B-Side Guys

Welcome to bsideguys.com’s October New Releases, your essential guide to fresh sounds as autumn settles in. This month brings an eclectic mix of tracks that capture the changing season – from introspective folk ballads to energetic indie rock anthems that crackle like fallen leaves underfoot.

Our team has carefully selected the most compelling releases, offering insightful analysis of each track. Whether you’re seeking cozy acoustic gems for chilly evenings or upbeat bangers for harvest festivals, we’ve got your October soundtrack covered. So grab your favorite fall beverage, settle into that oversized sweater, and join us as we explore this month’s most exciting new music.

Justin Webb & The Noise – “Somewhere Between”

Justin Webb & The Noise’s “Somewhere Between” is a raw exploration of small-town heartbreak that showcases the Nashville band’s commitment to authentic rock ‘n’ roll. Recorded live in one room at 3 Sirens Studio, the track’s production captures the energy of five musicians pushing their vintage tube amps to the limit. Webb’s vocals, backed by the dual guitar attack of Ben Moore and Will Pettus, create a sound that’s both nostalgic and immediate.

Lyrically, “Somewhere Between” paints a vivid picture of post-breakup isolation in a small town, with lines like “All alone, and you will suffer” capturing the raw emotion of young love gone wrong. The repeated imagery of driving alone at night while watching “the light from the stars” evokes the restless energy of youth searching for escape. The song’s bridge, with its anxious anticipation of weekend encounters, adds another layer of small-town drama to the narrative. As part of their debut album “Stupid Young,” this track demonstrates Justin Webb & The Noise’s ability to transform personal experiences into universal rock anthems, crafting music that honors the traditions of garage rock while maintaining a distinctly Southern perspective.

Beach for Tiger – “A Little Relief”

Beach for Tiger’s “A Little Relief” is a soulful blend of psychedelic rock and dream pop that captures the universal yearning for escape. The track’s production weaves together lazy guitars and atmospheric synths to create a dreamy soundscape that mirrors the mental state of someone desperately seeking respite. The band’s ability to blend genres creates a sonic experience that’s both immersive and emotionally resonant.

Lyrically, the song articulates the struggle of pushing through daily monotony, with lines like “I’m great grinding through the day, understanding that it’s gonna stay with me” expressing a resigned acceptance of life’s challenges. The chorus’s plea for “a little relief from the clouds above” speaks to the basic human need for breaks and renewal. The imagery of being “frozen in time” while trying to be “something sublime” captures the frustration of feeling stuck despite one’s best efforts. Beach for Tiger transforms these relatable sentiments into a hypnotic track that offers the very escape it describes.

Melissa Weikart – “Easy”

Melissa Weikart’s “Easy” is a shimmering exploration of self-sacrifice and relationships, blending baroque pop sensibilities with experimental jazz influences. The track’s production builds from Weikart’s signature piano arrangements into a more expansive soundscape, incorporating electronic elements and field recordings that reflect her journey from Paris to Boston to Strasbourg. Her vocals, informed by her jazz background, weave through the instrumentation with both technical precision and emotional depth.

Lyrically, “Easy” examines the complexities of making things simple for others, with lines like “Tell me what you want and if it’s something on the shelf, then I can bring it to you” highlighting the sometimes futile attempt to smooth others’ paths. The repeated refrain of “I’ll make it easy” takes on an increasingly ironic tone as the song progresses, while imagery of shrinking spaces and passing years creates a sense of mounting pressure. The song serves as a perfect introduction to Weikart’s EP of the same name, showcasing her ability to craft pop music that refuses easy categorization while maintaining an undeniable emotional pull.

Gitkin – “Tall Oaks Drive”

Gitkin’s “Tall Oaks Drive” is a vibrant fusion of psychedelic rock and surf influences that channels the spirit of 1960s spy film soundtracks. The track’s vintage production, featuring hard-panned drums and bass, creates a retro soundscape that perfectly complements Brian J’s electric sitar work. The instrumentation crafts a sonic atmosphere that’s both playful and mysterious, evoking images of mod-era espionage with a hint of tongue-in-cheek humor.

As an instrumental piece, “Tall Oaks Drive” allows each musical element to tell its own story, with the electric sitar leading listeners through a space-age adventure. The song’s structure builds a groove that would feel equally at home in a James Bond film or at a GoGo party. This track not only showcases Gitkin’s ability to blend diverse influences but also demonstrates Brian J’s skill as a multi-instrumentalist and producer, creating music that pays homage to vintage sounds while maintaining a fresh, contemporary edge.

Olivia Valentine – “And Now Just Be”

Olivia Valentine’s “And Now Just Be” is a meticulously crafted piece of indie rock that blends progressive elements with Brit-pop sensibilities. The track’s production showcases the band’s attention to detail, from the vocals recorded through vintage equipment like the Purple MC77 to the carefully selected array of guitars running through a Vox AC15. The layered instrumentation creates a rich sonic landscape that supports the song’s surreal narrative.

Lyrically, “And Now Just Be” tells the story of a man who chooses to escape modern life’s pressures by joining the pond creatures in their underwater world. Lines like “Sunlight shines a path along the bottom rim / He sinks / Further” paint a vivid picture of willing submersion, while the chorus’s invitation “We do not bite / We once had legs / And now we’re free” adds an element of dark whimsy to the tale. The song transforms a simple observation during dog walks into a compelling metaphor for finding peace by stepping away from society’s demands, showcasing Olivia Valentine’s ability to craft narratives that are both fantastical and deeply relatable.

Holy Void – “Too Close to the Sun”

Holy Void’s “Too Close to the Sun” is an ambitious psychedelic rock track that reimagines the myth of Icarus through modern family dynamics. The Winnipeg sextet creates a sonic landscape that builds from intimate verses to soaring choruses, mirroring the song’s thematic arc of rebellion and inevitable fall. The band’s layered instrumentation and production choices create a sense of ascending and descending that matches the narrative’s trajectory.

Lyrically, the song explores the tension between parental guidance and youthful defiance. Lines like “You ask me how I’m doing / I say dad I am on fire” blend literal and metaphorical imagery, while the repeated motif of wax dripping reinforces the Icarus parallel. The final pleas of “Teach me how to walk / Teach me how to run / Teach me how to fly” take on an ironic tone, coming after the narrator has already ignored these lessons. “Too Close to the Sun” showcases Holy Void’s ability to transform classical mythology into a compelling modern narrative about self-destruction and the consequences of ignoring wisdom.

Zoe Kilgren – “All The Time”

The Zoë Kilgren Band’s latest single “All The Time” arrives like a crisp autumn breeze, carrying with it the bittersweet perfume of seasons in transition. Opening with the haunting inquiry “How sweet, how sad, how lovely are you?” the track demonstrates ZKB’s masterful navigation between vulnerability and vigor, drawing immediate comparisons to early Paramore while carving out their own distinct sonic territory. The Los Angeles quartet, fresh off their debut EP “The Phoenix,” has crafted a precisely calibrated indie rock anthem that benefits from Richard Follin’s tastefully restrained guitar work and Nick Ferrucci’s dynamic drumming, creating a foundation that allows Kilgren’s emotionally charged vocals to soar.

What elevates “All The Time” beyond mere coming-of-age fare is its sophisticated exploration of personal evolution, particularly evident in the bridge’s cinematic sweep. The repeated refrain “So keep me in mind, I think of you all the time” transforms from a simple hook into a mantra of connection, while lines like “Step by step, I’m walking to the unknown” reveal a band unafraid to document their own journey with unflinching honesty. Already a standout in their live sets at venues like Hotel Cafe and El Cid, this track suggests that ZKB’s self-proclaimed “very beginning” may soon evolve into something far more significant in the indie rock landscape.

Marsupial Lion – “Cartoon World”

After a four-year hiatus, Marsupial Lion’s “Cartoon World” emerges as a kaleidoscopic critique of our increasingly absurdist reality. Travis Jonathan’s latest offering masterfully weaves gleaming synth textures with psychedelic undertones, creating a soundscape that feels both nostalgic and unnervingly present. The production, helmed by Ben Etter (known for his work with Deerhunter and Soccer Mommy), provides a pristine vessel for Jonathan’s sharp-tongued observations about performative activism and viral heroism. Lines like “Your everyday crusade perpetuates the holy highlight reel” cut through the dreamy instrumentation with surgical precision, while the track’s circular structure mirrors the endless feed-scrolling it critiques.

What sets “Cartoon World” apart is its ability to maintain melodic accessibility while delivering its pointed message about collective delusion. The chorus’s deceptively bright hook (“Everything’s cool when you’re dumbed down and doomed”) showcases Jonathan’s gift for wrapping bitter pills in sweet sonic coating, recalling Tears for Fears at their most incisive. The gradual descent into the mantra-like finale (“Don’t kill off my cartoon world”) reveals an unexpected vulnerability beneath the satire – a reluctant acknowledgment of our own complicity in the spectacle. It’s a triumphant return that suggests Marsupial Lion’s best work may lie in the intersection of dream pop sheen and societal nightmare.