B-Side Guys

Welcome to bsideguys.com’s Weekly New Releases, your essential guide to the freshest sounds hitting the airwaves and streaming platforms. As we dive into another exciting week of musical discoveries, we’re bringing you a curated selection of tracks that span genres, moods, and continents.

From indie rock anthems that’ll have you air-guitaring in your living room to soul-stirring ballads that tug at your heartstrings, we’ve got something for every musical palate. Our team of dedicated music enthusiasts has been working tirelessly, sifting through countless releases to bring you the cream of the crop.

This week’s lineup features emerging artists making bold statements with their debuts, established acts pushing the boundaries of their sound, and everything in between. Whether you’re looking to discover your next favorite band, stay ahead of the musical curve, or simply find the perfect soundtrack for your week, we’ve got you covered.

So grab your headphones, turn up the volume, and join us as we explore the most exciting new music of the week. Let’s dive in and see what sonic treasures await us in this latest batch of releases!

Part Carbon – “Spring Cleaning”

Part Carbon’s “Spring Cleaning” is a dynamic exploration of personal growth and resilience, blending emo introspection with math rock complexity. The track’s structure mirrors its thematic content, starting as a slow-burning reflection before blossoming into a hopeful, ambient anthem. The band’s instrumentation weaves intricate patterns of guitars and rhythms, creating a sonic landscape that’s both intellectually engaging and emotionally resonant.

Lyrically, “Spring Cleaning” delves deep into the process of self-renewal and the challenges that come with it. Lines like “What’s left of me / When all I tear away is everything” capture the vulnerability of shedding old identities, while the repeated refrain of “I feel inside / No, this never dies” serves as a mantra of inner strength. The song’s exploration of cyclical patterns (“Drags me in circles endlessly”) and the necessity of change (“I forget sometimes there’s a reason for seasons”) adds depth to its narrative. As the opening track of Part Carbon’s debut EP “A New Way to Be Anything,” “Spring Cleaning” sets a tone of introspective growth and musical ambition, positioning the DC-based band as a promising voice in the indie rock and emo scenes. Their ability to balance emotional rawness with technical proficiency suggests a bright future for this emerging act.

Max Bien Kahn – “Whatever You Want”

Max Bien Kahn’s “Whatever You Want” is a charming slice of indie folk-rock that captures the carefree optimism of new love. The track’s production, with its playful use of backwards guitars and buzzy textures, creates a sonic landscape that’s both nostalgic and fresh. Kahn’s vocals, likely imbued with his trademark brightness, float atop the instrumentation with an easy confidence that mirrors the song’s thematic content.

Lyrically, “Whatever You Want” is a tender portrait of early courtship, with lines like “Baby, when you get off work tonight / I’ll be around, just drop me a line” painting a vivid picture of eagerness and flexibility. The repeated refrain of “We can do whatever we want to / I’ll do whatever you want” serves as both a declaration of devotion and a celebration of newfound freedom in companionship. Kahn’s observational details, such as “Sometimes I like to see you working / Serving all the people at the restaurant,” add depth to the narrative, grounding the song’s romantic idealism in everyday reality. As the second single from his forthcoming album “Flowers,” “Whatever You Want” not only showcases Kahn’s growth as a songwriter but also positions him as a skilled chronicler of life’s small but significant moments, crafting songs that resonate with anyone who’s ever felt the thrill of falling in love.

Frances Whitney – “You Left Me For Jesus”

Frances Whitney’s “You Left Me For Jesus” is a poignant exploration of heartbreak and betrayal, showcasing the San Francisco-born artist’s ability to craft emotionally resonant narratives within the singer-songwriter tradition. The track’s production likely balances the raw intimacy of Whitney’s vocals with subtle instrumental touches, creating a sonic landscape that’s both personal and universally relatable. Whitney’s songwriting, inspired by the spirit of Laurel Canyon and modern indie, shines through in her ability to capture complex emotions with clarity and depth.

As the lead single from her upcoming debut EP, “You Left Me For Jesus” serves as a powerful introduction to Whitney’s artistic voice. The song’s narrative, dealing with the aftermath of an unexpected breakup, demonstrates Whitney’s skill in tackling difficult subjects with honesty and nuance. Her ability to pour out lyrics “nearly all at once” speaks to the authenticity of her songwriting process, resulting in a track that feels both immediate and carefully crafted. With this release, Frances Whitney positions herself as a promising new voice in the singer-songwriter scene, blending nostalgic influences with contemporary sensibilities to create music that’s soulful, honest, and timeless.

Stavro – “Everything”

Stavro’s “Everything” is a dynamic fusion of indie rock sensibilities and folk rock instrumentation, showcasing the Omaha-based artist’s ability to craft songs that are both immediately accessible and subtly complex. The track’s production, likely balancing pop melodies with “strange musical landscapes,” creates a sonic environment that’s both familiar and slightly alien. Stavro’s use of the Cretan lute, a unique element in his musical arsenal, adds an unexpected texture to the song’s arrangement, setting it apart from typical singer-songwriter fare.

As a preview of his upcoming album “You Turning World,” “Everything” demonstrates Stavro’s skill in compact yet impactful storytelling. The song’s structure, described by Stavro as “like a gun going off—blazing but gone in a flash,” suggests a composition that’s both intense and ephemeral. “Everything” not only showcases Stavro’s growth as an artist but also positions him as an innovative voice in the alt-rock scene, one capable of pushing pop-rock to its stylistic limits while maintaining a strong emotional core.

Lo Artiz – “HOLD ON”

Lo Artiz’s “HOLD ON” is a powerful blend of neo-soul and hip-hop that delves into the artist’s personal struggles with mental health. The track’s production, helmed by Trey Kams and Ashton Sellars, creates a lush sonic landscape that serves as a fitting backdrop for Artiz’s emotive vocals. The inclusion of live strings arranged by Ethan Cohen adds depth and richness to the composition, elevating the song’s emotional impact.

As the first single from her upcoming EP ‘Playing Human Vol.1’, “HOLD ON” showcases Artiz’s ability to tackle weighty themes with grace and authenticity. The song’s structure, building to a soulful chorus at the 1:22 mark, reflects the journey from darkness to hope that Artiz describes. Drawing on influences from Amy Winehouse to Lauryn Hill, Artiz crafts a sound that’s both familiar and uniquely her own. “HOLD ON” not only serves as a testament to Artiz’s musical prowess but also positions her as a voice of comfort and resilience for listeners grappling with their own struggles. This track suggests that ‘Playing Human Vol.1’ will be a deeply personal and emotionally resonant collection, marking Lo Artiz as an artist to watch in the neo-soul scene.

Mingo Drive – “When Can It Be”

Mingo Drive’s “When Can It Be” is a raw, emotional plea wrapped in an indie rock package that showcases the Tulsa-based band’s unique instrumental lineup. The electric dobro guitar adds a distinctive texture to the track, blending seamlessly with synths, bass, and drums to create a sound that’s both familiar and fresh. The song’s structure, with its building verses and anthemic chorus, mirrors the emotional journey of an artist striving for recognition.

Lyrically, “When Can It Be” delves into the often-overlooked struggles of aspiring musicians. Lines like “Money’s no object / But I’m two months behind rent” and “Dancing alone in my creation / Will I be the only one listening?” capture the financial and emotional toll of pursuing a music career with unflinching honesty. The repeated refrain of “When can it be me?” serves as both a question to the universe and a rallying cry for all undiscovered artists. By addressing the algorithm directly, Mingo Drive adds a modern twist to the age-old theme of seeking fame, creating a song that’s as timely as it is timeless. As one of their first releases, “When Can It Be” positions Mingo Drive as a band with a clear vision and the musical chops to back it up, promising exciting things to come from this emerging indie rock outfit.

Tokyo Tea Room – “Tell Me How”

Tokyo Tea Room’s “Tell Me How” is a lush, atmospheric journey that showcases the British band’s mastery of dream pop and chillwave aesthetics. The track’s production is a seamless blend of intricate elements, with an “incredible bass-line” serving as the foundation for layers of shimmering synths and delicate guitar notes. The vocal performance, described as “tender,” floats atop this dreamy soundscape, creating an immersive experience that’s both emotionally resonant and sonically captivating.

As the lead single from their upcoming album “No Rush,” “Tell Me How” sets a tone of introspection and nostalgia that aligns with Tokyo Tea Room’s exploration of “human emotion, longing, and the ephemeral nature of existence.” The band’s ability to create a “tender and comforting bubble” through their music is evident in this track, inviting listeners into a dreamlike state of contemplation. With their history of BBC support and millions of streams, “Tell Me How” is poised to further cement Tokyo Tea Room’s status as a significant force in the bedroom/dream pop scene. This single not only demonstrates the band’s growth since their last EP but also promises an album that will continue to captivate their dedicated fanbase and attract new listeners to their unique brand of emotive, introspective dream pop.

Tom A. Smith & swim school – “I Don’t Want You To Have To Remember Me For Longer Than You Ever Knew Me”

Tom A. Smith’s collaboration with swim school on “I Don’t Want You To Have To Remember Me For Longer Than You Ever Knew Me” is a testament to the young artist’s rapidly evolving songwriting prowess. The track showcases Smith’s ability to craft emotionally resonant indie rock, with his passionate vocals blending seamlessly with Alice Johnson’s harmonies. Larry Hibbitt’s production provides a rich sonic landscape that elevates the song’s intimate lyrics, creating a sound that’s both expansive and deeply personal.

As Smith’s self-proclaimed “best and most personal song,” this single marks a significant milestone in his already impressive career. The collaboration with swim school adds depth to the track, with Johnson’s innovative harmonies complementing Smith’s lead vocals in a way that feels both natural and transformative. This release not only highlights Smith’s growth as an artist but also positions him as a collaborative force in the indie rock scene, capable of creating music that resonates with listeners far beyond his years. With “I Don’t Want You To Have To Remember Me For Longer Than You Ever Knew Me,” Tom A. Smith continues to justify the high praise he’s received from industry legends and prove that his early successes were just the beginning of a promising career.

Porterfield – “Father of None”

Porterfield’s “Father of None” is a meticulously crafted indie folk gem that showcases the artist’s penchant for musical complexity and lyrical depth. The track’s structure, with its blend of odd time signatures and unconventional chord progressions, creates a sonic landscape that’s both intellectually engaging and emotionally resonant. The inclusion of an augmented major 7 chord and a modulation to 7/4 time in the bridge demonstrates Porterfield’s willingness to push the boundaries of pop songwriting, resulting in a composition that’s as musically intricate as it is catchy.

Lyrically, “Father of None” explores the nuanced relationship between a parent figure and a struggling child, with lines like “I stoop for you / Father of none / Bred with plain soil / Species of one” painting a vivid picture of unconditional love and individual struggle. The song’s narrative, pieced together from free-write exercises, creates a cohesive story that touches on themes of independence, guidance, and the challenges of watching someone make their own mistakes. The collaborative production process, involving Quinn McCarthy and other musicians, adds layers of atmospheric richness to the track, particularly in the outro’s Brazilian-inspired feel. “Father of None” not only showcases Porterfield’s growth as a songwriter but also positions them as an artist unafraid to blend complex musical ideas with deeply personal storytelling.