B-Side Guys

High school composition becomes adult conversation when Kevin Metzger and R. Aaron Walters transform teenage rock band material into sophisticated jazz-organ trio exploration. Their instrumental reimagining of “Tongue In Cheek” operates as musical archaeology, excavating emotional territory from original Lee Terrace recordings while applying fifteen years of accumulated musical sophistication. The track functions as both tribute to creative partnership and investigation into how youthful perspectives on depression evolve through artistic maturity.

Metzger’s accomplished guitar work weaves through Walters’ piano and drums with the natural chemistry that only develops through sustained creative relationship. Their teenage introduction through competing high school bands—Lee Terrace and Abstract—provides foundation for current collaboration that feels both nostalgic and forward-looking. The jazz-organ trio instrumentation creates space for extended improvisation while maintaining structural connection to the original rock composition.

The “what-if alternate reality” concept that Metzger mentions manifests clearly through their approach to arrangement and performance. Rather than simply updating the original for contemporary tastes, they’ve created parallel universe version where their teenage bands might have developed in different musical direction. This conceptual sophistication distinguishes the track from typical nostalgic exercises that prioritize recreation over reinterpretation.

Walters’ dual role on piano and drums demonstrates the kind of musical versatility that develops through long-term creative partnership. His understanding of Metzger’s compositional approach allows for seamless instrumental conversation rather than competitive virtuosity. The production choices support this collaborative dynamic by creating sonic space where both artists can contribute without overwhelming the essential melodic content.

The track’s exploration of depression through instrumental means proves particularly effective given the original song’s “youthful and playful” approach to serious subject matter. Without lyrical content to guide emotional interpretation, listeners must navigate the psychological landscape through purely musical storytelling. This approach allows for more ambiguous emotional territory than typical mental health documentation.

The result captures something rare in contemporary music—genuine creative telepathy born from sustained artistic friendship. When Metzger’s guitar anticipates Walters’ rhythmic shifts or when Walters’ piano responds to melodic suggestions that haven’t quite formed yet, you’re hearing the sound of two musicians who’ve learned each other’s creative languages fluently enough to speak in musical shorthand.