B-Side Guys

In the shadow of multiplatinum success often lurks the more intriguing question: what happens after the hit? For Sebu Simonian—one half of Capital Cities, whose “Safe and Sound” dominated airwaves in 2013—the answer arrives in the form of “Many Faces,” a debut solo album that treats his pop pedigree not as formula to repeat but as springboard into unexplored territories. Set for release May 22nd, this 12-track collection serves as reintroduction to an artist whose creative ambitions extend far beyond crafting radio-friendly earworms.

Opening track “Look At Me Now” establishes both thematic and sonic foundation, its lyrics directly addressing the vertigo of unexpected fame. “They gave me fame, I pressed my luck / What the fuck? Now I’m stuck in the sky,” Sebu confesses over production that blends electronic elements with organic instrumentation. This tension between synthetic and natural sounds becomes recurring motif throughout the album, mirroring the central exploration of identity’s multiple dimensions.

“Edge of Nowhere,” a collaboration with Italian nu-disco producers THCSRS, pushes toward dance floor territory without abandoning introspection. The “guitar-driven anthem for skydiving rebels without a cause” description proves apt, as the track combines propulsive beat with existential contemplation. THCSRS’s production creates expansive sonic landscape that allows Sebu’s distinctive vocals—simultaneously powerful and vulnerable—to navigate emotional territory beyond Capital Cities’ more straightforward optimism.

By the time “Shout Out Ey!” arrives third in sequence, the album’s experimental nature comes fully into focus. The track’s repeated refrain “Do you believe in me?” functions not merely as hook but as genuine question about artistic legitimacy post-mainstream success. The lyrics—”This empty page, so pretty / I wrote a word, now dirty”—suggest creative anxiety transformed into sonic exploration. The arrangement balances repetitive elements against evolving production textures, creating hypnotic effect that rewards attentive listening.

“Standing Rock” marks significant tonal shift, addressing sociopolitical concerns through more contemplative lens. The track demonstrates Sebu’s Armenian-American heritage influences beyond mere sonic texture, engaging with questions of justice and indigeneity. This willingness to address weightier themes continues with “The Worst That Could Happen To Us,” aptly described as “the darkest love song ever written.” Over Eraserfase’s glitch-tech beat, Sebu catalogs catastrophic scenarios from natural disasters to relationship dissolution with equal gravity, suggesting emotional apocalypse can rival physical ones in their devastating impact.

Mid-album highlight “Ultraviolet Violent” represents first of two collaborations with trip-hop producer Bei Ru, creating psychedelic soundscape where distorted electronics and vintage keyboards create unsettling beauty. Lyrics exploring invisible radiation serve as metaphor for influences that shape us beyond conscious awareness. The production achieves remarkable balance between experimental textures and melodic accessibility, embodying the album’s overall approach.

“Love Bullets” and “Hindsight” form complementary pair exploring relationship dynamics from different perspectives, the former’s aggression balanced by the latter’s reflective nature. Both tracks benefit from Sebu’s gift for memorable vocal hooks, ensuring that even the album’s most adventurous moments remain grounded in strong melodic foundation.

The collection’s most audacious moments arrive with consecutive covers of David Bowie’s “Space Oddity” and Porno for Pyros’ “Pets.” Rather than mere tribute, these interpretations function as thematic extensions of the album’s original material. The Bowie cover—reportedly featuring Sebu’s 1889 Steinway grand piano before it was destroyed in the Altadena fire—creates poignant connection between Major Tom’s isolation and the artist’s own creative journey. Meanwhile, the “Pets” cover transforms Perry Farrell’s apocalyptic vision into something both more intimate and unsettling, its message about humanity’s self-destruction resonating with contemporary urgency.

“This Life Is” serves as philosophical conclusion to the album’s original material, while “Dear Friends” featuring Capital Cities trumpeter Spencer Ludwig brings welcome brightness through its “joyous jazz-funk” approach. The repeated mantra “Experience love” suggests hard-won optimism rather than naïve positivity, creating emotional catharsis after the album’s darker explorations.

The collection concludes with remixes of “Standing Rock” by Jonah Walsh and “Look At Me Now” by Stash The Groove Bug, creating circular narrative structure that invites repeated listening. These reinterpretations demonstrate the material’s versatility while reinforcing the album’s central theme—that identity comprises many faces, each revealing different aspects of authentic self.

Throughout “Many Faces,” Sebu demonstrates remarkable artistic growth, transforming potential midcareer crisis into creative renaissance. The album benefits from strategic collaborations that enhance rather than dilute his vision, from Bei Ru’s trip-hop experimentalism to Spencer Ludwig’s vibrant brass contributions. Producer credits including THCSRS, Galestian, and Tama Tama create varied soundscape united by Sebu’s distinctive vocal approach and thematic consistency.

Early support from influential radio tastemakers like Nic Harcourt (KCSN), Miles Anzaldo (KROQ), and Aaron Axelsen (LIVE105) suggests the album may find audience beyond those familiar with Capital Cities, positioning Sebu for career longevity beyond one-hit wonder status. “Many Faces” represents that rare achievement—a debut solo album from established artist that neither rejects previous success nor remains constrained by it.

For listeners seeking substance beyond algorithmic pop while still appreciating skillful melody and production, “Many Faces” offers ideal balance between accessibility and artistic ambition. In exploring multiple facets of his creative identity, Sebu has crafted collection that rewards both casual listening and deeper engagement—music that entertains while refusing to underestimate its audience’s intelligence or emotional capacity.