Weekly New Releases – D’Ambrosia, Enny Owl, Conor Miley, Crewless, Aunt Vicki, Storm Franklin, Izzie Derry, and JIANTS

Welcome, audiophiles and melody maniacs, to another euphonic installment of Weekly New Releases on B-Side Guys! This segment is where we delve into the raw, uncharted territories of music, bringing to the surface the undiscovered gems and future anthems that are dropping into the music sphere this week. It’s our curated selection of sonic innovations and auditory canvases, painting your week with diverse rhythms, tunes, and lyrical narratives. From the raw, unadulterated passion of indie anthems to the complex harmonies of unsung ballads, we’re here to elevate your playlists with the fresh, unfiltered soundscapes that are resonating through the underground. Strap in, turn up the volume, and let’s ride the wave of musical exploration together!

D’Ambrosia – “Tumblin'”

Halifax’s D’Ambrosia lands another poignant punch with their latest single, “Tumblin’”, a raw contemplation on the multifaceted nature of love—a theme bathed in both melancholy and anticipation. The third single to grace our ears in the past year, “Tumblin’” traverses through emotional paradoxes, encapsulating a spectrum of sentiments in its reverb-heavy folds. Kim D’Ambrogi’s vocals unravel a narrative stitched with vulnerability, determination, and a hint of sardonic resilience, painting a journey of love experienced in perplexity and inevitability. The song doesn’t shy away from exploring the tumult within acceptance and defiance, reverberating with a bittersweet symphony of emotions and lingering like a haunting echo of unmet gazes and distant drifters.

D’Ambrosia, a well-crafted tapestry, meticulously interweaves smoky instrumentation with introspective lyrics, creating an eclectic amalgamation of sound that pays homage to various influences—from the soaring notes of Loretta Lynn to the sublime grace of Fleetwood Mac and the impassioned fervor of Kate Bush. The Halifax ensemble, helmed by the profound lyricism and the captivating presence of Kim D’Ambrogi, emanates a distinct sonic aura that is reminiscent of the timeless beauty of their influences yet distinctly innovative. “Tumblin’” serves as a testament to D’Ambrosia’s ability to merge contrasting emotions, crafting soundscapes that are laced with both hope and demise, resonating with listeners who find solace in the universal experiences of love, choice, and the ceaseless tumble through life’s unpredictable dance.

Enny Owl – “Femi”

Enny Owl’s “Femi” delicately intertwines Yoruba folklore with contemporary reflections, unraveling the tale of an elephant ensnared in deceit, believing celebration is at its feet. The song, a precursor to the anticipated album, Homes in Humans, is not merely a melodic reminder to trust one’s instincts but also a profound exploration of camaraderie and purposeful living. The track is a symphony of folky storytelling, fantasy-induced soundscapes, and experimentative pop influences, portraying a myriad of emotions—ranging from romantic nuances to epically moody contemplations. “Femi” eloquently expands upon Enny’s conceptual visions, creating cinematic melodies that echo with the philosophical undertones of intuition and the essence of genuine relationships.

Homes in Humans, set to unveil on November 3, 2023, is a harmonious culmination of reflections and musical renditions inspired by the thoughts and names submitted by Enny’s listeners during the lockdown. The album emerges as a conceptual masterpiece, emphasizing themes of healing and self-discovery, and serves as a testament to Enny Owl’s multifaceted musicality. It transgresses the boundaries of folk, blending in chamber pop elements and reimagining the realms of indie folk with its intricately layered compositions. Enny’s passion for Celtic sonorities and fantasy resonates in every note, crafting a collection that is as diverse as it is cohesive, immersing the listeners in an aural journey through varying landscapes of sound and emotion, and leaving them in contemplative silence, enveloped in the rich tapestries of her music.

Conor Miley – “Lost Honeybee”

“Lost Honeybee,” Conor Miley’s latest single, emerges as a haunting symphony, reverberating with echoes of grief and resilience, a precursor to his highly anticipated album, Thousand Yard Stare. The song intricately weaves a tapestry of melancholy, narrating a soul’s odyssey through the labyrinth of loss. From the tendrils of denial to the stark reality of acceptance, every note drips with the poignancy of heartbreak, reflecting Miley’s profound exploration of human emotions. The acoustic strings reverberate through the solemn shadows of isolation, punctuated by ethereal synths and orchestral drums, culminating in a musical maelstrom—a cathartic release from the bonds of sorrow.

Miley’s multifaceted musical journey, rich in the nuanced echoes of folk, indie, and electronica, imbues his compositions with a compelling emotive pulse. With the musical vistas stretching from intimate reflections to sweeping epics, Miley’s intricate arrangements unravel the complexities of the human soul, portraying its vulnerabilities and strengths in equal measure. The Dublin native, who has honed his craft amidst diverse musical landscapes and personal turmoil, channels his experiences into every chord, creating a harmonious amalgamation of varied genres, laden with profound lyrical expressions. The elegance of classical music and the raw energy of jazz intertwine in his work, reflecting the eclectic influences that have shaped his artistic vision. The upcoming album, woven with threads of love, hope, and despair, resonates with the multifarious shades of life, a testament to Miley’s relentless pursuit of musical excellence and his ability to transform personal crisis into universal reflections of the human experience. The accompanying visuals, directed by Michael-David McKernan and featuring Emily Kilkenny-Roddy, enhance the atmospheric essence of “Lost Honeybee,” encapsulating the dichotomy of intimacy and release in every frame, epitomizing the transformative journey of the soul.

Crewless – “Elevator (going down)”

With “Elevator (going down),” Crewless plumbs the depths of emotional turmoil and ardor, crafting a haunting soundscape of somber reflections, revealing the multitudes contained within human connection. The song is a meticulous exploration of the exhaustive range of emotions that one experiences when in proximity to a love that is as volatile as it is passionate. The synergistic confluence between Crewless and producer Nate Pyfer adds layers of nuanced melancholy and indietronica ambiance to the piece, creating a seamless blend of indie vibes and house undertones, an echo of shared musical insights and visions. The resultant sound is a labyrinthine tapestry of chill and moody tones, a journey through the introspective corridors of the heart, underscored by the masterful mixing of Finn Bjarnson.

Crewless, emanating a vibrant energy from Salt Lake City, Utah, is a sonic revelation, merging the diverse vocal dynamics of Jefferson, Brandi, and Makenna, reminiscent of the eclectic vibrancies of bands like The B52’s and Human League. This harmonious amalgamation allows the exploration of a vast musical palette, creating a powerful collective resonance that manifests in the fusion of house rhythms and punk guitars. Gunther, the architect of soundscapes within the group, orchestrates the dual sonic expressions, encapsulating the philosophy of multiplicity in expression, rooted in his multicultural upbringing. The juxtaposition of indie and electronic elements in their debut single, “Elevator,” illustrates Crewless’s innovative approach to music creation, delivering a plethora of emotions and styles, from the tumultuous guitars in “Elevator (going up)” to the nostalgic vibes in “Elevator (going down),” making them the torchbearers of unadulterated emotional and musical exploration in the contemporary music scene. The group’s aesthetic, both sonically and in fashion, reflects a myriad of influences, from The Ting Tings to Daft Punk, amalgamating to form a unique and compelling musical identity, pushing the boundaries of genre and expression.

Aunt Vicki – “Time Is On Your Side”

Aunt Vicki’s “Time Is On Your Side” unfolds like a multilayered existential rhapsody, threading the needle between introspective folk echoes and the rebellious heartbeat of garage rock. Hailing from Asheville, NC, the retro rock conclave delivers a sound that is a reverberating amalgam of raw, Beatles-esque simplicity intertwined with complex, untamed finales. The song’s dual nature presents an intricate dance between serene retrospection and unadulterated wildness, creating a sonic landscape that’s drenched in a bit of every era, a characteristic reminiscent of artists like Courtney Barnett and Ty Segall. The lyrics, a reflective contemplation of self, evoke a cinematic tapestry of life’s ceaseless march, a narrative of self-confrontation and the relentless pursuit of one’s desires. The expressions “Who do you think you are” and “This movie is a flop/And you’re the star” illustrate the struggle of self-perception and the inevitable reckoning with time, shedding light on the internal battles faced in the journey of growth and self-discovery.

The philosophical underpinnings of the track are accentuated by the band’s multifaceted musical architecture, creating a paradoxical atmosphere where the contemplative intertwines with the chaotic. Aunt Vicki’s narrative, an enthralling odyssey through the realms of existential thought, is a dynamic interplay of fervent art rock energy and the pensive nuances of folk, reminiscent of the authentic resonance of The Dead Weather. The song, an exploration of the symbiotic relationship between aging and self-realization, melds the fervor of alternative rock with the artful expressions of garage aesthetics. It is a tumultuous journey through the cascading sands of time, confronting the inevitability of growth and the relentless cycle of self-reinvention, making “Time Is On Your Side” a poignant reminder of the inexorable dance between the self and the ever-ticking clock of existence.

Storm Franklin – “The Fear”

Storm Franklin’s single, “The Fear,” emerges as a meticulously crafted symphony of existential contemplation, where Juanita Stein’s haunting vocals intertwine with Ben Hillier’s masterful production to paint a landscape suffused with an aura of internal tumult. It’s a journey through the shadowy corridors of human psyche, where the echoes of half-truths and white lies reverberate amidst the relentless pursuit of the divine. The song, a harmonic manifestation of internal conflicts and raw emotion, explores the universal sentiments of fear and chaos, serving as a mirror reflecting the ubiquitous struggle to navigate through the labyrinthine facets of the human condition. The chorus, “This is the fear,” resonates as an echoing whisper through the poetic tapestry, accentuating the symbiotic relationship between the internal and the external, the individual and the collective, the chaos and the divine.

Stein and Hillier, uniting under the moniker of Storm Franklin, manifest a nuanced exploration of existential dichotomies within “The Fear,” with each strum and each note acting as a harbinger of the myriad emotions that traverse the human soul. The lyrics, a poetic odyssey through the realms of internal trepidation and external cruelties, unravel the intertwined threads of anguish and desire, embodying the hustle through the ticking hours and the relentless march towards the ephemeral finish line. The relentless repetition of “This is the fear” serves as an echoing anthem of the shared human experience, embodying the universal dance with fear and the pursuit of existential meaning within the ceaseless cycle of chaos and divine possibility. With “The Fear,” Storm Franklin encapsulates the essence of indie rock introspection, cultivating a realm where the haunting echoes of existential musings meld seamlessly with the intricate tapestries of harmonious revelation, propelling listeners through the uncharted territories of the human soul and the inherent fear that resides within.

Izzie Derry – “Young and Free”

Izzie Derry, with her new track “Young and Free,” weaves a tapestry of introspection and nostalgia, blending the melodious essence of Indie Folk with a poignant narrative that resonates with the universal longing for the simplicity of youth. The song, reminiscent of the harmonic subtleties of artists like Laura Marling and Fiona Apple, paints a landscape colored with reflections on growing pains and the metamorphosis of relationships. Derry’s lyricism, enveloped in a soft melancholy, explores the contrast between the boundless joy of childhood and the burdensome worries of adulthood, with a recurring desire to return to ‘those days of beautiful clichés’. This release is a poignant exploration of human vulnerabilities, a melodic soliloquy reflecting the artist’s journey through self-discovery and her pursuit of musical authenticity, resonating with the echoes of her emotional and artistic evolution.

“Young and Free” is the sixth symphonic glimpse into Izzie Derry’s debut album, a project birthed from her reflections during lockdown, where each note seems to be imbued with amplified emotions and deeper personal revelations. Izzie’s artistic journey, from her initial public performance at fifteen to her diverse musical explorations and collaborations, showcases a relentless pursuit of musical excellence and a fearless embrace of evolving genres and arrangements. The song, with its layers of musical rawness and innovative vibe, exemplifies Derry’s commitment to enhancing her musical palette, highlighting her maturity and her refined perspective on life’s multifaceted experiences. The emotional depth encapsulated in this single, intertwined with its soulful composition, is a testament to Izzie’s growth as an artist and her ability to transform her contemplations into a harmonious blend of relatable and deeply moving musical experiences.

JIANTS – “Moon Lit”

Toronto-based Jiants, led by former professional skateboarder Jesse Landen, serve a poignant and nostalgia-laden indie pop concoction with their latest single, “Moon Lit.” This track, immersed in a lo-fi aesthetic, oscillates between the realms of dreamy contemplation and vigorous reality, painting the airwaves with shades of elusive summer love and the ensnaring allure of the unknown. “Moon Lit” poetically articulates the conundrum of pursuing ephemeral whims of the heart, eventually succumbing to a resonating emptiness—a journey Landen defines as a waltz with the nostalgia of imaginary summer love. The song, with its echoing lyricism, “Always searching for the ghost of the you before,” sketches the eternal chase for the mirages of the past, weaving a tale of reflective disillusionment and heartwarming realization. The intricate interplay between the soaring leads and enveloping hooks captivates the listener, drawing them into a swirl of emotions and resonant melodies, reminiscent of longing glances exchanged under the ethereal embrace of moonlit nights.

“Moon Lit,” a luminous offering from Jiants’ upcoming album, “Tall Tales,” is a mirror reflecting the band’s evolved musical craftsmanship and Landen’s profound lyrical depth. The track’s smooth progression and the emotive undulations of the music journey through the dimensions of the human soul, exploring the facets of love and the inherent human predilection for nostalgic yearning. The distinct indie-pop influences entwined with the evocative lyrics render it a mesmerizing concoction of sound and emotion. Engineered and produced by Gavin Gardiner, “Moon Lit” becomes a symphonic dance between reality and the remnants of fleeting summer encounters, illustrating Jiants’ ability to transform the abstract tapestries of human emotions into harmonious and relatable sonic experiences. This single, with its relatable narrative and compelling musical composition, augments the anticipation for their forthcoming album, promising a musical journey steeped in introspection and resonant indie-pop allure.

Weekly New Releases: FlexpackFACE, A Beacon School, A Number From The Ghost, Van Goat, Slye and Genomic Clone

Hello music aficionados! As the weekend settles in, it’s time to refresh those playlists and discover some gems. Here at B-Side Guys, we’re always on the lookout for the freshest tracks, the burgeoning artists, and those tunes that simply resonate. Dive into this week’s collection of new releases, curated meticulously for the discerning ear. Whether you’re into soothing ballads, electrifying beats, or anything in between, our weekly round-up promises a musical journey like no other. Let’s turn the volume up and delve into the sounds of now!

FlexpackFACE – “Stay Away”

In “Stay Away,” FlexpackFACE takes a sobering detour from his signature high-octane sound, delving into the harrowing depths of his struggles with addiction. The track seamlessly oscillates between moments of heart-wrenching vulnerability and fierce self-awareness, akin to the contemplative depths of J. Cole. Accompanied by cinematic visuals that amplify the song’s intensity, this piece stands out not just as a candid confession but as a testament to the transformative power of art, capturing the dual moods of desolation and hope with a piercing clarity.

Hailing from Cleveland, Ohio, FlexpackFACE is more than just a rapper; he’s a storyteller using YouTube as his canvas. With a commendable work ethic, dropping a music video every month for the past ten months, he’s showcasing a rich tapestry of emotions and experiences, all while investing considerably in both the auditory and visual aspects of his craft. “Stay Away” encapsulates the essence of FlexpackFACE’s mission: to resonate, to be seen, and to touch hearts, one video at a time.

A Beacon School – “Alone”

“Alone,” the latest offering from A Beacon School, is an aural odyssey that deftly captures the fleeting essence of renewed hope amidst life’s ebb and flow. As the brainchild of the multi-talented New York artist, Patrick J. Smith, the track unravels as an intimate contemplation of despair, juxtaposed with the tantalizing allure of optimism. Smith’s description of the song, as a reflection of the moment “when you feel like your luck is finally turning,” resonates deeply in its ethereal melodies, evoking the moody atmospheres that Dream Pop connoisseurs cherish in acts like Slowdive and Alvvays.

A Beacon School’s signature lies in seamlessly blending uptempo pop elements with lush shoegaze and intricate electronic textures. Established in 2009, Smith’s journey from home-recorded demos to amassing millions of streams, is testimony to his refined artistic prowess. With a soundscape mixed by Sonny DiPerri, whose credits boast collaborations with legends like Trent Reznor and My Bloody Valentine, “Alone” foreshadows the anticipated tonal breadth of ‘yoyo’, Smith’s upcoming LP and his first full-length in half a decade. If “Alone” is any indication, ‘yoyo’, set to release on October 13, 2023, promises to be another immersive dive into Smith’s subconscious artistry, further solidifying A Beacon School’s place in the annals of modern Dream Pop.

A Number From The Ghost – “Atomize”

In the digital age where boundaries between disciplines blur, few artists epitomize this melding of worlds quite like Peter Adams, who operates under the moniker A Number From The Ghost. “Atomize”, the latest single, is a poignant blend of melancholic electronica and ethereal Dream Pop that resonates with the wistful essence of childhood memories, Saturday morning awakenings, and the surreal feeling of existence. The lyrics, laden with vivid imagery of “silver infant eyes,” the “scene of your mother,” and the haunting finality of knowing oneself, evoke a tapestry of emotions that are both universal and deeply personal. Paired with Adams’ unique interdisciplinary approach — where each release has an associated, explorable online world — the song feels like a piece of a much grander narrative, a digital experience mirroring early computer animations and the melancholy of summer dreams.

A Number From The Ghost stands as a testament to the digital artistry that can be wielded by a multi-faceted talent like Adams. The soundscape, reminiscent of Thom Yorke’s ethereal forays into Electronica, intersects with lyrical expressions that echo the profound sadness and wonder of existence. “Atomize and feel nice” — the refrain captures the transient nature of moments, memories, and emotions; feelings that momentarily coalesce only to disperse into the ether. While the tangible connection of live performance may no longer be an avenue for Adams, “Atomize” proves that his musical and digital realms are not just compensations, but evolutions, transporting listeners into expansive, interactive universes crafted from sound and code.

Van Goat – “God’s On The Other Guy’s Side”

In an era where music is often swathed in sleek production and digital precision, Van Goat’s “God’s On The Other Guy’s Side” is a gleeful departure, serving a vintage concoction of toe-tapping swing, heartfelt country, and hints of punk rock rawness. Painting the scene with sepia hues, it transports the listener to a bustling old-time saloon, where the rhythmic hum of a dusty fan is drowned by the jubilant cacophony of live music. Melding the unmistakable swing of Dr. John with the rootsy richness of Traveling Wilburys and the audacious quirk of Beck, the track captures the tragicomic essence of life’s unpredictable misadventures. Aidan Ward’s earnest vocal delivery juxtaposes the track’s upbeat instrumentation, echoing tales of woeful ignorance and cosmic jests, reminiscent of the lyrical wit of Roger Miller and the earnest introspection of Jason Isbell.

Van Goat, the Oakland five-piece known for breathing punk vitality into the timeless swing genre, has struck gold once again. Their ambitious fusion of diverse musical landscapes, from punk to southern jazz, continues to defy categorization and expectation. The band’s profound ability to draw from a myriad of influences creates a sound that’s familiar, yet entirely fresh and unpredictable. In “God’s On The Other Guy’s Side,” they’ve constructed an anthem for the underdog; a melodic embrace of life’s missteps set against a backdrop of raucous instrumentation. This track is more than just a song—it’s a cinematic journey through a world where misfortune is met with a wry smile and an accompanying swing of the hips. With its intricate layering of trombone, guitar, and piano, combined with Ward’s contemplative lyricism, Van Goat showcases their unparalleled ability to craft songs that are at once reflective and irresistibly danceable. The modern musical landscape might be vast and varied, but Van Goat has carved out a niche that’s entirely their own, making them a force to be reckoned with in today’s scene.

Slye – “Ghost (Live)”

From the dimly lit, intimate corners of Liverpool’s QUARRY venue, Slye mesmerizes with “Ghost,” an impeccable display of neo-soul fusion. The track, rich with live instrumental dynamism, immediately captivates with a rhythm section that’s as groovy as it is introspective. Come the 1:01 mark, listeners are met with a tantalizing three-part horn harmony—a sonic treat that seamlessly intertwines with Slye’s nuanced vocal performance. The overall atmosphere evokes heavyweights like Jordan Rakei and D’Angelo, yet retains a unique fingerprint that’s undeniably Slye.

Building upon a foundation of 70s funk á la Prince and Sly Stone, Slye brings forward a modern sensibility, melding introspective lyricism with melodies reminiscent of contemporary R&B and indie. “Ghost” serves as a testament to Slye’s artistry, combining evocative lyricism with a complex yet accessible arrangement. As the song unfolds, it paints a vivid picture of longing, fading desires, and the inherent romance of live music. This offering reaffirms Slye’s dedication to crafting tunes that move not just the feet, but the very soul.

Genomic Clone – “My Last Day”

Amidst the textured sonic palette of “My Last Day,” Genomic Clone crafts an introspective tale of reflection, legacy, and the passage of time. A somber narrative unfolds, detailing the musings of an individual at the twilight of their life, eager to ensure a brighter future for the next generation. As the song’s protagonist reconciles with their life’s work, the listener is enveloped in the shimmering layers of electronica and alternative rock that recall the experimental leanings of Xiu Xiu and the intricate structures of Atoms For Peace.

Since their inception in 2022, Genomic Clone has been on a meteoric ascent, consistently challenging the boundaries of their genre. Comprising Christoph Hierath of Pictures of My Friends and techno maestro Leopold Bär, the duo effortlessly melds their distinct artistic identities to birth a sound that’s both innovative and comfortingly familiar. “My Last Day” stands as a testament to the band’s ability to evoke deep emotion while pushing sonic boundaries, offering listeners an evocative glimpse into the poignant interplay of mortality and legacy.

Weekly New Releases – Ida Mae, Analog Dog, Kohla, CS Hellmann, Hoagie, and Bear, Man Dangerous

As the sun sets on another week, a new horizon of musical exploration dawns. BSideGuys.com is here to guide you through the fresh tracks emerging from the shadows of the mainstream. From the harmonious whispers of indie artists to the vibrant echoes of undiscovered chart-toppers, our Weekly New Releases will ensure your playlist stays ahead of the curve. Keep your finger on the pulse of the music world and join us every week for the latest auditory adventures. Dive in, and let the rhythms carry you away!

Ida Mae – “Feel The World Turning”

There’s a fine art to capturing the fleeting essence of life on the road, with its poignant intersections of isolation and connection. British indie-rock duo Ida Mae masterfully taps into this universal wanderlust with “Feel The World Turning.” A departure from the band’s typical kinetic indie-rock verve, the track evokes a sense of melancholic introspection, reveling in the tender fragility of human encounters. As its ethereal sonics envelop listeners, one cannot help but be transported to dimly lit bars and edge-of-the-highway motels, where the quiet hum of stories shared fills the void of night.

The heart of “Feel The World Turning” lies in its narrative richness – a reflection of Ida Mae’s genuine experiences journeying through remote terrains and ephemerally touching the lives of strangers. This soulful offering feels like a whispered confession, a humble hymn to transient connections and moments of genuine introspection amidst the relentless churn of time. It’s not just a song; it’s a distilled memory, an evocation of the delicate balance between peace and trepidation that defines the nomadic existence. With “Feel The World Turning,” Ida Mae weaves the delicate tapestry of the road-traveler’s psyche, beautifully laying the groundwork for their upcoming album, ‘Thunder Above You.’

Analog Dog – “All The Birds”

San Francisco’s Analog Dog, known for blending multi-genre influences with nostalgic yet forward-thinking flair, emerges with their latest single “All The Birds.” Rooted deeply in the timeworn textures of psychedelic rock, the track employs shimmering guitars and harmonious vocals, reminiscent of the Beach Boys, to deliver a poignant commentary on the climate crisis. “Clutch your pearls and take a bow,” the lyrics incisively point out, invoking a sense of urgency for change. The gravity of the subject is juxtaposed against lush musical soundscapes that sway between dreamy contemplation and a visceral call to action.

However, “All The Birds” isn’t just a standalone masterstroke; it’s a part of Analog Dog’s vibrantly eclectic LP ‘Color TV’. A journey that blurs the lines between the analog past and digital present, the album offers an intricate dance of genres – from psychedelic rock to synthy dance grooves, from indie moods to jazz fusion undertones. The record feels like flipping through high-definition channels, each song a vivid hue adding to a prismatic view of modern anxieties and hopes. Drawing inspiration from the sprawling sonic playground of Golden Gate Park and fueled by a mission to transcend the confines of contemporary ennui, Analog Dog not only makes music but crafts auditory experiences that reflect a world brimming with both challenges and beauty.

Kohla – “Golden”

Emerging with an unapologetic reverence for self-worth and the splendors of being adored, Kohla’s “Golden” is a shimmering testament to the standards one sets in love. Drawing inspiration from the time-honored allure of Marvin Gaye’s soulful cadences and blending it seamlessly with contemporary R&B finesse reminiscent of Frank Ocean and Sabrina Claudio, Kohla crafts a neo-soul narrative that is as radiant as it is deeply personal. Lyrics like “Just give me all of your emotion – like I’m golden,” balance a fine line between vulnerability and audacity, capturing the transformative journey of self-awareness and the unshaken demand for respect in love. The track is awash with a gospel tinge, with soulful vocal runs that accentuate the sense of sacral love; an emotion so profound that it renders both the lover and the beloved in a golden, effervescent glow.

Yet, “Golden” is more than just a single; it’s a reflection of Kohla’s spiritual and emotional odyssey towards self-realization. The song resonates with the confidence of someone who has done the inner work, coming to the epiphany of their own worth, and now seeks nothing less than to be revered as a deity in matters of the heart. When Kohla serenades “Ooh, I’m fucking glowing baby,” it is more than just a statement of radiant love; it’s an anthem of self-celebration, a tribute to the divine feminine energy, and a reminder that love, in its purest form, should always feel as luminous as gold. “Golden” serves as a promising precursor to her debut album ‘Romance’, suggesting a collection rich in passion, introspection, and the exquisite nuances of love.

CS Hellmann – “Postcards”

In a haunting reflection of unrequited love, CS Hellmann’s “Postcards” is a poignant ode to the vulnerabilities of unspoken feelings, heartbreak, and the complexities of emotions tangled with friendships. Drawing from a rich well of inspiration that spans from the ethereal sounds of U2 to the passionate rawness of Silversun Pickups, Hellmann channels a tortured tapestry of memories, regrets, and quiet hopes into his dark indie anthems. The track stands as a testimony to the art of translating profound pain into cathartic creation, capturing the essence of the song’s backstory: a delicate confession, a rejection, and a dignified farewell note left with flowers on a porch.

CS Hellmann’s musical journey is painted with rich and varied strokes, from the early notes of The Beatles and 60’s girl groups echoing from car radios and basement vinyl players, to the guitar wizardry of rock legends that guided his own six-stringed pursuits. His unique experiences, from the highs of sold-out shows and notable producer collaborations to the lows of burnouts and battling bipolar depression, culminate in a sound that is charged with emotional intensity. “Postcards,” with its deeply personal narrative, encapsulates Hellmann’s evolution both as an artist and an individual, marking a significant entry in the discography of a Nashville songwriter who once rediscovered his passion amid personal turbulence. The track reminds us that even in the darkest chapters, there is beauty to be found in the raw honesty of music.

Hoagie – “The Karaoke Legend”

Stepping onto the stage with raw authenticity, Hoagie’s “The Karaoke Legend” offers a heartening tribute to an often overlooked, unsung hero – the local karaoke enthusiast. With a songwriting prowess reminiscent of Father John Misty and the quintessential alt-Americana energy of R.E.M., Dave Holgado – the driving force behind Hoagie – crafts an ode that treads the line between melancholic and celebratory. The track dives deep into the heart of the passion-driven, embracing the essence of music even in seemingly trivial pursuits, reminding listeners of the joys of uninhibited self-expression. Rich in texture, the song gains its weight from Shane Luckenbaugh’s poignant drumming, Steven Murillo’s harmonious background vocals, and the soulful trumpet notes from Rick Rein, all under the masterful production guidance of Joe Michelini.

Emerging from Portland’s verdant musical scene, Hoagie’s debut album “Other Folks” promises an eclectic blend of wit, nostalgia, and alt-Americana flair. The album, described as a rock opera, showcases Dave’s brilliant knack for storytelling through tongue-in-cheek lyrics, sketching out characters and narratives that resonate with life’s quirks and contradictions. “The Karaoke Legend” serves as a melodic anchor amidst the stormy seas of defiant anthems and introspective ballads. The album is an open book, flipping through pages of rebellion, acceptance, conflict, hope, and the infinite hues of human connection. Bearing similarities to the likes of Wilco and Ben Folds Five, Hoagie’s debut is set to carve a niche, whether as a playful post-modern power pop gem or a heartfelt journey into the complexities of navigating adult life. Await the unveiling this September 29th, for Hoagie is about to send ripples through the waters of contemporary Americana.

Bear, Man Dangerous – “American War”

Infusing the unapologetic intensity of The Jesus Lizard with the grand, cinematic ambience of Godspeed You! Black Emperor, Bear, Man Dangerous’s “American War” emerges as an incendiary exploration of modern societal dissonance. Lyrically drawn from Omar El Akkad’s haunting dystopia, the song is not just a reflection but a harrowing prediction, delving into the darkness of America’s soul and laying bare its tribalism, inequality, and pervasive discontent. Each lyric, from the “Florida man’s burning all these books” to the repeated cries of “Icarus killed us all,” serves as a visceral reminder of the cyclical nature of history and the perils of flying too close to the sun of one’s own hubris.

The track, unrelenting in its portrayal of a society at the precipice, delves into the very essence of what it means to be “safe” in an age of uncertainty. Is safety merely the act of distancing oneself from the chaos, or does it require a more proactive stance against the encroaching threats of division and loss? The repeated line “Everybody’s fighting American War” is a chilling testament to the universality of conflict, both internal and external, and the human cost of perpetual strife. As listeners are guided through a landscape of paranoia, desperation, and reflection, Bear, Man Dangerous holds up a mirror to the simmering tensions of contemporary America, urging introspection, recognition, and ultimately, change. Amidst the sonic maelstrom, the song stands as both a warning and a lament, urging listeners to remember the lessons of the past before they become the tragedies of the future.

Weekly New Releases – SUGARFUNGUS, Nathan Graham, AiramFM, Lawson Hull, The Steel Crows, Dune Moss, Earl Hondo, Orions Belte, and skipping

Welcome to another week of sonic exploration on B-Side Guys! As the virtual curtains pull back, we once again present to you a handpicked selection of the latest and greatest tracks that have graced the musical landscape. Whether you’re searching for your next earworm or a deep cut to lose yourself in, our Weekly New Releases has got you covered. Dive in, and let these fresh tunes be the soundtrack to your week. Whatever your vibe, we’ve sifted through the noise so you can groove to the best.

SUGARFUNGUS – “A Named Thing Is A Known Thing”

Emerging from the lush woods of Vancouver, SUGARFUNGUS offers an introspective dive into the nature of existence with “A Named Thing Is A Known Thing.” Anchored by dreamlike guitar strums and a soft cadence of percussion, the song blooms like a nightshade in the midnight moon, revealing the duality of life – where both fleeting moments of joy and eternal contemplations merge. The lyrical landscape painted by lines like, “Waking in the woods, Where darkness stood” and “Trusting that the stars are really there,” transcends a mere song. It becomes a reflection of existential wonder, capturing the universal longing for connection and understanding.

HighClouds wasn’t exaggerating when it described SUGARFUNGUS’s style as “dancy dream pop for the haunted and heartbroken.” In “A Named Thing Is A Known Thing,” the group extends their musical mycelium further into the collective consciousness, blending their signature pop hooks with atmospheric motifs. Lyrics like “A named thing is a known thing” recur, echoing like a mantra, a profound reminder of the power in understanding and naming our feelings, experiences, and the world around us. Like an ember cupped delicately in the hands, the song glows softly, illuminating SUGARFUNGUS’s potential as they continue to grow, branching out from the underbelly of the music scene. The track not only showcases the band’s capacity for depth and nuance but solidifies their place as torchbearers for the next wave of indie dream pop.

Nathan Graham – “Somebody Else”

Chicago’s Nathan Graham channels a deeply soulful exploration of ambition and self-worth in “Somebody Else.” Steering away from the well-treaded path of traditional relationship ballads, Graham instead delves into the personified relationship between an artist and their ever-elusive aspirations. Lyrics like “Sick of waiting on your call” echo a sentiment of hopeful perseverance, showcasing Graham’s unyielding chase of dreams reminiscent of that first spark, when icons like Lenny Kravitz exemplified the realms of possibilities with an electric guitar in hand. This track, situated amongst the anticipated narrative of his debut album “Saint of Second Chances,” is a poignant tribute to tenacity in the face of doubt.

Infusing South Side Blues with raw, Chuck Berry-like lyrical candor, Graham is dismantling stereotypes one chord at a time. His sound, a harmonious blend of bluesy roots and Nashville Americana, encapsulates his journey – from those early days wielding his guitar in Chicago’s legendary blues venues to opening for prominent acts like The Wallflowers. In “Somebody Else,” we’re granted a window into the heart of a musician confronting self-doubt, chasing dreams, and ultimately striving to shape the narrative of what it means to be a “singer-songwriter.” With an impassioned voice that’s both sorrowful and invigorating, Nathan Graham is not just telling a story; he’s beckoning listeners to join him, to feel, and to redefine boundaries.

AiramFM – “Heartbeat”

From the serene landscapes of Denmark, Maria Friis Møller, or better known by her ethereal moniker, AiramFM, graces the indie-alternative sphere with her beautifully somber, “Heartbeat.” This poignant track is not merely a song but a raw testimony of personal loss, capturing the agonizing moments of saying a final goodbye. “As you lay there in the bed, Your breathing’s slowing,” AiramFM’s voice delicately wavers, reminiscent of Lana Del Rey’s hauntingly melodic inflections, all the while evoking the tenderness of Birdy. The lyrics, “I try to hymn a melody that you used to sing to me, But my voice keeps shaking cause my heart is breaking,” deliver an insurmountable weight of grief, making “Heartbeat” a heartbreaking ode to a cherished loved one’s memory, but also a beacon of solace for anyone navigating the tides of sorrow.

As a self-made artist, AiramFM’s indomitable spirit shines through, molding her personal tragedies into cathartic melodies that touch the very fabric of human vulnerability. With 11 releases, she’s consistently illustrated a knack for crafting evocative narratives and “Heartbeat” stands as the pinnacle of her intimate discography. It’s a brave and hauntingly beautiful testament to the inexorable force of love, the void left by its absence, and the bittersweet memories that remain. Delving deep into the realms of melancholy and healing, AiramFM has woven her profound pain and resilience into a musical tapestry that offers both tears and comfort in its embrace.

Lawson Hull – “Strange”

In a time when the world turned topsy-turvy, Australian alt-folk bard Lawson Hull’s “Strange” emerges as a serene beacon amidst the prevailing dissonance, a reverie that delves deep into the abyss of self-reflection and the ephemerality of time. Riding on the back of his successful collaboration with Laura Lucas, Lawson’s newest offering is introspective yet universal, touching upon the collective anxiety and hopes of a world caught in the vise of an unprecedented crisis. The track draws from the pandemic’s liminal space, where one is caught between the familiar and the ‘new normal’. “Sometimes if you’re lucky as a songwriter,” Lawson muses, touching upon the creative paralysis and inertia that plagues many in these turbulent times. This sentiment finds a visual echo in the accompanying video, shot on 35mm film: a contemplative Lawson juxtaposed against the vast expanse of the Australian coast, only to end with the comforting grasp of a loved one, illustrating the profound isolation and eventual reconnection.

Musically, “Strange” carries the essence of what makes Lawson Hull so magnetic in the indie-folk scene. His self-described “Aussie take on Tom Petty” is both charming and honest, reminiscent of fellow country talents like Angus and Julia Stone. The song reverberates with cinematic production, letting his profound lyrics breathe and encapsulate the listener. Like his previous works in Hangin’ Out with Cowboys and Mountain Days, Hull continues to masterfully weave narrative and nostalgia. As he conjures images of a life spent in the tranquil Watagan Ranges of New South Wales, “Strange” becomes not just a personal reflection for Hull but a mirror for us all, pondering the steps we’ve taken, the roads yet to traverse, and the uncertainty that frames both.

The Steel Crows – “Jenny”

Channelling the undying spirit of a bygone rock era, “Jenny” by The Steel Crows is a blistering track that serves as an electrifying homage to the giants of classic rock, all while deftly bridging the past with the present. From the opening riffs, reminiscent of the iconic sounds of The Rolling Stones and Aerosmith, to the pulsating rhythm section, there’s an unmistakable vintage essence that permeates through the track. Yet, The Steel Crows manage to layer this nostalgia with a fresh, contemporary edge. This juxtaposition ensures “Jenny” resonates not just with the wistful listeners longing for the golden days of rock ‘n’ roll but also with the younger generation, seeking the same raw energy in today’s rock scene.

As a unit, The Steel Crows encapsulate what many rock aficionados miss from the famed ’60s and ’70s era. Their music thrives on the quintessential elements: the crunch of the guitars, the powerful thud of the drums, the resonant hum of a thick bass line, and above all, those raw, gravelly vocals that conjure images of smoky bars and impassioned live shows. While their inspirations clearly lie with legends like Aerosmith and The Rolling Stones, the band’s approach to infusing modernity into their tracks ensures they are not merely derivative. Instead, they carve out a space for themselves, crafting songs like “Jenny” that are both a nod to rock’s illustrious past and a testament to its enduring future.

Dune Moss – “Eyes Inside My Walls”

Dune Moss’s “Eyes Inside My Walls” is an audacious foray into the muddled intersections of sexuality, self-worth, and religious repression. The pulsating synths underscore a tale of youthful curiosity curbed by dogmatic decrees, creating a soundscape that’s both seductive and sorrowful. Dune’s sultry vocals passionately lament the judgmental eyes that watched her every youthful indiscretion. The repeated cry of “What have I done? What have I done?” isn’t just a regretful musing but an outright challenge, pushing boundaries and asking listeners to question societal norms that have unfairly imprisoned her desires and emotions.

The rawness of Dune’s recounting—being subjected to confessional scrutinies, having to detail innocent kisses to older male religious figures—creates a palpable tension. It’s an uncomfortably intimate view into her life, yet utterly mesmerizing. “Eyes Inside My Walls” is more than just a song—it’s a declaration of sexual independence and a repudiation of stifling religious dogma. Through her fearless confrontation of her past, Dune Moss has crafted a compelling anthem for every individual who’s ever felt confined by society’s judgmental gaze.

Earl Hondo – “j’s on my feet”

With “j’s on my feet,” Earl Hondo serves up a blistering, groove-laden track that skillfully intertwines the gritty realism of street hustle with glimmers of opulence and pride. Infused with the Southern charm reminiscent of Outkast and the reflective soul of Isaiah Rashad, the song is a heady mix of ambition and authenticity. Hondo’s lyricism pops with a swaggering bravado: lines like “Js on my feet, chain on my neck” juxtapose the celebratory symbols of success with the sobering refrain “Days on repeat, ain’t no respect,” underscoring the grind and resilience required to navigate a world that often fails to acknowledge his worth.

Hondo’s roots in choir and diverse musical influences—ranging from Stevie Wonder to A Tribe Called Quest—shine through in the track’s layered complexity. The references to cultural touchstones, like “watching BET .jams” and the nod to Alex Haley’s Kunta Kinte with the line “You can’t check this Kinte,” demonstrate Hondo’s adeptness at weaving socio-cultural commentaries into his bars. The recurring theme of “I got bills, I got fam, That Need them bands” offers a grounded contrast to the glitzy imagery of high-end sneakers and jewelry. Through this song, Earl Hondo doesn’t just flex his lyrical dexterity; he crafts an anthem for the everyday grind, for the struggle to make ends meet, and for the aspiration to elevate above it all.

Orions Belte – “When You’re Gone I’ll Be Gone” (feat. Louien)

Norwegian instrumental maestros Orions Belte have woven yet another tapestry of sound with their latest single, “When You’re Gone I’ll Be Gone”. This time, they’re accompanied by the ethereal voice of Louien, offering a haunting, dreamy soundscape that dances delicately atop the band’s already-established warm and immersive instrumentation. This track sees the trio continuing the ascension they began with a unique cover of Ghostface Killah’s “Cherchez La Ghost” in 2019, followed by the electric energy of Villa Amorini in 2021. The song envelops listeners like a gentle embrace, calling to mind visions of “road trips on bumpy country roads through the Amazon in Brazil”. The alliance with Louien only elevates the band’s hallmark blending of various inspirations, resulting in a single that is both familiar in its warm embrace and startlingly fresh in its approach.

The evocative narrative of “When You’re Gone I’ll Be Gone” serves as a tantalizing prelude to Orions Belte’s forthcoming album, Women, set to release in October via Jansen Records. Taking a journey through their discography, from the experimental moods of Mint to the bustling energy of Villa Amorini, it’s clear that Orions Belte possess an uncanny ability to adapt, evolve, and continually surprise their audience. The band’s roots, stemming from serendipitous encounters and shared musical dreams in Bergen, have bloomed into a flourishing tree of collaborative genius. This single stands testament to the evolving spirit of the trio—Øyvind Blomstrøm, Chris Holm, and Kim Åge Furuhaug—and sets a tantalizing stage for what’s to come in Women.

skipping – “Ice Climbers”

Emerging from the bustling alt-pop scene in Los Angeles, the enigmatic artist known as skipping reveals their newest creation, “Ice Climbers”. From the onset, listeners are transported into a dreamy synthesis of bedroom pop and vaporwave, reminiscent of the groundbreaking sounds of George Clanton and Neon Indian, yet distinct in its own right. The track exudes an energetic pulse, seamlessly blending experimental rhythms with moody undertones, creating a soundscape that’s as introspective as it is danceable.

One can’t help but draw parallels between the lo-fi aesthetics of Toro y Moi and the ethereal touches of Sitcom when diving into “Ice Climbers”. Yet, skipping manages to carve out a niche all their own, masterfully interweaving experimental elements that make this track stand out in the saturated bedroom pop scene. The song is a testament to the artist’s prowess as a singer, songwriter, and producer. One gets a sense that they are listening to the beginnings of an artist who, while drawing inspiration from the greats, is on a journey to define a unique and captivating sound space. If “Ice Climbers” is any indication, the future looks bright for skipping.

Weekly New Releases – Ava Earl, Tamaraebi, VC Pines, Blaudzun, Shadwicke Wilde, Ian McFarland, Joh Chase, and Daniel Trakell

Welcome to the pulse of indie music: the Weekly New Releases on bsideguys.com! Every week, we’re committed to sifting through the vast expanse of new indie tracks to bring you the crème de la crème of underground sound. From hypnotic rhythms and trailblazing instrumentals to soul-stirring lyrics, we’ve got you covered. If you’re on the hunt for your next musical obsession or simply looking to refresh your playlist, you’re in the right place. Dive in, and let the auditory adventure begin!

Ava Earl – “Too Much”

The notion of being “too much” typically drags along a shadow of societal pressure and judgment, and yet Ava Earl elegantly uses it as a medium to declare unyielding authenticity in her latest single, “Too Much.” Earl’s audacious approach fuses a vivid alt-pop canvas with organic lo-fi folk, and the outcome is both a triumph of individuality and a celebration of self-acceptance. One can’t help but trace parallels with the evocative artistry of Gracie Abrams, Remi Wolf, and even the raw emotional candidness of Phoebe Bridgers, but Earl’s spin is distinctively her own. The sprinklings of Arcade Fire-esque orchestral flourishes only accentuate the vastness of her sonic landscape.

Hailing from the picturesque realm of ice-capped Girdwood, Alaska, Ava Earl has already accumulated a wealth of experiences that belie her youth. From sharing the stage with luminaries like Maggie Rogers to prolifically penning songs that mirror the many shades of her soul, she represents a rare breed of artist: passionate, relentless, and perpetually on the move. With “Too Much,” Earl articulates the beautiful paradox of her life – constantly in motion, yet ever rooted in the authenticity of her Alaskan upbringing and the strains of a guitar that echoes the deepest recesses of her heart. As this track heralds from her fourth album, “The Roses,” it’s clear that Ava Earl isn’t just chasing momentum, she’s embodying it.

Tamaraebi – “Sweet Summers Day”

Stepping out of the vast expanse of global music with a voice and style that’s both instantly recognizable and captivating, Tamaraebi’s “Sweet Summers Day” offers an evocative, gospel-tinged odyssey into the realm of self-reflection and serenity. Comparisons to illustrious artists such as The Weeknd, D’Angelo, and Prince aren’t bestowed lightly. Yet, as expressed by reputable platforms from The Times to Wonderland, this Nigerian-born, London-based virtuoso marries the languorous magnetism of such legends with his own touch of “futuristic nostalgia.” The song’s narrative, a fervent yearning for a past or potential future serenity, captures listeners, whisking them away on a journey drenched in introspective lyricism akin to Frank Ocean and adorned with Prince’s undeniable charisma.

Born as Daniel Tamaraebi Itombra, his geographical journey from the bustling streets of Calabar to the vibrant scene of East London has woven a tapestry of diverse influences that underpin his music. After an academic detour into law, Tamaraebi soon recognized that his true calling lay in the harmonious embrace of music. His latest offering, “Sweet Summers Day,” encapsulates a singular studio session – a raw and unfiltered outpouring of emotions during a personal crossroad. And as the track envelops you, it becomes evident that Tamaraebi isn’t just another artist in the vast sea of voices. He’s a beacon, guiding us through the intricacies of our own introspections, and assuring us that amidst life’s relentless pace, moments of true clarity and understanding do exist.


In the vast panorama of the contemporary music scene, the looming figure of VC Pines, also known as Jack Mercer, paints a kaleidoscope of raw emotion and intricate lyricism. His latest release, “SUPERMAN”, comes off the back of his eagerly anticipated debut album, ‘MRI’. The single, with its unerring portrayal of self-doubt, self-sabotage, and the dichotomies of modern human emotion, draws listeners into the tumultuous maelstrom of his psyche. It’s a profound reflection, not just of Mercer’s personal journey, but of the larger human condition: the constant internal battle of wanting to be everything for everyone, often to one’s own detriment. With nods to eminent figures in the alt-music scene like Jamie T, Ezra Collective, and James Blake, VC Pines crafts a rich tapestry of sonorous electronica, poetic punk, and alt-soul, a unique blend that both devastates and reassures.

The genius of “SUPERMAN” is its unfiltered honesty, penned during a late-night session beneath Stoke Newington’s bustling streets. It captures the paradox of modern life – the simultaneous sense of connectivity and searing loneliness. The album, ‘MRI’, magnificently echoes this sentiment, providing a musical journey that defies categorization. Drawing from his personal experiences, including the seismic revelation of a temporal lobe epilepsy diagnosis, Mercer’s narrative intertwines the vivid hues of his synesthetic perceptions with the raw, unvarnished experiences of navigating life in a metropolis. The album’s title, ‘MRI’ – a nod to the medical imaging technique that helped define his condition – serves as a metaphorical scan of Mercer’s soul, displaying the intricate and complex connections of his experiences. As Jack Mercer steps into the limelight with his debut album, it’s evident that VC Pines is not just a musical endeavor but a profound exploration of identity, relationships, and the human psyche.

Blaudzun – “Dreamers”

In an era where music often leans heavily into aesthetics over substance, Blaudzun’s “Dreamers” emerges as an anomaly, a beacon of introspection framed within an indie-pop facade. The track is imbued with a classic Blaudzun resonance – an upbeat and catchy melody that starkly contrasts with the profound and melancholic lyrics, creating an evocative duality. “Dreamers” delves deep, shedding light on the strength and tenacity of those who often feel out of place, those who dare to dream even when they stand amid “barren trees.” Lines like “Don’t keep me under” act as a clarion call for liberation, cementing the song as an anthem for both the hopeful and the outcast.

The legacy of Blaudzun’s prior critically acclaimed works, notably the hauntingly beautiful ‘LONELY CITY EXIT WOUNDS,’ continues to resonate in this track. “Dreamers,” self-produced and immaculately recorded with Martijn Groeneveld at Mailmen studio, reflects Blaudzun’s growth as an artist – balancing the nuance of lyricism with the allure of a classic indie rock soundscape. As the first single leading up to his yet-to-be-announced seventh LP, “Dreamers” positions itself not just as a song, but as a testament to the indefatigable spirit of those who persevere, even when the world seems cold and unwelcoming.

Shadwicke Wilde – “Floating Away”

Navigating through the seemingly tranquil landscapes of Shadwick Wilde’s work, “Floating Away” stands as a testament to the layers of emotion and nuance one can pack into a track. From the artist whose youth was stamped by a nomadic existence—San Francisco to Havana to Amsterdam—Wilde’s vast experiences manifest themselves in the raw vulnerability of this song. It’s not just another track on his latest album, “Forever Home”; it’s an insight into the crevices of his soul, acknowledging the “fracture lines in the plaster on the bedroom wall.” The musical intricacies, a blend of minimalist beats and Ken Coomer’s more assertive drumming, paired with the nervous muted guitar strumming, deviates from the serenity of the album’s onset, guiding the listener to a more tumultuous, introspective soundscape.

Drawing parallels to the likes of Tyler Childers and Justin Townes Earle, Wilde showcases his dexterity in blending genres, exuding the earnestness of country and the compelling narratives of folk. However, it’s his punk roots and unique journey, from forming the Quiet Hollers to the relentless touring and finally, a return to his solo domain, that flavor “Floating Away” with a distinct aroma. The song unravels the complexities of home, belonging, and the eternal human fear of ephemerality. Here, Wilde does more than just sing; he crafts an odyssey of introspection and acceptance, making “Floating Away” not just a song but an emotional pilgrimage.

Ian McFarland – “Your Heart Is My Home”

Navigating the sentimental corridors of indie rock, Ian McFarland’s “Your Heart Is My Home” envelops listeners in a cocoon of undying loyalty and vulnerability. The track reverberates with the poignant echoes of an adoring love, emphasizing the lengths one would travel, the depths one would plunge, all for the sake of unwavering connection. The lyrics, heartrending in their honesty, elucidate a narrative of devotion, with lines like “I’ll follow you wherever you go, No matter how high, No matter how low,” ringing as a testament to McFarland’s evocative songwriting prowess. The song’s thematic insistence on pursuit and commitment, while steeped in romantic yearning, feels like an ode to the musician’s own experiences—his journey from Spain to Berklee College of Music and later to New York’s iconic stages, ever in chase of the next musical horizon.

Though McFarland’s resume is a myriad of performances across a tapestry of venues, “Your Heart Is My Home” is a sublime reminder of the intimacy and genuineness that underpin his work. The repeated refrain, “Your heart is my home,” not only conjures images of a romantic partner but can be interpreted as McFarland’s ode to his audience—a community he has built with his impassioned melodies and heartfelt performances. The track feels like a distillation of that fateful night at Pete’s Candy Store, where the bond between artist and listener was so magnetic that time itself seemed to elongate. In the vast panorama of indie rock, McFarland offers a poignant ballad that is bound to linger, a melodic reminder that amidst change and departure, some bonds remain unbreakable.

Joh Chase – “Risking It With You”

Amidst a journey filled with transformative experiences and eclectic sound palettes, Joh Chase’s “Risking It With You” emerges as a magnum opus of raw vulnerability. Drawing inspiration from an introspective musical upbringing—melding the timeless sensibilities of Elton John and The Cranberries with modern-day indie folk—Chase beautifully crafts a song that speaks volumes of life’s unpredictable ebb and flow. Lyrics like “You might fall in love with someone in group therapy, They might see you more clearly than me,” depict the unpredictable trajectory of love, mirroring Chase’s own nonlinear career path. There’s an undeniable sense of the transient nature of life, echoing the sentiment that there’s no assurance in love, no security blanket. Yet, in the midst of all the uncertainty lies a steadfast commitment, an unwavering dedication captured in the refrain: “But something I know for sure: I’m devoted to risking it with you.”

Joh Chase’s gift lies not just in their capacity to create melodious tunes but in their innate ability to translate the depths of human emotion into song. “Risking It With You” feels like an intimate confession, a heart laid bare, and a soul contemplating love’s imponderables. As the song evolves, Chase touches upon the myriad uncertainties of life, from the whimsical dilemmas like house paint disagreements to profound self-realizations that can shake a relationship’s foundation. Yet, the song’s climax revolves around a relentless optimism, a love that’s willing to brave storms and walk into the unknown. In “Risking It With You,” Chase encapsulates the essence of life itself—a mosaic of unpredictable moments, bound together by a love worth every gamble. As we anticipate Joh Chase’s new album via Kill Rock Stars in 2024, “Risking It With You” stands out as a poignant reminder of the power of commitment, even amidst life’s unpredictable tides.

Daniel Trakell – “Into The Blue”

The rustic timbre of Mollonggipp’s old church hall meets the indie folk artistry of Daniel Trakell in the sonorous “Into The Blue.” The song, replete with rich instrumental layers ranging from country-style drums to the delicate touch of the pedal steel, is a testament to both producer Josh Barber’s meticulous approach and Trakell’s profound songwriting. The serene ambiance of the church hall, which Trakell wanted to capture, is palpably felt in every strum and vocal nuance. The lyricism, inspired by the poignant journey of Chris McCandless in “Into The Wild,” paints a vivid tableau of escape, self-discovery, and venturing into the unknown. Lines like “Find places on maps few have seen” and “Find a beautiful, beautiful place to get lost” resonate with the themes of solitude and the quest for a deeper connection with nature and oneself.

At its core, “Into The Blue” is a melodic embrace of the idea of surrendering to the vastness of the world and the mysteries it holds. As Trakell reinterprets McCandless’s escapade into the Alaskan wilderness, the song evokes a shared yearning for freedom and the beauty of life’s uncertainties. There’s an alluring juxtaposition of melancholy and hope in lyrics such as “You’ll see everything change, To be exactly like you imagined it to, Into the blue.” The collaborative synergy in the song’s production, with the addition of the mellotron strings in the bridge and the pedal steel flourishes, completes the narrative of a wanderer’s dream. An accompanying visual representation, directed by Mike Ridley, brings to life the magic of Trakell’s sonic adventure. For the listener, “Into The Blue” isn’t just a song; it’s an invitation to embark on an introspective journey where risks, faith, and the promise of discovery intertwine.

Weekly New Releases – Izzie Derry, Cat Rose Smith, Heatmiser, Franny London, Bobby Emmett, Christopha, Keste, Samantha Margret, Shane Barry, and Ty Pow & The Holy North

Another week has passed, and as always, the ever-evolving world of indie and alternative music has dropped some fresh sonic gems to feast our ears upon. Whether you’re looking to discover a new underground artist or simply want to know what’s been making waves in the indie scene, our ‘Weekly New Releases’ is your dedicated guide. Here at BSideGuys.com, we’ve curated a list that encapsulates the sound, spirit, and innovation of the week. So, pop in your headphones, crank up the volume, and let’s dive into the latest musical offerings that deserve a spot on your playlist!

Izzie Derry – “Thank You”

Izzie Derry’s “Thank You” serves as a compelling reflection of a burgeoning artist finding her voice and learning to amplify it amidst the cacophony of external expectations and unsolicited criticisms. Channeling the haunting intimacy of Fiona Apple, the raw vulnerability of Alanis Morissette, and the profound lyricism of Laura Marling, Izzie’s track is an alt-pop anthem of empowerment and self-worth. ‘Thank You’ resounds as a declaration of self-acceptance, with Izzie finding solace in her evolution as both an artist and a woman. Derry’s growth is evident, her roots in indie folk unfurling into the expansive world of alternative pop, the track’s textured layers echoing the journey of her self-discovery.

Derry’s past forays into the music world, from the shores of Brighton to the heart of Coventry, have yielded an undeniable momentum, demonstrated by her radio plays from BBC platforms and lauds from various indie music review sites. But “Thank You” hints at a deeper maturity, a culmination of her musings during lockdown and a manifestation of her control over her craft. The sheer depth of the track, coupled with the anticipation surrounding her crowdfunded debut album, indicates that Izzie Derry is not just another face in the crowd, but a force poised to shape the narrative of alternative music in the years to come.

Cat Rose Smith – “Tough Luck”

Drenched in the sepia tones of a bygone era, Cat Rose Smith’s “Tough Luck” evokes the languid, sunburned landscapes of the 1850’s California Gold Rush. As if unfolding the yellowed pages of an old Western novella, Smith’s voice, reminiscent of iconic Americana voices like Emmylou Harris and Gillian Welch, tells a somber tale of an indefatigable gold miner, trapped in the vicious cycle of fruitless endeavors and undying hope. With the whispering strains of dusty organs and the melancholy twang of pedal steel, the song is an auditory sojourn into the past, where dreams of fortune often remained just that – dreams. The emotive chorus, where Smith bemoans “tough luck’s got the better of me,” becomes a cathartic release, not just for our miner but for anyone who’s felt trapped by circumstances or beset by persistent misfortune.

Smith, an emerging luminary in London’s vibrant folk and Americana niche, continues to leave an indelible mark with her evocative storytelling and intricate songwriting. The recognition she’s earned from Spotify to Americana UK is not just a testament to her unique talent, but a harbinger of the influential voice she’s bound to become. “Tough Luck” is not just a song; it’s an experience, a step back in time with one foot firmly in the present, resonating with anyone who’s been met with life’s fickle hand. In the heart of London’s music scene and beyond, it’s clear that while the protagonist of her song may be plagued by ill fortune, Cat Rose Smith is striking gold.

Heatmiser – “Lowlife – ’92 cassette”

Heatmiser, the Portland-spawned luminaries of the early ’90s Pacific Northwest Indie scene, have long nestled in the affections of ardent music enthusiasts, not least for introducing the world to the hauntingly enigmatic Elliott Smith. Now, in partnership with Third Man Records, they are inviting listeners back into the raw dynamism of their fledgling days. Their new compilation, The Music of Heatmiser, is set to unveil a treasure trove of hitherto unheard gems, with the ’92 cassette version of “Lowlife” taking the vanguard.

The version of “Lowlife” from their 1992 demo cassette is Smith at his most stripped-back and visceral. The lyrics, rife with evocative imagery of stagnation and internal turmoil (“I’ve got a plague in my head, in my head/ Full of crap, I’m a landfill”), hold up a mirror to the anguish and introspection that would come to define his later solo work. The song’s refrain “Didn’t understand” resonates deeply, encapsulating a shared sentiment of miscommunication and solitude. The song’s stark rawness stands in contrast to its version on 1993’s Dead Air, allowing listeners to appreciate the band’s evolution from their fiery inception to the more polished sound they would later adopt. Heatmiser’s intricate dance of contrasting songwriting styles—Smith’s folk-rock balladry juxtaposed against Neil Gust’s darker, more jagged compositions—made their discography a riveting, if sometimes jarring, listen. Yet, it is precisely this interplay of light and shadow, of melodic serenity and punkish fervor, that cements their legacy as one of the era’s most underappreciated acts. With the posthumous rise of Elliott Smith as an indie icon, this compilation stands as a testament not only to his genius but to the collective brilliance of Heatmiser—a band that, in its prime, burnt with a fierce, indomitable spirit. This new release is not merely a nod to nostalgia but a reacquaintance with one of the most compelling bands of its time, sure to resonate with diehards and neophytes alike.

Franny London – “Metal”

With a hypnotic blend of dream pop and alt-pop soundscapes, California’s experimental art-pop savant, Franny London, dives deep into the tumultuous sea of desire with her latest single, “Metal.” Building on the momentum from her critically hailed debut EP Cold Water, London beckons us into a cinematic reverie where desire becomes the central motif, constantly oscillating between magnetic attraction and melancholic detachment. The song, interlaced with lush synths, dynamic drum patterns, and harmonic guitar strums, conjures an image of a twilight drive along Mulholland—where each beat captures the allure of fleeting romance and the echo of a spy thriller’s chase scene. London’s ethereal voice, reminiscent of genre stalwarts like St. Vincent and Caroline Polachek, dances between the layers, casting a spell that transports the listener into a cobalt and ultramarine dreamscape.

“Metal” isn’t just a song; it’s an exploration—a dive into the maelstrom of emotions, the shifting power dynamics of passion, and the impermanence of yearning. Describing the track as a “sexy, spy-movie version of a chase scene,” London effortlessly melds the vivacity of newfound love with its inherent capriciousness. The song’s sonic brilliance is a testament to the synergy between her, Sam Irving, and Sebastian Jones, even as they straddled the two coasts. Having amassed a significant online following, it’s evident that London’s artistry is resonating, capturing the zeitgeist of a new pop era that thrives on introspection, innovation, and unbridled emotion. As she carves a niche within the labyrinth of electro and dream pop, Franny London stands as a beacon, illuminating the path for pop’s evolving narrative, with “Metal” shining brightly in her luminescent discography.

Bobby Emmett – “See No Evil”

amalgamation that is bound to echo through the annals of rock and soul. His latest offering, “See No Evil,” is a gritty testament to this multi-instrumentalist’s expansive sonic canvas. Channeling the ethereal vibes of Plastic Ono era Lennon and blending them with the distinctive grunge of early Funkadelic, Emmett crafts an anthem that audaciously confronts the deceptive puppet masters of society. The track’s undeniable fervor is only intensified with contributions from the likes of JT Cure’s riveting bass lines and Chris St Hilaire’s pulsating beats. The soundscape, dripping with Motor City nostalgia, fuses effortlessly with a contemporary rock cadence, reminiscent of The Black Keys and Arctic Monkeys.

Emmett’s roots, spanning from Nashville’s glitz to Detroit’s raw energy, are palpable in every note he strikes. The very fabric of “See No Evil” reveals a musician who has not only witnessed the evolution of the genre through various lenses—from accompanying Sturgill Simpson’s acclaimed trajectory to earning his accolades as a producer—but has also imbibed these experiences to curate his own distinct sound. His illustrious collaborations, including his stints with legends like Alice Cooper and John Prine, have enriched his sonic palette, while his love for his home turf keeps him grounded in the timeless essence of Motown and classic rock. As “See No Evil” unravels, what emerges isn’t just a song; it’s Bobby Emmett’s declaration—a seasoned musician stepping into the limelight, fully embracing his well-earned moment, and signaling an exciting new chapter in rock’s rich tapestry.

Christopha – “Doubts and Fears”

East and North London’s very own Christopha emerges from a self-imposed hiatus with “Doubts and Fears”, the seventeenth gem from his ambitious 26 Miles and Running project—a dedication to consistently deliver a track every two weeks in 2023. It’s a poignant reflection on personal growth, confronting vulnerabilities, and the innate human fear of stepping back into a world that may have seemingly moved on. Rooted deeply in the annals of UK Hip-Hop, and tracing its lineage to the raw grit of early grime, the track stands out as an intimate journal entry from a seasoned artist. It’s imbued with the rawness of confronting oneself and the resilience it takes to leap beyond the confines of comfort.

Christopha’s journey, from grime MC to an established business leader in the tech world, resonates with the evolution of his sound. As a storyteller, he seamlessly stitches narratives of street lore with sagas of corporate boardrooms, underpinned by the conscious rap ethos that informs his artistry. The recognition as a Future Name by BBC Introducing and accolades from UK rap legends like Ty and Skinnyman attest to Christopha’s undeniable skill and impact. With “Doubts and Fears”, Christopha isn’t merely reintroducing himself; he’s declaring an unyielding commitment to his craft, and by extension, inviting listeners to join him in this musical marathon, where each track pulses with authenticity, introspection, and the heartbeat of UK’s vibrant Hip-Hop culture.

Keste – “Better Decisions”

Out of the sun-kissed alleys of San Diego emerges Keste, the introspective musical brainchild of Matt Aukerman. With the release of “Better Decisions”, the flagship single from the 3-song EP “The Goldmine Record”, Keste takes us on a deeply stirring journey through the mazes of remorse, self-awareness, and the complexities of human relationships. There’s a raw melancholy dripping from the lyrics, a sentiment that evokes images of broken mirrors, tremulous nights, and an incessant longing to turn back time. The refrain, “I keep thinking about when I made better decisions,” isn’t just a lamentation on personal choices; it’s an anthem for anyone who’s stood at the crossroads of introspection, holding onto fragments of a past they wish they could rewrite.

The track, which finds kinship with the emotive chord progressions of Kings of Leon and the piercing lyricism of Dashboard Confessional, unravels the tapestry of past indiscretions with unapologetic honesty. It’s easy to get lost in the metaphorical landscapes Keste paints – from the haunting image of spiders in the cracks of the floor to the plea for divine intervention. Matt Aukerman’s vocal delivery, a juxtaposition of anguish and hope, finds perfect harmony with the song’s atmospheric instrumentals, echoing the sentiments of those who’ve walked the tightrope of regret and redemption. “Better Decisions” isn’t merely a song; it’s a cathartic experience, a mirror that Keste holds up, beckoning listeners to confront, reflect, and perhaps, find solace in shared human imperfection.

Samantha Margret – “Deja Vu You”

Samantha Margret’s “Deja Vu You” is a deep dive into the chiaroscuro (learn a new word every day) tapestry of love and its often haunting remnants. With a sonic atmosphere reminiscent of alt-pop mavens like Billie Eilish and Melanie Martinez, the track juxtaposes the playfulness of its production with a profound sense of melancholy. The song’s lyrical framework speaks of an incessant, almost haunting, reminder of a past lover – in haircuts, cars, and the chilling embrace of winter. “Dim lights, true lies” – Margret captures the essence of a love that was shrouded in secrecy and ambiguity, and her realization that perhaps that’s not how love should be. With lines like “You’re like a permanent marker, You made my life darker,” the song unfurls a narrative of the indelible marks left behind by past relationships and the cyclical nature of searching for familiarity even in new encounters.

Emerging from the shadowy corners of alt-pop, Samantha Margret continues to carve her unique niche. Her gift for merging dramatic, bass-heavy production with poetic lyricism creates an enigmatic aura that sticks with you, much like the song’s theme itself. The duality of her artistry shines bright, particularly with her voice that, at times, feels like a gentle whisper, and at others, a haunting echo, much like memories that refuse to fade. “Deja Vu You” is not just a song; it’s an evocative journey through the labyrinth of memory, love, and loss. It’s for those midnight drives, where the world blurs into introspective silhouettes, and the rearview mirror reflects past shadows, beckoning for another listen.

Shane Barry – “Get the Love”

In “Get the Love”, Shane Barry plumbs the depths of fractured relationships and the ensuing division. The track is a sonic tapestry of introspection, drawing from a well of human emotions that surface when ties disintegrate and allegiances are divided. Every chord and lyric lays bare the complexities of human connection, while hinting at the broader question: can the love ever be truly reclaimed?

Stepping out from the 70s shadows of Shane Barry and the Distractions, Barry’s foray into solo territory heralds a maturing of his sound, blending synth-pop, ambient, and alt. country, while never straying too far from his foundational influences of McCartney and Costello. The sonic evolution is palpable; hints of Wilco’s indie twang meld seamlessly with the raw, emotive cadence reminiscent of Paul Weller. As “Get the Love” spirals through its narrative, one can’t help but acknowledge Shane’s musical metamorphosis – from the retro influences of the Distractions era to an eclectic fusion of contemporary genres. The track stands as a testament to the universality of love, loss, and the sometimes painful journey towards self-discovery and musical reinvention.

Ty Pow & The Holy North – “Shake On It”

Hailing from the icy heartlands of Minnesota, Ty Pow & The Holy North bring a blistering warmth to their blues-rock sound that evokes the sweat-soaked grit of a humid Southern summer night. “Shake On It” plays out like a vintage record unearthed from a crate in a forgotten Southern juke joint. The raw, soulful inflection marries the reverence for vintage gear and the insatiable thirst for old-school Americana flair; their craving for a “Fender ‘65” and a ride in a “long car limousine, Cadillac” are more than mere material wishes—they’re emblematic of an era where rock was pure, unfiltered, and profoundly alive. The poignant line about ending up a “body bag on the outskirts of Nashville” serves as a somber, grounding refrain, juxtaposed against the raucous energy of a night in town and the evocative imagery of “nudie suits” and jamming to James Brown.

Drawing on their rich influences—be it the neo-soul revival of Nathaniel Rateliff or the garage blues of The Black Keys—Ty Pow & The Holy North have crafted a sound that’s both familiar and refreshingly novel. With a history steeped in the diverse traditions of their respective past bands and a decade spent mastering both covers and originals, the band’s collective experience is palpable in every gritty guitar riff and impassioned vocal delivery. “Shake On It” stands as a testament to this ensemble’s dedication to the craft, offering a tantalizing taste of their debut album, “Rhubarb ’93”, and promising listeners a musical journey grounded in authenticity and brimming with soulful nostalgia.

Weekly New Releases – Sea Glass, Galvo, King Khan, The Joy Formidable, charliecomehome, East Harbor, and Zach Day

Dive deep with us as we traverse the musical cosmos, unearthing hidden gems and spotlighting the latest and greatest tracks that have graced our ears. Whether you’re searching for the pulse of indie vibes, the heartbeat of electric beats, or the soothing hum of acoustic melodies, we’ve got you covered. Every week, we curate a selection that serves both the audiophile and the casual listener. From emerging artists to chart-topping legends, this is your one-stop destination to discover music that’s begging to be heard. So, grab your headphones, crank up the volume, and let’s journey through sound together. Welcome to the pulse of the underground—welcome to B-Side Guys.

Sea Glass and Sky Adler – “Lay Back”

From the textured, lustrous landscape of New York’s bustling streets emerges a sound that is both familiar yet distinctively refreshing. Sea Glass, the project helmed by the city-based producer Jake Muskat, taps into a collective consciousness of growing pains and dreams deferred with his latest offering, “Lay Back.” There’s an authentic gravitas to the track, stemming from Muskat’s own personal journey and inspired by the seismic shift of becoming a parent. The lyrics play like an intimate journal entry, a dialogue of self-awareness that juxtaposes escapism (“I get high to get away from me”) with introspection and vulnerability (“You could make love to me, But you’ll never solve ’em”). The song’s sonic space sits comfortably between the soulful grooves of Leon Bridges and the eclectic stylings of Rex Orange County, yet Sea Glass manages to carve out an identity all his own.

A sentiment echoed through channels such as Indie Shuffle and The Wild Honey Pie, Sea Glass’ sound holds a magnifying glass to the human experience, zeroing in on moments of introspection, desire, and the sometimes turbulent ride of self-discovery. In “Lay Back,” the exploration of wanting to run from oneself, only to confront the undeniable truth of personal demons, is delivered with such earnestness, it’s impossible not to be captivated. Sea Glass’s collaborative endeavor with Sky Adler on this track seamlessly marries these profound lyrical sentiments with an instrumental depth, pushing forward a narrative that is both melancholic and hopeful. The resultant track hints at the broader depth and potential of the upcoming debut LP, which, if it follows the path set by “Lay Back,” is bound to be a touchstone for listeners navigating their own life’s maze.

Galvo – “Maybe”

From the gritty streets of 1980s Ballymun to the aromatic, sun-soaked pathways of Spain, Galvo’s journey has been anything but linear. This Dublin-bred artist has absorbed every ounce of his tumultuous past and alchemized it into the profound balladry of his new single, “Maybe”. A track infused with the deep melancholy of missed connections and “what could have been” moments, “Maybe” underscores the transformative power of songwriting as a vessel for catharsis. The song’s poignant instrumentation—those steadfast strings and resonant percussion—meld effortlessly with Galvo’s emotive vocals, painting a vivid tapestry of yearning and acceptance. The accompanying video, with its vivid hues and palpable nostalgia, further drives home the weight of the track, making for an experience that’s both aurally and visually stirring.

Galvo’s life narrative reads like the lyrics of a song, filled with its fair share of trials, travels, and triumphs. A testament to his resilience, he channels adversity into art, using music as a lifeline through bouts of homelessness and personal challenges. His time in Spain and the influence of alternative rock band, September Sun, are evident in “Maybe,” reflecting a blend of melancholic indie-folk with the tender resonances of acoustic balladry. However, it’s Galvo’s idiosyncratic guitar style, born of adversity and innovation, playing a right-handed guitar upside-down, that adds a unique touch to his already distinctive sound. With “Maybe” heralding the imminent arrival of his debut album, The HeARTist, Galvo’s narrative and the emotional landscapes of his music seem poised to capture the hearts of listeners worldwide. In Galvo’s world, every hardship is a note, every triumph a melody, coming together in harmonious symphony.

King Khan & Miranda and the Beat – “Never Hold Back”

King Khan’s collaboration with Miranda Zipse of Miranda and the Beat on “Never Hold Back” reveals a profound synchronicity between a storied artist and a new collaborator, manifesting a musical tapestry rich in socio-political commentary and personal narratives. While the genesis of the track might be a serendipitous late-night in Germany filled with shared music and the warming embrace of German beer, the resulting piece conveys a resonance that transcends borders and time. With the track rooted in the poignant history surrounding Martin Luther King Jr.’s assassination, Zipse’s rendition—her slight lyrical alteration—adds a layer of empowerment to the already powerful narrative, shifting focus from the melancholic inertia of “Never Hold On” to the spirited resilience of “Never Hold Back”. John B. Smith’s assertion that Khan’s music can illuminate the darkest corners, giving voice to the unheard, truly encapsulates the essence of this song.

Grounded in the backdrop of the documentary The Invaders, which chronicles the dramatic ebbs and flows of a militant black power group from the ’60s, the track is a testament to the timeless relevance of civil rights struggles. King Khan’s decision to compose the entire soundtrack “blind,” without the visual aid of the film’s imagery, proves to be an inspired one, leading to serendipitous alignments that brim with authenticity. When juxtaposed against Khan’s evocative descriptions of his process, “Never Hold Back” emerges as a beacon, a fiery arrow of neo-soul and retro soul, embedded with the grit of indie rock and the legacy of activism. As Khan’s music straddles eras, it serves as a rallying cry for contemporary listeners, reminding them of past battles and the timeless truth that the struggle for justice, understanding, and unity must never waver.

The Joy Formidable – “Cut Your Face”

The Welsh alt-rock juggernaut, The Joy Formidable, makes a triumphant return with “Cut Your Face,” an impassioned reflection on vulnerability and the relentless desire for authentic connection. In a world where many often disguise their imperfections, lead vocalist Ritzy Bryan’s poignant message advocates for embracing the messy, imperfect facets of our lives, emphasizing the beauty that lies therein. The raw energy of Bryan’s vocals, juxtaposed against the compelling rhythms of bassist Rhydian Dafydd and drummer Matt Thomas, gives this track an undeniable dynamism. The band’s signature blend of indie and alternative rock, with its intricate guitar riffs and captivating melodies, imbues the song with a sense of introspective urgency that resonates deeply.

Emerging from the critical acclaim of their 2021 album “Into The Blue,” this new single marks the start of a tantalizing trio of releases scheduled for the year. “Cut Your Face” acts as both a reminder of The Joy Formidable’s steadfast presence in the alt-rock landscape and a herald of the evolutions to come. Their unique bond with their fanbase, evident in their innovative TJF Music Club, only underscores their dedication to remaining engaged and accessible, regardless of geography. With a confirmed tour in the UK and a highly anticipated return to North America on the horizon, it’s evident that The Joy Formidable continue to cut through the noise, challenging listeners to face their truths with raw authenticity.

charliecomehome & Dage – “Femme Fatale”

In the electrifying realm of progressive R&B, the alliance of charliecomehome and Dage births a masterpiece entitled “Femme Fatale.” This debut single deftly traverses the expansive musical territory carved out by the likes of Hiatus Kaiyote and Stevie Wonder, merging complex arrangements with unforgettable hooks. From the opening lines, “Her bright eyes light up the room,” the song paints the portrait of an enigmatic, self-assured woman, epitomized in the repeated motif, “Let me get a glimpse of your fantasy.” The sonic landscape, punctuated by a radiant saxophone solo, is reminiscent of Moonchild and Joy Crookes’ melodic storytelling. Its pulsating rhythm invites listeners to sway and lose themselves in its danceable grooves, catering to a spectrum of R&B enthusiasts.

Lyrically, “Femme Fatale” is a fervent homage to a strong, confident woman who commands respect and adoration. The central figure of the song is unapologetically self-reliant, working her 9 to 5, immune to fleeting romances. Phrases like “The whole town knows” and “She controls the weather” amplify her omnipresence and influence. Amid the narrative, there’s an evident yearning, with lines like “I’m running out of time, so just make it quick” echoing the urgency to understand and be near this mesmerizing force. The juxtaposition of raw emotion with an upbeat musical backdrop creates a captivating tension, solidifying “Femme Fatale” as a definitive anthem in contemporary R&B.

East Harbor – “Away From You”

East Harbor’s “Away From You” is an anthemic testament to the band’s infectious alt-pop prowess. Seamlessly blending elements from rock and indie, this South Florida quartet has produced an electrifying track that effuses a sense of 80s summer nostalgia, layered with contemporary sonic nuances reminiscent of industry titans like Harry Styles and Maroon 5. The track’s pulsating rhythm coupled with its indelible vocals transports listeners straight to a neon-lit dance floor, the kind where memories are made and forgotten in the span of a single night.

Lyrically, “Away From You” navigates the tumultuous waters of a relationship characterized by doubt and distance. The song kicks off with a vulnerable plea, “If you got a second, A second for me,” before swiftly spiraling into a recount of a love imbued with uncertainty. The lines, “I worry about the things that you’re gonna do” and “I worry about it everyday something new,” paint a picture of anxiety, revealing a protagonist trapped in an emotional limbo, constantly speculating about their partner’s actions in their absence. Yet, it’s not all melancholy—there’s an undercurrent of empowerment, echoed in the affirmation that they’re not “lookin’ to save ya” and their unwavering determination to prioritize self-worth over a tumultuous love. The track’s fervent chorus, with its repetitive mantra of “When I’m away from you,” conveys a sentiment many can relate to: the simultaneous relief and apprehension felt when distancing oneself from a chaotic relationship. The culmination of East Harbor’s signature electric guitar leads, effervescent synths, and evocative lyrics solidify “Away From You” as not just a song, but an experience, an encapsulation of modern love’s complexities.

Zach Day – “New York”

In the saturated landscape of modern folk, few songs strike a chord as profoundly resonant as Zach Day’s “New York.” Under the deft production hands of Hana Elion from Overcoats, Day crafts a poignant ode to patience in love, artfully weaving the universal sentiment into a tapestry of tender melodies and introspective lyrics. The themes of longing and hopeful anticipation are palpable, suggesting the vast distances (both emotional and geographical) one might traverse for a love with boundless potential.

Zach Day’s unique upbringing in the secluded corners of Kentucky imbues a raw authenticity to his work. Every note and lyric feels like an echo from a past carved from humble beginnings, self-taught artistry, and a voracious appetite for varied musical influences. This passionate genesis of Day’s musical journey is evident as he channels the haunting intimacy of Bon Iver, the lyrical vulnerability of Phoebe Bridgers, and the narrative elegance of Taylor Swift. What sets Day apart, however, is the distinctive timbre of his voice; a soul-bearing instrument that tells stories of years spent poring over legendary vocalists, and hours skipped from school in pursuit of his craft. “New York” isn’t just a song, but a culmination of a young artist’s devotion to his art, a poignant testament to his journey from the backwoods of Kentucky to the vast expanse of emotions that make up the human experience.

Weekly New Releases – Fallon Cush, Cold Weather Captains, Alex McArtor, Fabian Brusk-Jahn, Lotta Wenglén, and Stone Branches

Welcome to another exciting week of new musical discoveries here at bsideguys.com! As the pulse of the underground music scene, we’re constantly on the lookout for innovative sounds, groundbreaking artists, and the hidden gems that lie in the vast world of music. Every week, we curate a fresh batch of releases, ensuring that your playlist never grows stale. Whether you’re a fan of avant-garde, indie-rock, or electronic fusion, we’ve got something that’ll strike a chord with your musical soul. So buckle up and dive into this week’s selection of new releases, and prepare to embark on a sonic journey like no other. Your next favorite artist might be just a click away!

Fallon Cush – “Hang Onto Me”

With the melodious echo of Wilco and Neil Finn resonating throughout, Fallon Cush’s latest single “Hang Onto Me” is a soothing lullaby that doesn’t shy away from a poignant core. Steve Smith’s warm, unassuming vocals wrap the listener in a gentle embrace, guiding them through the delicate landscapes of loneliness and longing. The pedal steel and keys add an emotive layer, both complementing and elevating the song’s exploration of self-care. Through it, the title takes on a double meaning, an invitation for introspection as well as a plea for connection.

Lyrically, “Hang Onto Me” balances on a razor’s edge, painting an image of a soul in the throes of isolation. But Smith ensures that the song never tips into despair; there’s a reassuring presence that pervades the track. Lines like “You know that if you need a friend / More than you like to hide / You can always trust that I’m by your side” add an element of hope, providing a lifeline to those in need. The straightforwardness of the lyrics only adds to their strength, making the song an understated yet deeply resonant country-rock anthem. This second single from the forthcoming EP offers a glimpse of what might be a soul-stirring collection, with a humanity that’s both comforting and captivating.

Cold Weather Captains – “Royal Purple”

Cold Weather Captains return with “Royal Purple,” a boisterous anthem embracing individuality, self-love, and a kaleidoscope of rock genres. From glam metal and pop-rock to funk and blues, the Toronto-based band weaves a tapestry of influences that includes nods to AC/DC, Queen, and Red Hot Chili Peppers. What emerges is a sound that’s simultaneously familiar and innovative, embracing clichés with a self-aware wink and reshaping them into a fresh musical offering. Lyrics like “In this world of rabbits, it’s ok to be a turtle” embody the song’s encouraging embrace of standing out and being true to oneself, all delivered with a vibrancy that feels both playful and earnest.

“Royal Purple” sparkles with the energy of a live performance, and the unmistakable musicianship of Bradley Scott, Erik Meechem, Kevin Penny, Justin Di Donato, and Christina Dare. The song’s message of embracing one’s unique identity and loving life’s journey comes through with clear authenticity. This passion and honesty translate into a track that not only pays homage to the band’s diverse musical inspirations but stands as an uplifting ode to individuality and personal freedom. Whether you’re drawn to the eclectic genre-blending or the unapologetically affirmative lyrics, Cold Weather Captains offer a danceable, sing-along hit that urges listeners to proudly wear their own shade of “Royal Purple.”

Alex McArtor – “Oxygen Thief”

Alex McArtor’s “Oxygen Thief” emerges as a soul-searching ballad, marking a triumphant return for the Los Angeles-based singer-songwriter. The track, inspired by a turbulent chapter in her life and a disturbing book that mirrored her own experience, explores the painful disconnection when love’s energetic bonds are severed. McArtor’s soulful voice, ripe with emotion, brings a tangible intimacy to the song, weaving a tale of loneliness and creative struggle that resonates deeply. Reflecting on her artistic journey as “an endless death and rebirth,” the 21-year-old artist delivers a piece that’s as personal as it is universal, cementing her status as one of the industry’s most promising talents.

Musically, “Oxygen Thief” strikes a fine balance between McArtor’s deeply soulful sensibilities and pop accessibility. Her poignant storytelling, framed by lush instrumentation, creates an experience that’s simultaneously captivating and relatable. The song feels like a significant milestone in McArtor’s evolving career, following an 18-month hiatus since her last single. The accompanying lyric video adds another layer to the song’s emotional landscape, allowing fans to immerse themselves in the narrative fully. With “Oxygen Thief,” Alex McArtor not only reasserts her distinctive musical voice but offers a profound reflection on growth, pain, and the cycles of creativity that will likely continue to resonate with listeners for years to come.

Fabian Brusk-Jahn – “Skepp ohoj”

Fabian Brusk-Jahn’s “Skepp ohoj” sails into the murky waters of modern society’s obsession with narcissism and social media. The 37-year-old Gothenburg artist, known for his time as the frontman for punk-rock act “Death By Armborst,” transitions seamlessly into a solo venture that reveals a voice capable of both silk-soft whispers and raspy rock’n’roll grit. Drawing comparisons to Tom Waits, the track weaves a dark and simple musical landscape, a departure from Brusk-Jahn’s earlier blues sound. The lyrics “Into the void / Followers follow and haters destroy / Words without a voice / Swims in a shallow noise” portray the shallow and destructive nature of online interactions, while the imagery of a withering flower illustrates the fragility of genuine connections in a digital age.

“Skepp ohoj” is a powerful exploration of the hollowness that social media can cultivate within us. Through simple percussions and rich guitar work, Brusk-Jahn crafts an epic sound that manages to feel both grand and minimalistic. The song’s haunting chorus, “I sail my soul, skepp ohoj! / Find some peace of mind / In the land of the angry and blind,” echoes the disquieting journey into the void of online disconnection. This new direction, heralded by “Skepp ohoj,” signifies an exciting evolution in Brusk-Jahn’s music, where he’s not afraid to tackle relevant societal issues with a refreshing artistic honesty. In a world often lost to superficial digital interactions, “Skepp ohoj” serves as a compelling and thoughtful reflection on what we’ve become, making it an essential listen for those yearning for a deeper connection to the human experience.

Lotta Wenglén – “Trust Issues”

Lotta Wenglén’s EP “Stardust & Debris” presents a soul-stirring blend of country pop that transforms complex emotions into palatable tunes. The focus single “Trust Issues” serves as a particularly potent example, reimagining her own Swedish-language song “Tillitsproblematik” from the 2020 EP “Alla andra ska dö.” The track resonates with raw vulnerability and careful craftsmanship, encapsulating themes of mistrust and intimacy. With intricate string arrangements, acoustic guitar, percussion, and a luxurious omnichord, “Trust Issues” thrives in a space that’s both reflective of Bacharach’s melodious genius and freshly innovative. The song’s melancholic undertones are offset by its crisp production, resulting in a harmonious fusion of warmth and love.

Her upcoming EP release gig at Far i Hatten promises to be a charming culmination of a project steeped in elegance and emotional resonance.

Stone Branches – “The Way Out”

Stone Branches’ latest single, “The Way Out,” emanates a contemplative serenity, offering listeners a reflective journey through acceptance and hindsight. With echoes of the introspective lyricism that has drawn comparisons to Coldplay and Radiohead, “The Way Out” intertwines vivid imagery and intimate storytelling. Lyrics like “Breathing it in / The sight and the sound / Down deep in the green / With the roots in the ground” convey an elemental connection with nature, painting a landscape where contemplation flourishes. The metaphors and elemental descriptions find harmony with the song’s melodic guitar lines and tender vocal hooks, culminating in an emotive climax that truly defines Stone Branches’ distinct sound.

Emerging from Southampton’s vibrant music scene, Stone Branches have managed to carve a niche with their compelling and authentic sound. The interplay between Matt Bialas’s emotive vocals, Nick Burton and Ollie Hickson’s articulate guitar work, Ashley French’s robust bass, and Holly Barnett’s dynamic drumming creates a musical tapestry that resonates deeply with audiences. Their debut EP ‘Mantra,’ and subsequent recognition at the ‘Isle Of Wight – New Blood Competition,’ are testaments to the band’s evolving craftsmanship and live prowess. With “The Way Out,” Stone Branches present a confident step forward, one that promises continued growth and resonance with both new listeners and long-standing fans alike. This track is not merely a song; it’s an exploration, a momentous reflection of personal growth, and a signal that Stone Branches are indeed a band to watch in the unfolding British rock scene.

Weekly New Releases: Drug Hunt, EPONINE, Fellow Hollow, Ollie Wolfe, and Jamie Turner

Welcome to another week of fresh sonic discovery here at bsideguys.com. We’re thrilled to introduce you to an eclectic mix of artists and tracks that have been curated to amplify your weekly soundtrack. From indie up-and-comers to seasoned virtuosos unveiling new directions in their soundscapes, we’ve got a diverse line-up that will make every music aficionado’s heart sing. Each of these offerings not only demonstrates the dynamism of the music scene but also highlights the boundless creativity and resilience of artists across the globe. So, without further ado, let’s dive into this week’s pickings, listen to the stories they tell, and let the rhythm carry us away. Welcome to your Weekly New Releases!

Drug Hunt – “We Are Dying”

On their latest offering, “We Are Dying,” Neo-Psychedelic agitators Drug Hunt team up with Adrian Terrazas-Gonzalez of The Mars Volta for a dystopian hymn that scrutinizes our society’s relentless march towards technological autonomy. The band’s hallucinatory soundscape and anarchic ethos shape a terrifyingly lucid narrative, dissecting the chilling implications of our surrender to the binary overlord. The result is a haunting track that amplifies the band’s signature blend of psychedelic chaos and hard rock vigor.

“We Are Dying” employs the band’s audacious lyricism to conjure a prophetic vision of an apocalyptic future in which humanity is eclipsed by its technological creations. “Speak of resurrection / But keep your lips sealed / When the code becomes human / All will be revealed,” resonates as an ominous mantra against a backdrop of growling riffs and thunderous drums. In its companion video, the satire is sharp, the commentary stinging, exposing the distorted identities that we unwittingly curate on digital platforms. Drug Hunt, it seems, have abandoned the “trip” of their Psychedelic heritage in favor of a more sobering, albeit macabre, reality check. As if Nick Cave himself penned a dystopian tale and set it to a soundtrack of The Doors on a bad acid trip, Drug Hunt’s “We Are Dying” is a bold, visceral critique of a society sleepwalking into oblivion.

EPONINE – “Pink Lemonade”

Introducing his self-proclaimed “grunge-soul” to the masses, EPONINE steps into the limelight with his debut single “Pink Lemonade.” The result is an intoxicating blend of contrasting elements, both musically and lyrically, that gives us a taste of his dark, beautifully twisted universe. From the onset, the song captivates with its sultry, languid tones, luring the listener into EPONINE’s lush sonic landscape that intertwines the organic with the melancholic. Yet, under the smooth veneer lies a tumult of raw emotion that subtly betrays the torment of a heart yearning for a fleeting connection.

Borne out of a blend of late-night drives and a deep dive into the protagonist’s psyche, “Pink Lemonade” brings together a rich palette of influences and narratives. A “really special feeling” is explored, one that highlights the rarity and transient nature of desire, couched in a production that skillfully oscillates between different musical cues. EPONINE, described as having “the heart of a poet, the mind of a scoundrel, and the body of a Tim Burton character,” beautifully encapsulates the complexity and contradictions of human emotions in his debut. As much a love letter to the subversive underbelly of pop as it is a poignant exposition of yearning, “Pink Lemonade” is a promising harbinger of what the grunge-soul pioneer has in store for the world. It’s an audacious, genre-blending introduction that, much like its creator, gleefully resists categorization while still delivering a potent emotional punch.

Fellow Hollow – “Smokies”

Fellow Hollow’s latest offering, “Smokies,” plunges listeners into a dreamscape that seamlessly melds the ethereal with the earthly. As with the work of artists like Big Thief and Sufjan Stevens, Fellow Hollow’s musical narrative oscillates between the abstract and the explicit, creating a liminal space rich with aural texture and vivid imagery. “Smokies” is a perfect encapsulation of this blend, using the theme of “Dollywood as a liminal space” as an emotional conduit to navigate the vast spectrum of human sentiments. The melancholic strains of piano and guitar, punctuated by resonant drums, create a musical terrain that’s lush and hauntingly beautiful.

Lyrically, the song is a meditation on loss, longing, and the cathartic power of memory. Lyrics such as “flooded eyes flood my eyes / gem of the sun / crash to earth / take me to task where it hurts” evoke powerful imagery of pain, reflection, and longing. Fellow Hollow’s voice, ethereal yet grounded, guides us through a surreal journey, replete with references to natural phenomena and everyday experiences. The repetitive, incantatory line, “sell the furniture,” amplifies a sense of existential urgency and disorientation, effectively underscoring the song’s themes. The ethereal cry, “oh, Dolly / oh, Dolly / the animatronics are escaping,” ends the song on a note of poignant absurdity, highlighting the transient, often unpredictable, nature of existence. “Smokies” is a testament to Fellow Hollow’s talent for crafting sonic landscapes that are as resonant and vast as the human experience they encapsulate.

Ollie Wolfe – “Making You Smile”

Ollie Wolfe’s “Making You Smile” takes the listeners on a nostalgic journey through the maze of unrequited love. With its bass-heavy, effervescent soundscape, the track is a vibrant exploration of romantic yearning and the vicissitudes of relationships. Through the dance-friendly cadence, Wolfe captures the essence of longing in a way that is both heartfelt and rousing. The song’s musical depth and infectious rhythm highlight the influence of artists like Robin Schulz and Maroon 5 on Wolfe’s work.

In “Making You Smile”, Wolfe’s storytelling prowess shines through in lyrics that oscillate between joyous anticipation and tender vulnerability. With verses such as “All I’m thinking about is you / When you keep playing around with me,” Wolfe encapsulates the bitter-sweet angst of one-sided affection. The line “We’re cuddling up in our bed / A garden with a round hedge / The kids awake playing by the shed / A dream that lasts for seconds” offers a poignant glimpse into the narrator’s dreams, painting an achingly beautiful picture of domestic bliss that never manifests. The recurring, desperate plea – “All I want Is / All I need Is” – underscores the unfulfilled desires and lingering hope. “Making You Smile” is a testament to Wolfe’s ability to transform personal experiences into universal narratives, creating music that resonates deeply with listeners. The combination of EDM’s pulsating energy and indie-pop’s emotive lyricism results in a captivating single that is bound to leave its mark on the summer music scene.

Jamie Turner – “How Lost I Would Be Without You”

In “How Lost I Would Be Without You”, West Australian singer-songwriter Jamie Turner pays a heartfelt homage to the comfort of enduring relationships. The track is a cozy, earnest folk-pop number, crafted meticulously in his home studio using a vintage Tascam 388 8-track. With this analog recording, Turner successfully evokes the characteristic warmth of ’70s music, emulating the likes of Paul McCartney, Harry Nilsson, and the Electric Light Orchestra. The song, featuring a mid-tempo orchestral arrangement from Kaska Records, takes listeners on a tender journey of gratitude, acknowledging the support and care that loved ones provide when facing life’s hurdles.

Turner’s lyrics are imbued with sincerity, depicting a narrative that underscores the significance of emotional pillars in our lives. Lines such as, “Every now and then I get insecure / As I fumble completely by no means discretely / And then you appear right on cue / Well where would I be without you” encapsulate the insecurities inherent in navigating life and the reassurance that comes from the constancy of support. Turner’s choruses are an admission of dependence and gratitude: “And if one thing is certain you’re there when I’m hurting / My light when the darkness comes”. These personal confessions, set against the backdrop of a captivating orchestral journey, create a rich, evocative experience for the listeners, reaffirming Turner’s prowess as a songwriter. The result is a testament to the resilience of human relationships, a beacon of hope and gratitude in a sea of uncertainty.

Weekly New Releases – Milk St., Kohla, Samuel Blaney, In Lieu of Roses, Hoagie, Mainland Break, and Stephano Prunebelli

Welcome back to another edition of “Weekly New Releases” here on B-Side Guys. As the world of music spins on its continuous axis, another week brings us a fresh harvest of auditory delights from both emerging talents and established favorites. This is the space where we tune our ears to the pulse of the music scene, diving into the sonic waves to bring you the most exciting, thought-provoking, and evocative new releases.

Every week, our mission remains steadfast – to explore the unexplored, uncover the hidden gems and bring forth the music that pushes boundaries, challenges norms, and dares to be different. From the raw, gritty lanes of alternative rock, the vibrant kaleidoscope of indie pop, to the moody realms of neo-soul and beyond, our journey is as varied as it is exhilarating.

Sit back, grab your favorite headphones, and join us on this musical voyage. Here’s to discovering your new favorite track, a mind-bending album, or an artist whose tunes make your soul dance. Without further ado, let’s dive into this week’s array of new releases. Here’s to the beautiful unpredictability of music!

Milk St. – “Peyote”

From the depths of Bangor, Maine comes Milk St., a punk trio presenting their brand of “Northeast Emo” in the form of the thoughtful and poignant track “Peyote.” The song, a self-proclaimed summer anthem for the melancholic, adeptly balances the gritty rawness of grunge and the melodic fluency of Midwest emo, reflecting a refreshing marriage of influences from the likes of Title Fight, Modern Baseball, and even Nirvana.

“Peyote” unravels as a journey of self-discovery, a reckoning with trauma, infused with Jonah Wakefield’s raspy vocals that narrate the introspective verses. Each member – Gabe Chambers on bass and Josh Whittemore on drums, contribute to a unique sonic blend that evokes a visceral resonance akin to similar artists like The Front Bottoms and Slaughter Beach, Dog. The band’s ability to draw on the beautifully somber aspects of their home state and pour it into their music is compelling, making “Peyote” a fitting exploration of the melancholy that summer can sometimes bring. From their debut full-length album “Spaced,” to this latest single, it’s clear Milk St. is leaving an indelible mark on the punk scene, and we can only wait in anticipation for their upcoming EP.

Kohla – “One and Only”

Steeped in the timeless allure of classic jazz and soul, Kohla’s “One and Only” is a meticulously crafted testament to the enchanting, timeless romance. Drawing inspiration from the legendary works of Ella Fitzgerald, Nat King Cole, and Sam Cooke, the track captures the filmic glamour of falling in love, bridging the past and the present with a grace and finesse that’s all Kohla’s. Her cinematic lyrics, narrating an intimate tale of moonlit sway to the rhythm of jazz, convey a love story that feels at once fresh and nostalgic, cocooned in the waltz’s three-beat cadence.

What sets “One and Only” apart is Kohla’s innovative blend of vintage and contemporary elements. The inclusion of live orchestral instrumentation by members of Popgirlz Scotland imbues a sense of warmth and authenticity, while her exploration of lush R&B production with her creative partner Dave Lloyd (Stillhound) nods to the sultriness of modern influences like Lana Del Rey and Frank Ocean. The song serves as the 4th single from her debut album “Romance,” set for release on September 8th. With her unique fusion of digital and analog, Kohla—a fine art graduate of The Edinburgh College of Art supported by Creative Scotland and Help Musicians—reaffirms her status as a notable ‘Evocative Jazz Pop’ artist in the contemporary music landscape. We eagerly await the full album and the further exploration of Kohla’s sepia-tinged musical universe.

Samuel Blaney – “Ember”

“Ember” is the perfect introduction to the world of Samuel Blaney, an accomplished singer, songwriter, and horticulturist hailing from the West of Ireland. Blaney’s debut is a tender love song whose organic, folk-infused soundscape seamlessly merges his two passions: music and nature. The opening lines, “There is no better day/For the bird to find its way,” set the stage for a song that uses natural imagery to express complex emotions and profound connection.

With “Ember”, Blaney has crafted an intimate piece of folk artistry, a love song that encapsulates the symbolic transition of the seasons. The song’s lyrics lead listeners through a journey from the deep night to the sweetness of light, symbolizing the shifting dynamics of a relationship. Blaney’s tender vocals breathe life into the emotive lyrics, highlighting lines such as “Rest your eager heart in mine,” and “Ease your wings out from me now.” The delicate metaphorical language used throughout the track evokes the cyclical nature of seasons and love, mirrored by the nurturing and gentle ebb and flow of his melodies. The repetition of “All the things you are, you are to me,” serves as an intimate refrain, reinforcing the profound connection shared with the song’s muse. As the beginning of a series of releases where we are promised to follow Blaney “throughout a winter into a spring,” “Ember” leaves us eagerly awaiting the rest of the seasonal journey.

In Lieu of Roses – “Commuter”

“Commuter” by In Lieu of Roses is an intriguing exploration of modern-day monotony and the hidden comforts within routine. The Philadelphia-based band, born from the quiet, early tumult of the 2020s, resonates with an organ-led indie blues sound, bringing forth a unique approach to their craft. Drawing influence from an eclectic mix of Manchester Orchestra, Pavement, Balance And Composure, Local H, Codeine, Citizen, and Everclear, their music harbors a potent blend of heavy moods and enthralling melodies. “Commuter,” however, offers a refreshing deviation from their signature sound, portraying the tranquil side of mundanity through poignant lyrics and a steadfast rhythm.

The lyrics, “Love my baby when we both go to therapy / Love my home while I’ve got electricity / Love my body when I watch my calories / Love my god when it’s all in front of me,” serve as a candid reflection of the recurring motifs in daily life. The song mirrors the cyclical rhythm of everyday existence—working, coming home, and seeking solace in simple pleasures—embracing the simplicity and solace of routine. The refrain, “Is it wrong that I feel alright ’cause I feel alright,” explores the duality of contentment and apprehension in such comfort. With “Commuter,” In Lieu of Roses has woven a comforting reminder that amidst the hustle and bustle of modern life, there is solace to be found in the ordinary and familiar. This blend of introspective lyricism and comforting rhythm demonstrates the band’s evolution, ensuring listeners eagerly anticipate their future releases.

Hoagie – “Notes From The Basement”

“Notes From The Basement” by Hoagie is a musical storytelling gem that paints a vivid narrative of cohabitation and its complexities. The band, influenced by a distinctive blend of Classic Rock, Alt. Country, and Power Pop, is often likened to artists such as Dr. Dog, Wilco, Pavement, Fountains of Wayne, The Cars, Mikal Cronin, and Ben Kweller. However, with “Notes From The Basement,” Hoagie manages to craft a unique sound that serves as an essential addition to their discography and a teaser of their forthcoming debut album “Other Folks.”

The song, resonating with true-to-life tales of shared living, unravels its story in the form of a catchy, upbeat tune that belies the tension at its core. Lyrics such as “When we met you showed me why you’re more of an island than I / You said bunker is not a crime / So we crossed the dotted line / But now we’re fighting all the time” depict the early optimism of new arrangements, evolving into a reality check. This is further emphasized by lines like “You don’t sleep easier at night / You say I’m high and I’m trying your patience.” The song brings the listener face to face with the protagonist’s struggle to maintain harmony within shared spaces.

The track builds on its narrative arc, ultimately leading to a confrontation over these pent-up issues, highlighted in lines such as “And I don’t need to know how your day went / You can stop saying I sound like Pavement, because / In 30 days you can find a replacement / Just let me know apropos on the payment.” “Notes From The Basement” is a remarkable exploration of human relationships within shared spaces, encapsulated within the alluring musicality that Hoagie so skillfully presents. It leaves listeners eager to unravel the narratives that the band’s upcoming debut album will bring.

Mainland Break – “Portland”

“Portland,” the latest offering from Mainland Break, is a bittersweet anthem echoing with the poignant undertones of longing and separation. Drawing comparisons to Real Estate, Surfer Blood, and Beach Fossils, the track is a buoyant tribute to distant friendships and the yearning for reunion. This desire propels the song’s driving rhythm, while glistening guitar lines twine themselves around warm, evocative lyrics, embedding the listener in the remembered joy of shared moments and the cold reality of physical distance.

Lyrically, Mainland Break captures the emotional tug-of-war of being pulled away from home and thrust into new environments, framed in lines like “Be absolved of social sin / In a city you’ve never been” and “Finally in open air / And there’s nightmares everywhere.” The repeated refrain “When the sun calls you away” becomes a haunting, melancholic mantra that resonates throughout the track, underscoring the ebb and flow of the protagonist’s emotional state. The music video, filmed in Tijuana, Mexico, adds an additional layer of complexity and intrigue, featuring vibrant scenes from the city’s urban core, framed in the languishing glory of the historic Cine Bujazán. The visually captivating cinematography, coupled with the band’s emotive performance, serves as a fitting visual companion to the nostalgia and yearning encapsulated in “Portland”. It’s a profound testament to the trials and tribulations of distance, encapsulating the heartfelt nostalgia of friendship and the ceaseless urge to close the divide.

Stephano Prunebelli – “Forever Lovers”

“Forever Lovers,” the newest track from Cyprus-based artist Stephano Prunebelli, is a melancholic indie-pop voyage that plunges you into the ebb and flow of romantic disillusionment. Combining Stephano’s distinctive vocal style with pulsating beats, the track is an introspective exploration of a relationship on the precipice of change. Stephano’s signature sunny, Mediterranean-infused production permeates the song, presenting a retro-tinged soundscape that draws the listener into the shifting tides of longing and regret.

Lyrically, “Forever Lovers” is an earnest plea for one last chance, an echo of a love that once was and the desperate need to reclaim it. Lyrics like “Can we fix this just one more time / oh can I have just one more night?” vividly portray the desperation for a reconnection, the desire to hold on to what once was. The repetitive chorus—”I thought you wanted us to be / forever lovers”—stands as a haunting refrain, embodying the disbelief and heartache of unrealized dreams. Through its dynamic balance between upbeat musical elements and melancholic lyricism, “Forever Lovers” encapsulates the duality of emotions inherent in fading relationships, all set against a soundscape infused with the warmth of the Mediterranean sun and sea. It is a testament to Prunebelli’s ability to craft emotive narratives, and a worthy addition to his diverse discography.