B-Side Guys

Growth requires destruction as much as creation—old forms must decompose to nourish what emerges. On their new EP “Bloom,” the international trio Raynes transforms this botanical principle into seven tracks that literally flower from sparse acoustic beginnings into full symphonic crescendo, creating musical equivalent to time-lapse photography of seasonal change.

The collaboration between North Dakota natives Mat Charley and Joe Berger with British artist Mark Race proves that geographic distance cannot constrain genuine creative chemistry. Their meeting through Instagram video might seem modern accident, but the resulting music suggests deeper artistic destiny. Signed with Sony Music Publishing and drawing inspiration from the Arts and Crafts movement, Raynes have crafted collection that bridges chamber-pop sophistication with folk accessibility.

Opening track “Pulling Teeth (I Feel Like She Knows)” establishes both the EP’s restrained romanticism and its architectural ambitions. The sparse arrangement features fiddle, mandolin, and stacked harmonies that locate the band somewhere between classic Americana and baroque folk. Rather than rushing toward complexity, the song allows space for emotional discomfort to breathe, exploring vulnerability through country motifs while avoiding cliché through authentic rather than performative masculinity.

“Turn It and Twist” provides immediate tonal contrast through its rollicking, pub-tune energy that transforms emotional deflection into theatrical celebration. The track demonstrates remarkable emotional intelligence—acknowledging the human impulse to avoid guilt when pride is bruised while maintaining enough self-awareness to find humor within stubbornness. This psychological sophistication distinguishes Raynes from less perceptive singer-songwriters who mistake simplicity for depth.

“Your Mouth Is A Garden” introduces global rhythms and fretless bass that push beyond Anglo-American folk traditions toward worldbeat influences. The song’s exploration of reconciliation and quiet devotion benefits from production that allows each instrumental voice distinct space while maintaining cohesive emotional direction. The track proves particularly effective for its gentle approach to complex themes—tender without being sentimental, specific without excluding universal application.

Mid-EP track “Goldfish” serves as philosophical centerpiece through its message about expanding horizons while maintaining emotional groundedness. The Celtic textures and pensive arrangement create perfect backdrop for lyrics that examine the tension between growth and security, adventure and stability. The song’s placement within the EP’s overall arc proves strategically perfect—providing contemplative space before the collection’s final emotional surge.

“Rainbow Baby” strips arrangements back momentarily to allow encouraging lyrics center stage while introducing kinetic string interplay that suggests gathering momentum. The track balances sorrow and optimism with remarkable precision, acknowledging difficulty while refusing to surrender hope. This emotional complexity reflects mature songwriting that understands healing requires acknowledging pain rather than avoiding it.

Penultimate track “It’s So Quiet Without You” represents the collection’s full bloom, blending orchestral elements with rock instrumentation to create yearning for connection that feels genuinely epic rather than artificially inflated. The inclusion of chimes, sleigh bells, flute flourishes, and string ensemble creates choral-scale arrangement that serves rather than overwhelms the underlying emotion. This sophisticated production demonstrates why the band’s gradual buildup approach proves so effective—each element feels earned rather than imposed.

Closing track “Say That You Want It” provides the EP’s symphonic apex, transforming plaintive plea into sweeping finale featuring brass, piano, and timpani. The cinematic scope here could easily collapse into bombast, but Raynes maintain emotional authenticity that makes grand gestures feel necessary rather than ostentatious. The track succeeds as both individual statement and culmination of the EP’s gradual transformation from intimate confession to public declaration.

Throughout “Bloom,” Raynes demonstrate understanding that effective concept albums require musical architecture that serves emotional content rather than constraining it. Their decision to literally bloom from sparse beginnings to full orchestration creates organic development that mirrors natural growth cycles while maintaining human-scale emotional accessibility.

The band’s international composition adds subtle cosmopolitan texture without overwhelming their folk foundations. Race’s British perspective combines productively with Charley and Berger’s American sensibilities, creating synthesis that feels natural rather than calculated. This cultural blending enhances rather than complicates their musical identity, suggesting artists comfortable with complexity rather than intimidated by it.

For debut EP, “Bloom” demonstrates remarkable artistic ambition executed with impressive technical skill and emotional authenticity. Raynes have created music that rewards both casual listening and deeper analysis, proving that sophisticated arrangements can enhance rather than obscure genuine feeling. The collection succeeds as both entertainment and artistic statement, establishing foundation for what promises to be compelling artistic journey.

As they continue developing their distinctive approach to chamber-folk, “Bloom” provides compelling evidence that Raynes possess both vision and skill necessary for sustained creative growth—exactly the kind of organic development their debut celebrates.