B-Side Guys

Welcome to our latest New Release Rundown, where we dive into the freshest sounds making waves in the music world. This week’s selection showcases an eclectic mix of artists pushing the boundaries of their respective genres and crafting sonic experiences that demand attention. From established acts reinventing their sound to emerging talents making bold first impressions, our curated list offers a snapshot of the vibrant and ever-evolving musical landscape.

As we explore these new releases, we invite you to discover hidden gems, revisit familiar favorites in new contexts, and expand your musical horizons. Each track we’ve selected offers a unique perspective on contemporary music, reflecting the diverse influences and innovative approaches that define today’s soundscape. So plug in your headphones, turn up the volume, and join us as we embark on a journey through this week’s most exciting new music. Let’s dive in and uncover the tracks that are setting the tone for the season and beyond.

Ella Thompson – “Let There Be Nothing”

Ella Thompson’s “Let There Be Nothing” is a sumptuous blend of neo-soul that seamlessly intertwines elements of vintage R&B, jazz fusion, and cinematic pop. Thompson’s vocals, rich with emotive depth, glide effortlessly over a meticulously crafted sonic landscape that feels both nostalgic and refreshingly current. The track’s production strikes a delicate balance between warmth and spaciousness, allowing each element – from the subtle horn accents to the gently pulsing rhythm section – to shine without overwhelming Thompson’s captivating performance.

Lyrically, “Let There Be Nothing” explores the difficult terrain of acceptance and personal growth, with Thompson’s words serving as both a mirror for self-reflection and a beacon of hope. The song’s theme of embracing reality without the need for change or fixing resonates with a quiet strength, offering listeners a soundtrack for their own moments of difficult realization and subsequent liberation. As the first single from her upcoming album, “Let There Be Nothing” positions Thompson as an artist capable of crafting songs that are as intellectually engaging as they are emotionally resonant, hinting at a full-length release that will likely captivate fans of soulful, introspective pop.

Alex McArtor – “In The Dark”

Bunch of Others – “cellar door”

Bunch of Others’ “cellar door” is a hypnotic journey through the hazy realms of psychedelic rock and dream pop. The track unfolds like a slow-motion fever dream, with languid guitar lines weaving through a sonic mist of reverb and echo. The band’s ability to create a sense of space within the music is remarkable, allowing each instrument room to breathe while maintaining a cohesive, enveloping atmosphere that draws listeners deeper into its world with each passing moment.

Lyrically, “cellar door” is a surrealist poem set to music, with vivid imagery like “the moon off the water reflected the shape of a snake” creating a dreamlike narrative that’s open to interpretation. The repeated motif of the ground breathing beneath the narrator’s feet adds to the song’s otherworldly quality, blurring the lines between reality and hallucination. As the track progresses, it builds to a crescendo of swirling instrumentation and layered vocals, before dissipating like morning mist. “cellar door” showcases Bunch of Others’ skill in crafting immersive sonic landscapes that linger in the mind long after the music fades, marking them as a band unafraid to explore the outer reaches of psychedelic rock.

Charlie Bishop – “Strangers At The Gas Station”

Charlie Bishop’s “Strangers At The Gas Station” is a gritty slice of Americana that transforms the mundane into the mythic. Bishop’s DIY approach lends the track an authenticity that can’t be manufactured, with rough-hewn guitar work and unvarnished vocals creating a sonic landscape as vast and weathered as the American heartland. The production, intentionally lo-fi, serves to amplify the raw emotion in Bishop’s performance, making each line feel like a confession whispered over the din of idling engines and flickering fluorescent lights.

Lyrically, Bishop proves himself a keen observer of human nature, populating his gas station microcosm with a cast of characters both familiar and enigmatic. Lines like “Clerk’s wearin’ a red socks hat, bill scraped up in frayed / Longing for home look in his eyes” paint vivid portraits in just a few words, while the repeated refrain of “Oh, all these untold stories here / Dead dogs, depression, darts and beer” serves as a poignant reminder of the hidden depths behind every passing face. “Strangers At The Gas Station” is a testament to Bishop’s storytelling prowess, turning a roadside pit stop into a metaphor for the fleeting connections and shared humanity that bind us all. It’s a song that lingers in the mind like the last wisps of cigarette smoke in the rearview mirror, inviting listeners to find poetry in the everyday.

Charli Lark – “Wallking On A Dream” (Empire of the Sun Cover)

Charli Lark’s rendition of Empire of the Sun’s “Walking on a Dream” reimagines the electropop anthem through a darker, more introspective lens. Lark’s haunting vocals add a layer of ethereal depth to the familiar melody, transforming the song from a euphoric dance floor hit into a more intimate exploration of love’s intoxicating power. The production strikes a delicate balance between honoring the original’s infectious energy and infusing it with Lark’s signature brooding electro-pop sound, creating a sonic landscape that feels both nostalgic and refreshingly current.

While covers can often feel like pale imitations of their source material, Lark’s interpretation breathes new life into the track by emphasizing its dreamlike qualities. Her decision to “lean into the introspection and beauty at the core of the original” pays off, with lines like “Catch me I’m falling down / Don’t stop just keep going on” taking on a new, almost desperate urgency in her hands. This version of “Walking on a Dream” serves as both a tribute to Empire of the Sun’s enduring influence and a showcase for Lark’s ability to find new emotional depths in familiar territory. It’s a cover that manages to stand on its own while inviting listeners to reconsider the original in a new light.