B-Side Guys

As we dive into the early days of summer, the music scene is already buzzing with a slew of fresh releases. June has arrived with an eclectic mix of sounds, capturing the essence of long, sun-soaked days and vibrant, electrifying nights. From anticipated returns to groundbreaking debuts, the first half of this month has been nothing short of a sonic adventure. Join me as I catch up on the best singles that have defined the start of June for me, showcasing a spectrum of genres and artists who are pushing the boundaries and redefining the landscape of modern music.

Sun Way Street – “Kingdom”

Sun Way Street’s latest single, “Kingdom,” is an evocative blend of singer-songwriter sensibilities and alt-pop flair, infused with indie folk warmth. This Irish/American duo, featuring singer-songwriter Steven Eli and multi-instrumentalist Leor Manelis, has crafted a song that feels tailor-made for road trips and introspective moments. “Kingdom” was three years in the making, undergoing numerous iterations before reaching its final, perfect form. The result is a heartfelt track about the joy and anticipation of driving home to see a loved one, ideal for any indie/acoustic playlist.

The genesis of Sun Way Street is as compelling as their music. At the height of the coronavirus pandemic in 2020, Eli, an emerging indie-pop artist from Ireland, found himself locked down in Berlin. In his quest for a drummer for his solo album, he connected with Manelis, a seasoned Colorado-based multi-instrumentalist, through an Instagram ad. Their remote collaboration on a single song revealed a unique chemistry that neither anticipated. Over the next three years, this initial spark evolved into over a hundred songs. In the spring of 2023, Eli flew to Colorado to meet Manelis in person, and their synergy only intensified. Recording sessions in Manelis’ home studio and Boulder’s Coalesce Audio Studios, with the help of engineer David Wilton and contributions from notable local musicians, culminated in the creation of their debut EP, released in September 2023.

“Kingdom” stands out with its poignant lyrics and rich musical arrangement. The track captures the essence of longing and love, wrapped in the duo’s seamless blend of acoustic and electronic elements. Eli’s reflective vocals, paired with Manelis’ intricate instrumentation, create a lush soundscape that resonates deeply. As Sun Way Street continues to carve out their place in the indie music scene, “Kingdom” showcases their ability to transform personal experiences into universally relatable anthems. This single is not only a testament to their artistic growth but also a promising indication of what’s to come from this transatlantic collaboration.

Robert Ashcroft – “Faded Photograph” feat. Ruth Radelet

Robert Ascroft’s new single “Faded Photograph,” featuring Ruth Radelet of Chromatics, is an ethereal blend of indie rock, dream pop, and indietronica. Released via Hand Drawn Dracula, this track showcases Ascroft’s ability to weave cinematic narratives into his music. Known for his visionary work in directing, photography, and music production, Ascroft brings his multifaceted talents to the forefront, creating a sound that is both haunting and nostalgic. The collaboration with Radelet adds a layer of timeless charm, reminiscent of the dreamy textures of Beach House and Au Revoir Simone.

“Faded Photograph” stands out with its introspective lyrics and synth-based dream pop melodies. The song’s atmospheric quality is enhanced by Ascroft’s cinematic background, creating an immersive listening experience. The music video, which channels classic Sci-Fi elements, complements the song’s nostalgic charm perfectly. Ascroft’s intricate and evocative melodies, combined with Radelet’s ethereal vocals, infuse the track with a sense of longing and reminiscence. Lyrics like “Caught in a faded photograph / Moments we can’t get back” capture the essence of memories slipping away, a theme that resonates deeply with listeners.

Ascroft’s journey from a classically trained guitarist to a music producer is evident in the sophisticated composition of “Faded Photograph.” His upbringing in Rochester, New York, steeped in his mother’s musical heritage and his father’s work with Kodak, foreshadowed his destined immersion in the realms of creativity. This single, taken from his forthcoming album due out in the fall of 2024, marks a significant step in his musical evolution. The collaboration with Radelet highlights his ability to blend visual and auditory elements seamlessly, creating a track that is as visually evocative as it is sonically rich. “Faded Photograph” is a testament to Ascroft’s talent for creating music that transcends traditional boundaries, offering a captivating glimpse into his artistic vision.

a boy named fox – “sluagh”

On the sprawling track “Sluagh” from his debut EP Áine, A Boy Named Fox delves into the depths of lo-fi rock and indie rock, weaving a moody and melancholic narrative that explores themes of cowardice, guilt, and self-destruction. Drawing inspiration from artists like Brand New, The Microphones, and Car Seat Headrest, the song captures a raw, emotive essence that resonates with the listener. The nearly seven-minute runtime allows for a gradual build-up, starting with a delicate finger-picked intro and escalating to a cathartic crescendo of distorted guitars and anguished vocals.

Musically, “Sluagh” is a testament to the artist’s ability to blend lo-fi introspection with emo’s intense emotional outpourings. The track’s sparse production and intimate atmosphere are reminiscent of the bedroom recordings of The Microphones, while the dynamic build-ups echo the intensity of The Hotelier. The instrumentation swells and recedes, mirroring the song’s lyrical exploration of inner turmoil and self-reflection. Lyrics like “all the houses empty / the stars have eyes and the trees are hiding” paint a vivid picture of isolation and estrangement, themes that permeate the entire EP.

A Boy Named Fox’s ability to create an immersive listening experience is evident in “Sluagh.” The song invites listeners to inhabit the artist’s world, a place where personal struggles are laid bare against a backdrop of rugged landscapes and mythological references. The haunting quality of the music, combined with the introspective lyrics, makes “Sluagh” a standout track that showcases the artist’s talent for crafting deeply emotional and evocative music. This song, like the rest of Áine, is a powerful example of how lo-fi rock can be used to convey complex emotions and narratives, making it a compelling listen for fans of the genre.

Surf Trash – “Healin The Feelin”

Surf Trash’s latest single, “Healin The Feelin,” released on June 3, 2024, is an energetic burst of indie rock and alternative rock that embodies the chill yet vibrant spirit of the Australian alt-rock scene. Hailing from Lake Macquarie, the four-piece band—comprised of Patrick Russell on guitar, Andrew Scott on drums and lead vocals, Lachlan Jackson on guitar, and Nicholas Scott on bass—delivers a track that perfectly captures the juxtaposition of laid-back vibes with a driving, infectious energy.

The lyrics of “Healin The Feelin” delve into themes of solitude and self-reflection, articulated through lines like “it’s easy living alone, when there’s no one living in your home” and “it’s easy having a clear head when there’s no one sleeping in your bed.” These introspective thoughts are set against a backdrop of dynamic guitar riffs and punchy rhythms, creating a sound that is both contemplative and invigorating. The chorus, “I’m healing, the feeling / All eyes, on me again,” serves as a powerful mantra of recovery and resilience, resonating with listeners on both an emotional and visceral level.

Musically, Surf Trash draws on the influences of classic and contemporary alt-rock, merging catchy hooks with a raw, unfiltered edge. The interplay between the driving bass lines and the crisp, melodic guitars gives the track a sense of urgency and momentum, while Andrew Scott’s commanding vocal delivery anchors the song with a sense of authenticity and grit. “Healin The Feelin” stands out not only for its catchy, anthemic quality but also for its ability to convey deeper emotions through a high-energy rock framework. With this single, Surf Trash reaffirms their place in the indie rock landscape, offering a track that is as compelling as it is relatable.

Ohr – “Red Pill”

Seattle psych-electronic outfit Ohr, led by Craig Klein, unveils their latest single, “Red Pill,” from the forthcoming album Afterglow, set for release on August 30th via Headstate Records. This track, influenced by Klein’s love for ’90s electronica and psych-rock, seamlessly blends psychedelic textures with sampled rhythms and woozy hooks. “Red Pill,” along with a remix by Sonic Boom of Spacemen 3, encapsulates Klein’s journey through grief and renewal following the death of his father, channeling hope and inspiration rather than defeat.

“Red Pill” is a standout track that draws comparisons to artists like Stereo MC’s, Andrew Weatherall, Primal Scream, and MGMT. The song’s introspective nature, reflecting Klein’s questioning amidst personal loss, is paired with music characterized by trance-infused pulses and anthemic roars, creating an immersive and cathartic listening experience. Klein’s intricate production techniques, involving synthesizers, vocoders, and samplers, give the track a layered and dynamic sound that captures the listener’s attention from start to finish.

The remix by Sonic Boom further elevates “Red Pill,” adding heavy tremolo, dubbed-out delays, and expansive space to the already rich soundscape. This collaboration underscores Klein’s ability to fuse rock song structures with electronic beats, a skill honed from his formative years influenced by his father’s love for electronic and New Age music. As Ohr continues to carve out their niche in the psych-electronic landscape, “Red Pill” serves as a powerful introduction to the themes and sonic exploration of the upcoming album Afterglow. The track not only highlights Klein’s musical prowess but also his resilience and creativity in transforming personal pain into a beacon of hope and artistic expression.

Frankie Bird – “23”

Frankie Bird’s latest single, “23,” is a nostalgic and introspective folk pop gem that captures the essence of longing and self-reflection. Released just a week ago on June 5, 2024, the track serves as the final song on her debut LP, Twenty Something, which was released on June 6th. Written during the pandemic, the song reflects Bird’s personal experience of feeling like Dorothy in Oz, reminiscing about the year she was 23—a time when she felt like all her dreams had come true. This sense of longing for a golden past is beautifully woven into the fabric of “23,” making it a poignant reflection on the passage of time and the shifting sands of life.

The track’s cinematic scope is a testament to Bird’s new team of collaborators, who helped bring her vision to life. With a sound that blends folk, indie pop, and folk pop, “23” stands out for its lush instrumentation and Bird’s evocative vocals. The song begins with a gentle acoustic guitar, gradually building to a rich, layered arrangement that mirrors the emotional journey described in Bird’s reflections. The dreamy production and heartfelt delivery create an immersive listening experience that transports listeners to the nostalgic and introspective world that Bird sings about.

Frankie Bird’s reinvention from her pop-influenced beginnings to a more introspective singer-songwriter is evident in “23” and throughout Twenty Something. The album, crafted during a period of significant personal transformation, reflects on the highs and lows of her twenties with honesty and emotional depth. With “23,” Bird not only pays homage to her past but also celebrates the growth and acceptance that comes with embracing the present. This track, alongside her previous singles, showcases her lyrical prowess and her ability to create music that resonates deeply with listeners. As she continues to evolve as an artist, Frankie Bird’s future looks incredibly promising, with “23” marking a significant milestone in her musical journey.

The Parade – “Shame”

The Parade, an emerging nu-disco outfit from Stockholm, Sweden, is set to captivate listeners with their latest track, “Shame.” Following the success of their debut single “I’m a Dreamer,” released last summer, this new release solidifies their place in the indie pop scene. “Shame” is a vibrant fusion of disco and synthpop, drawing inspiration from the lush balearic feel of the early 90s music scene. The Parade’s ability to blend genres seamlessly is evident in this track, showcasing their commitment to pushing boundaries while staying true to their indie roots.

“Shame” stands out with its dynamic incorporation of a fresh house piano, adding a layer of contemporary energy to The Parade’s already captivating sound. The track’s infectious groove and shimmering synth lines create an irresistible dance floor vibe, reminiscent of artists like Romy, The xx, and The Beloved. The lyrics, “I don’t even know your name, leave again / If you think you wanna stay, just pretend,” paired with the repeated refrain “It’s such a shame I had to meet you again,” evoke a sense of wistful regret and introspection, capturing the complexities of fleeting connections and unfulfilled desires.

As The Parade prepares to unveil “Shame” to the world, they are poised to make significant waves in the indie pop scene. Their distinct sound and genuine lyricism invite listeners on a journey of self-discovery and musical exploration. Whether you’re reminiscing about the nineties or discovering indie pop for the first time, The Parade promises an experience that transcends time and captivates hearts. With “Shame,” they continue to demonstrate their versatility and ability to craft music that resonates deeply with audiences, further establishing their place as a standout act in the vibrant world of nu-disco.

Nate Hadley – “Swallow me alive”

Nate Hadley’s debut single, “Swallow Me Alive,” from his upcoming EP Burn My Heart, is an energetic and heartfelt exploration of change, moving on, and the fear of being left behind. Drawing inspiration from his Appalachian roots, Hadley channels the sounds of Americana, folk, and singer-songwriter traditions, reminiscent of artists like Noah Kahan, Tyler Childers, and The Lumineers. The track, with its powerful lyrics and stirring arrangement, showcases Hadley’s deep connection to his heritage and his evolution as an artist.

“Swallow Me Alive” begins with a reflective narrative, “Said that I would be back around nine / Sometimes you’re just needin’ for a drive,” immediately pulling listeners into a story of nostalgia and introspection. The song’s lyrics delve into memories and the passage of time, highlighted by lines like “It swallows me alive” and “Oh how the years, they numb my heart.” Hadley’s emotive vocal delivery, combined with the energetic arrangement tracked by National Gospel Studio Musician of the Year David Johnson, creates a compelling contrast that captures the essence of longing and the struggle to move forward.

Musically, “Swallow Me Alive” is a vibrant blend of folk and Americana, with energetic guitar strums and a driving rhythm that propels the song forward. The chorus, with its poignant question, “Where’s that emotion?” and the declaration, “Maybe I became what I always swore I never would,” resonates deeply, reflecting the universal experience of growing up and facing unexpected changes. As Hadley sings about memories of staying up all night and dreams of a hopeful future, the track becomes a powerful anthem of resilience and self-discovery. With “Swallow Me Alive,” Nate Hadley has crafted a song that not only honors his roots but also carves out his unique voice in the landscape of contemporary folk music.

Grace Pettis – “Joy”

Grace Pettis’ latest single, “Joy,” from her forthcoming sophomore album Down To The Letter, is a tender and uplifting Americana track that captures the essence of finding happiness in life’s simple pleasures. Set for release on June 14th via MPress Records, the song showcases Pettis’ exceptional songwriting and vocal prowess, reminiscent of artists like Nobody’s Girl, BettySoo, and Emily Scott Robinson. “Joy” is a heartfelt anthem about discovering contentment in everyday moments, beautifully enhanced by the contributions of Pettis’ Nashville friends who formed the choir on the track, and Will Hawley’s vibrant horn arrangements.

The lyrics of “Joy” reflect a profound appreciation for life’s small wonders, as Pettis sings, “I got joy in a song I started to sing / Joy in the thought of everyday things / I got nothing and nothing I don’t need / I got joy in the air, in and out of my lungs / Joy in the day, barely begun.” These lines encapsulate a sense of peace and fulfillment that resonates deeply with listeners. The choir’s harmonious backing vocals and the rich, brassy horns create a lush, warm sound that amplifies the song’s positive message, making it a standout track on the album.

Down To The Letter, produced by Mary Bragg, captures Pettis at the peak of her songwriting abilities. The album chronicles the end of a long-term relationship with poignant detail, striking a delicate balance between personal reflection and universal resonance. Pettis’ dynamic and agile voice, combined with her evocative lyrics, ensures that “Joy” will leave a lasting impact. This single not only highlights Pettis’ growth as an artist but also reaffirms her place as one of the most compelling voices in contemporary Americana. As the third single from the album, “Joy” sets the stage for what promises to be a deeply moving and richly textured collection of songs.

Boy Ferguson – “Grown Man”

Boy Ferguson’s debut single, “Grown Man,” introduces a moody and experimental blend of dream pop and alt pop, with touches of indietronica that reflect his unique sonic vision. Based in Hackney, London, Ferguson brings a rich tapestry of influences to his music, drawing from his American folk and country roots while infusing his songs with an experimental edge. “Grown Man” is a compelling exploration of regret and the perpetual search for satisfaction in an unsettled state, setting the stage for what promises to be an intriguing new project.

The track, described by Ferguson as a “dream chugger,” captures the listener with its atmospheric soundscapes and introspective lyrics. Influences from artists like Westerman, Bullion, and Mk.gee are evident in the song’s textured production and contemplative mood. The juxtaposition of electronic elements with a folk-inspired performance style creates a unique sound that is both nostalgic and forward-thinking. Ferguson’s production skills, honed through his work as a composer for commercials, shine through in the meticulous arrangement and experimental flourishes that characterize “Grown Man.”

Lyrically, “Grown Man” delves into the complex emotions of searching for fulfillment and the accompanying sense of regret. Ferguson’s introspective songwriting resonates with listeners as he navigates the tension between aspiration and reality. The haunting melodies and lush instrumental layers create a dreamlike quality, drawing the audience into his world. As his first single, “Grown Man” showcases Boy Ferguson’s potential as an artist with a distinctive voice and a talent for blending genres. With its moody, experimental vibe, this debut marks an exciting beginning for Ferguson’s musical journey, leaving listeners eager for more.