth during his time away from the spotlight. The track’s energy and emotional depth suggest that JAY PRAY’s hiatus has only served to refine and intensify his musical vision.

mr. Gnome – “Nothing and Everything”

Mr. Gnome’s “Nothing and Everything” is a hypnotic journey through the psychedelic landscape of art-rock, showcasing the Cleveland duo’s ever-evolving sonic palette. Nicole Barille’s golden harmonies soar over a lush soundscape, creating a mesmerizing contrast between ethereal vocals and gritty instrumentation. The track’s production, mixed by Claudius Mittendorfer, adds a polished sheen to the band’s raw energy, allowing each element to shine while maintaining the cohesive, immersive atmosphere that Mr. Gnome is known for.

As the first single from their upcoming album “A Sliver of Space,” “Nothing and Everything” serves as both a reflection on personal loss and a celebration of resilience. The song’s structure mirrors its thematic content, with swirling, hypnotic passages giving way to moments of clarity and catharsis. Lines about uncertainty and confusion are balanced by an underlying message of hope and the power of love to overcome even the darkest times. This single not only sets the stage for what promises to be an ambitious and emotionally resonant album but also demonstrates Mr. Gnome’s growth as artists, pushing the boundaries of their unique blend of psychedelic rock, indie, and electronica. With “Nothing and Everything,” Mr. Gnome invites listeners to lose themselves in a sonic realm where the beautiful and the chaotic coexist in perfect harmony.

Leonard Wellington – “I’ve been feeling”

Leonard Wellington’s “I’ve been feeling” is a standout track that firmly establishes the Dutch-born, Berlin-based artist as a force to be reckoned with in the indietronica scene. The song’s innovative production seamlessly blends organic instrumentation with electronic elements, creating a rich sonic tapestry that defies easy categorization. Wellington’s vocals are the centerpiece, delivering a performance that’s both emotionally charged and technically impressive, effortlessly gliding over the intricate musical backdrop.

The track’s structure is a testament to Wellington’s songwriting prowess, with dynamic shifts that keep listeners engaged throughout. From the punchy, synth-driven verses to the expansive, anthemic chorus, “I’ve been feeling” showcases Wellington’s ability to craft hooks that linger long after the song ends. The Berlin influence is palpable in the track’s pulsing rhythms and avant-garde production touches, reflecting the city’s reputation as a hub for electronic music innovation. As the lead single from his upcoming project, “I’ve been feeling” sets a high bar, promising an album that will push the boundaries of indie pop and solidify Wellington’s reputation as one of the most exciting new voices in the genre.

Fleur bleu·e – “pillow wet”

Fleur bleu·e’s “pillow wet” is a shimmering slice of dream pop that showcases the Parisian duo’s growing confidence and sonic evolution. The track’s lush instrumentation creates a dreamy atmosphere reminiscent of Alvvays at their most introspective, with reverb-drenched guitars and ethereal synths weaving a hypnotic tapestry. The production strikes a delicate balance between clarity and haziness, perfectly mirroring the song’s themes of self-reflection and the struggle to break free from past illusions.

Lyrically, “pillow wet” offers a raw and honest exploration of personal stagnation and the yearning for change. Lines like “I’ve always wanted to live my life through someone else’s” and “What if I stopped being locked and scared of myself” cut to the heart of the human experience, capturing the universal struggle to find one’s authentic self. The repeated refrain of “And my pillow is wet, is wet, is wet” serves as a powerful metaphor for the emotional toll of this introspection. As Fleur bleu·e embarks on their US West Coast tour, “pillow wet” stands as a testament to their artistic growth since their debut album, promising an exciting new chapter for this rising dream pop duo.

Lee Smythe – “The Low”

Lee Smythe’s “The Low” is a somber meditation on the aftermath of emotional devastation, delivered with the raw vulnerability of a confessional and the calculated precision of a craftsman. Smythe’s vocals, reminiscent of Conor Oberst’s quivering introspection, navigate a sparse instrumental landscape that teeters between indie rock’s penchant for atmospheric builds and slowcore’s patient, almost punishing restraint. The result is a track that feels both timeless and acutely of the moment, a study in contrasts that mirrors the song’s thematic exploration of the thin line between hope and despair.

Lyrically, Smythe demonstrates a knack for weaving complex emotions into deceptively simple phrases. Lines like “Once I was king but it all went to spoil / you could say that I messed it up royal” showcase a sardonic self-awareness that cuts through the track’s melancholy atmosphere. The repeated refrain of “run away heart” serves as both a plea and a warning, encapsulating the internal struggle at the core of the song. As Smythe wrestles with loneliness, fear, and the ghost of past happiness, “The Low” emerges as a powerful testament to the enduring human capacity for hope in the face of overwhelming darkness. It’s a song that lingers long after the final note fades, inviting repeated listens and deeper contemplation.