B-Side Guys

“I got my color back from the claws of that pawn shop aristocrat” isn’t just an opening line – it’s a declaration of intent. Ben Hazlewood’s latest single swaggers through its runtime with the confidence of someone who’s not just found their voice but learned to weaponize it, creating a sonic middle finger to conformity wrapped in infectious dream-pop production.

The New Zealand-born, New York-based artist draws from his theatrical background to craft a persona that’s equal parts glam rock attitude and modern indie vulnerability. His vocals navigate seamlessly between intimate confessionals and soaring declarations, supported by a sophisticated production that layers shimmering synths over funk-inflected basslines. The result is a sound that feels both carefully crafted and defiantly spontaneous.

Lyrically, “Too Loud For Tokyo” builds its metaphor through a series of vivid vignettes – from dice in a Pontiac to lovers’ almanacs – each one painting a picture of someone reclaiming their narrative. “Put the money on the table, let the eyes do the talking” delivers both threat and invitation, while the recurring “If you’re running from me / I hope you stay there” transforms defensive posturing into empowered boundary-setting.

The production mirrors this journey from vulnerability to strength, building from atmospheric verses into choruses that burst with newfound confidence. Drawing inspiration from influences like David Bowie and Jim Morrison, Hazlewood creates a sound that honors his glam rock heroes while remaining firmly rooted in contemporary indie pop sensibilities.

What elevates “Too Loud For Tokyo” beyond simple empowerment anthem territory is its understanding of how self-discovery can feel both liberating and dangerous. When Hazlewood warns “Don’t step to me son we know it’s best you keep walking,” it’s less threat than survival strategy – the sound of someone who’s learned that being authentically yourself sometimes means making others uncomfortable.