B-Side Guys

As the music world spins on its axis, a fresh crop of releases has emerged, spanning the sonic spectrum from whisper-quiet introspection to thunderous catharsis. This week’s offerings showcase artists pushing boundaries, revisiting roots, and carving out new niches in the ever-evolving landscape of sound. From bedroom pop to stadium-ready anthems, from genre-bending experiments to pure distillations of classic forms, these tracks represent the pulse of contemporary music. Join us as we dive into this eclectic mix, exploring the latest from both rising stars and established acts who continue to surprise and challenge our expectations.

Bad Flamingo – “Days of Mellow”

Bad Flamingo’s “Days of Mellow” continues to cloak the mysterious duo in intrigue while offering a blend that defies easy categorization. Their newest release intertwines strands of country, indie, and Americana with alt-rock and folk elements, crafting a sound both familiar and startlingly new. At the core of the track lies a rapid-fire acoustic guitar, its notes dancing nimbly beneath a bassline that saunters through the arrangement with predatory grace. This foundation supports a structure of layered sounds: ethereal strings, whispered vocals serving as percussive elements, and a trap-inspired beat that propels the song forward with surprising urgency.

The true magic of “Days of Mellow” lies in its vocals – a gritty, breathy performance that seems to materialize from the ether. Harmonies appear precisely where needed, while a hypnotic “dee dee dee” hook burrows into the listener’s consciousness. As Oscar Wilde suggested, the mask of anonymity allows Bad Flamingo to speak truths through their music, creating a world both immersive and escapist. Each listen reveals new facets of the track’s intricate production, rewarding repeat spins with fresh discoveries. In a musical landscape often dominated by the obvious, Bad Flamingo’s latest offers a refreshing reminder of the power of subtlety and the allure of the unknown.

Samantha Clemons – “Wild West”

Samantha Clemons’ “Wild West” is a haunting neo-soul excursion that draws unexpected parallels between frontier-era anxieties and our current societal unease. Clemons’ voice, a velvety instrument capable of both whispered intimacy and soaring power, guides listeners through a landscape of tension and uncertainty. The track’s sparse, western-tinged arrangement provides a fitting backdrop for her storytelling, allowing space for each lyrical barb to land with precision.

Lyrically, “Wild West” is a masterclass in contemporary metaphor. Clemons deftly weaves images of loaded dice, stacked decks, and red flags into a tapestry of modern disquiet. Her refrain of “It’s all life or death” speaks to the high stakes of our digital age, where reputations and relationships can crumble in an instant. Yet, there’s a defiant thread running through the song, a call to stand one’s ground in the face of chaos. As Clemons urges her listener not to cower, not to fold their hand, she offers a rallying cry for resilience in uncertain times. In an era where genre boundaries are increasingly fluid, “Wild West” stands as a testament to Clemons’ ability to craft songs that are both timely and timeless.

The Candid – “Just Like Me”

The Candid’s “Just Like Me” is a masterclass in slow-burn songwriting, showcasing the Nashville duo’s ability to weave introspection and catharsis into a single, potent track. Delaney Willson and Mason Edwards have crafted a song that bridges the gap between folk storytelling and pop accessibility, resulting in a piece that feels both deeply personal and universally relatable.

Opening with a near-whisper, “Just Like Me” builds gradually, mirroring the slow realization of one’s own hypocrisies and insecurities. Willson’s vocals, at once vulnerable and assured, guide listeners through a landscape of self-doubt and recognition. The song’s eight-year gestation period is evident in its lyrical depth, particularly in lines like “I may have a thousand trophies catching dust upon my shelf, but isn’t it just like me to always want to be somebody else?” As the track reaches its crescendo, The Candid demonstrates their knack for transforming introspective musings into anthemic moments, inviting listeners to find solace in shared imperfections. In a musical landscape often dominated by instant gratification, “Just Like Me” stands as a testament to the power of patience and self-reflection in songwriting.

Pudding Jackson & the Meantone Coalition – “Snowman Family”

Pudding Jackson & the Meantone Coalition’s “Snowman Family” is a gut-wrenching exploration of fractured relationships and personal growth, set against the backdrop of a Midwestern winter. Jackson’s storytelling prowess shines through in this indie folk/country hybrid, painting a vivid picture of loneliness and eventual redemption.

The song’s narrative arc is masterfully crafted, beginning with a scene of familial abandonment on a cold Christmas Eve in Lawrence. Jackson’s lyrics skillfully capture the isolation of the protagonist, using imagery like the TV turned on for company and the metaphorical “Snowman family” to represent emotional coldness. As the story progresses, we see glimpses of a troubled childhood, with a father described as having “more girlfriends than he had time” and a mother desperate for escape. The turning point comes with the introduction of a love interest, described with evocative details like “Blue eyes and raven black hair.” This encounter leads to a transformation, with the narrator finding warmth and freedom in a new, chosen family. The recurring motif of darkness hating light serves as a powerful metaphor for the journey from pain to healing. Jackson’s ability to weave such a complex emotional narrative into a single song demonstrates his skill as a songwriter and his deep understanding of human experiences.

Natalie Clark – “A Place Called Home”

Natalie Clark’s “A Place Called Home” is a synth-pop journey through the complexities of finding one’s place in the world. The Scottish singer-songwriter, now based in L.A., has crafted a track that balances vulnerability with a driving beat, mirroring the excitement and uncertainty of chasing dreams in a new land.

Clark’s vocals shine throughout, carrying raw emotion that contrasts beautifully with the polished production. The chorus hits hard, its repetitive refrain of “a place called home” serving as both a question and an answer. This duality reflects Clark’s own story – a former teacher who took a chance on her musical aspirations after a fortuitous encounter with Richard Branson. The song’s lyrics paint a picture of a “rolling stone” trying to keep their heart guarded, yet ultimately seeking connection and belonging. It’s a relatable sentiment for anyone who’s ever felt caught between the thrill of adventure and the yearning for stability. As the first single from her upcoming debut album, “A Place Called Home” positions Clark as an artist capable of transforming personal experiences into universally resonant pop anthems.

OLI – “I’ve Been Waiting”

OLI’s “I’ve Been Waiting” is a mesmerizing foray into the liminal space between anticipation and fulfillment. This trip-hop infused track serves as a tantalizing appetizer for her forthcoming album, showcasing the artist’s ability to blend her transatlantic influences into a sound that’s both familiar and refreshingly novel.

The song’s production is a masterclass in atmospheric tension, with layered harmonies floating atop a bed of subtly shifting rhythms. OLI’s vocals, reminiscent of Lana Del Rey’s sultry tones but with a uniquely British inflection, convey a sense of yearning that perfectly matches the track’s lyrical content. The honesty in her delivery is palpable, each word seeming to hang in the air like mist over Botany Bay, where the accompanying video was shot. This visual pairing adds another dimension to the song, the vast landscapes serving as a metaphor for the expansive emotional territory OLI explores. As the first single from her upcoming album, “I’ve Been Waiting” positions OLI as an artist unafraid to delve into the complexities of human emotion, all while crafting a sound that’s as captivating as it is introspective. It’s a promising harbinger of what’s to come, suggesting that OLI’s full-length release will be a journey worth embarking upon for fans of thoughtful, mood-driven music.

Tikhet – “smoke rings”

TIKHET’s debut single “Smoke Rings” is a hypnotic journey through the hazy intersection of indie rock and electronic music. The collaboration between German DJ/producer Sepalot and songwriter/poet Angela Aux has birthed a sound that feels both nostalgic and forward-thinking. Built on a deceptively simple foundation of a languid drum groove interlocked with a sinuous bassline, the track serves as a launch pad for sonic exploration that defies easy categorization. The hook, borrowing from the psychedelic lexicon of the Woodstock era, invites listeners to “Take me on a trip upon the smoke rings of your mind,” perfectly encapsulating the song’s ethos – a blend of the familiar and the surreal. Wolfi Schlick’s flute adds an organic, almost pastoral element to the mix, creating a fascinating contrast with the more electronic elements of the production.

“Smoke Rings” manages to evoke the spirit of 90s trip-hop pioneers like The Chemical Brothers and early Gorillaz while avoiding mere pastiche. Instead, TIKHET has crafted a sound that feels both comfortably worn-in and refreshingly novel. The track’s structure allows for moments of improvisation and unexpected turns, mirroring the collaborative process described by Sepalot. This sense of artistic freedom permeates the song, creating an atmosphere of laid-back experimentation that invites repeated listens. As an introduction to TIKHET’s upcoming album, “Smoke Rings” sets a high bar, promising a collection of songs that will serve as passports to unexplored musical territories. The duo’s shared musical influences – from The Poets of Rhythm to Krautrock and Giorgio Moroder – shine through subtly, creating a rich tapestry of sound that feels both rooted in tradition and unafraid to push boundaries. With its unplanned, anarchic feel and well-rounded patina, “Smoke Rings” positions TIKHET as a project to watch closely in the evolving landscape of genre-bending electronic music.

Drug Hunt – “Kingdom”

Drug Hunt’s “Kingdom” is a ferocious exploration of power dynamics and societal structures, delivered with the raw energy of a post-punk manifesto and the crushing weight of stoner rock riffs. The San Diego quintet’s latest offering straddles the line between introspection and aggression, crafting a sonic landscape that’s as thought-provoking as it is headbang-inducing. Rory Morison’s vocals serve as a gritty conduit for lyrics that delve into the darker recesses of human nature, exploring themes of blind devotion, abuse of power, and the cyclical nature of oppression. The juxtaposition of lines like “Adrenal Contrition / The whip and the Chain” against the pulsating rhythm section creates a palpable tension that mirrors the societal conflicts the song addresses.

As “Kingdom” progresses, it evolves from a critique of power structures to a rallying cry for artistic expression as a form of resistance. The transformation of “Little Johnny” from a fearful, indoctrinated subject to a dream-breaking force serves as a powerful metaphor for the role of art in challenging societal norms. Drug Hunt’s ability to meld this narrative with their unique blend of psychedelia, post-punk, and hard rock results in a track that’s both intellectually engaging and viscerally impactful. The band’s self-described sound as “a Doors album produced by Steve Albini, written by Nick Cave, and fronted by The Stooges at a biker bar” feels apt, capturing the essence of their genre-defying approach. With “Kingdom,” Drug Hunt cements their position at the forefront of Southern California’s rock renaissance, offering a fresh, uncompromising perspective on the power of music to confront, challenge, and ultimately transform.

CS Hellmann – “Something Simple”

CS Hellmann’s “Something Simple” is a kaleidoscopic journey through the realms of indie rock, blending the raw energy of garage rock with the dreamy soundscapes of psychedelia. The track serves as a sonic representation of Hellmann’s internal struggle between the harsh realities of life and the allure of a fantastical escape. Opening with a reflection on past disappointments and financial struggles, the song quickly pivots into a lush, otherworldly atmosphere, mirroring the artist’s desire to transport himself to an alternate reality. Hellmann’s vocals, reminiscent of The Black Keys’ Dan Auerbach with a touch of MGMT’s cosmic flair, guide listeners through this musical odyssey, his delivery alternating between grounded introspection and soaring escapism.

The recurring mantra “I’ll never make it if it’s something simple” forms the heart of the song, encapsulating Hellmann’s philosophy of embracing life’s challenges rather than seeking the path of least resistance. This sentiment is reinforced by the track’s dynamic structure, which eschews simplicity in favor of a rich, layered arrangement that nods to the guitar wizardry of Pink Floyd and the avant-garde pop sensibilities of David Bowie. The lyrics paint vivid imagery of velvet fairytales and moons ingrained in wood, creating a dreamlike narrative that contrasts sharply with the song’s opening references to real-world struggles. This juxtaposition, coupled with the track’s expansive production courtesy of Jared Corder, results in a piece that’s both introspective and grandiose, offering listeners a glimpse into Hellmann’s creative process and his commitment to artistic growth through adversity. “Something Simple” stands as a testament to CS Hellmann’s evolution as an artist, blending his diverse musical influences into a sound that’s uniquely his own while addressing universal themes of hope, ambition, and the never-ending quest for personal fulfillment.

49th & Main – “Can’t Walk Away”

49th & Main’s latest offering, “Can’t Walk Away,” featuring A Little Sound, is a testament to the Irish duo’s ability to blend genres with effortless grace. This collaboration showcases their knack for creating infectious indie dance tracks infused with alt-pop sensibilities. Ben O’Sullivan’s production prowess shines through in the track’s intricate layering, while Paddy King’s vocals, complemented by A Little Sound’s contribution, create a rich tapestry of sound that’s both familiar and refreshingly unique. The song’s structure cleverly balances catchy hooks with more introspective moments, mirroring the emotional push and pull suggested by the title.

“Can’t Walk Away” serves as a perfect encapsulation of 49th & Main’s meteoric rise in the music industry. From their humble beginnings experimenting with acoustics and YouTube tutorials to selling out UK/EIRE tours months in advance, the duo’s journey is reflected in the confident, polished sound of this latest release. The track’s crossover appeal, evidenced by their inclusion in diverse Spotify playlists ranging from “Chill Tracks” to “UK House Music,” is on full display here. With support from industry heavyweights like Counter Records and Red Light Management, “Can’t Walk Away” feels like a culmination of 49th & Main’s past experiences and a thrilling hint at their future potential. As they continue to defy genre boundaries and expectations, this collaboration with A Little Sound solidifies their position as one of the most exciting acts to emerge from the indie dance scene in recent years.