B-Side Guys

In this fourth installment of our June new releases roundup, we dive into another eclectic mix of fresh sounds spanning genres and continents. From established artists pushing their boundaries to emerging talents making their mark, these releases offer a snapshot of the ever-evolving musical landscape.

Praise Team – “Red Balloon”

In “Red Balloon,” Praise Team’s Paul McArthur weaves a haunting tapestry of folk-rock introspection, eschewing his usual noise rock proclivities for something far more delicate and unsettling. The track unfolds like a dark nursery rhyme, its deceptively simple melody belying the emotional weight of its narrative. McArthur’s vocals, reminiscent of David Sylvian’s hushed introspection, float atop a sparse arrangement that gradually builds in intensity, mirroring the growing unease within the lyrics. The juxtaposition of childlike imagery with themes of loss and alcoholism creates a disquieting atmosphere that lingers long after the final notes fade.

Lyrically, “Red Balloon” is a masterclass in subtle horror, painting a vivid picture of a child’s funeral with lines like “Little dress is red they bury her in / Lower coffin with four stiff pipe cleaners.” The recurring motif of the red balloon serves as a poignant symbol of innocence lost, while the “pathetic pendulum swinging in the dark” evokes a sense of helplessness in the face of cyclical trauma. McArthur’s production, aided by Niall Sinclair, expertly balances clarity and murk, allowing just enough space for the listener’s imagination to fill in the gaps with their own anxieties. As a harbinger of Praise Team’s forthcoming debut, “Red Balloon” suggests a promising evolution for McArthur, one that trades volume for a more insidious form of emotional impact.

A Days Wait – “So Far Along”

A Days Wait’s “So Far Along” is a shimmering slice of introspective dream pop that captures the bittersweet passage of time. Produced by Day Wave, the track floats on a bed of gossamer synths and reverb-drenched guitars, creating an atmosphere that’s both nostalgic and immediate. The song’s gentle propulsion mirrors the relentless forward motion of life, while the vocals, delivered with a hushed urgency, convey a sense of grasping at moments that are already slipping away.

Lyrically, “So Far Along” grapples with the universal experience of watching children grow up, distilling complex emotions into deceptively simple phrases. Lines like “Give me back the time cause I’m long gone” and “Give me all the pieces I can’t convey” speak to the struggle of remaining present in a world that seems to accelerate with each passing day. The repetition of “It takes too long” throughout the chorus serves as a mantra-like reminder of life’s paradoxes – how the years can feel simultaneously fleeting and interminable. By donating all proceeds to charity, A Days Wait transforms this deeply personal reflection into a gesture of communal care, extending the song’s themes of connection and mindfulness beyond the confines of the track itself.

Todd Binder – “Easy Kinda”

Todd Binder’s “Easy Kinda” bursts with infectious energy, blending indie pop sensibilities with Americana twang to create a spirited sonic journey. The track’s analog recording lends a warm, organic quality that perfectly complements Binder’s earnest vocals and the song’s rollicking instrumentation. From the bluesy psychedelic intro to the driving beat that follows, “Easy Kinda” keeps listeners on their toes, defying easy categorization and showcasing Binder’s genre-bending prowess.

Lyrically, the song paints a vivid picture of romantic tension and the search for simplicity in a complex world. Lines like “You ain’t got a bag / To breathe in / You’re holdin’ your breath” capture the anxiety of uncertain relationships, while the chorus’s plea for “An easy kinda path” resonates as a universal desire. Binder’s storytelling shines through playful imagery and relatable emotions, inviting listeners to sing along and find solace in the shared experience of navigating life’s ups and downs. With its catchy hooks and heartfelt delivery, “Easy Kinda” cements Todd Binder’s reputation as a promising voice in the alt-indie scene, offering a fresh take on timeless themes.

Hamish Anderson – “You’re Mine”

Hamish Anderson’s “You’re Mine” is a soulful blues anthem that showcases the Australian guitarist’s knack for combining classic influences with contemporary flair. Recorded at East West in Hollywood, the track benefits from the addition of Jessy Greene’s string arrangements, which add depth and richness to Anderson’s already emotive guitar work. The song’s production strikes a delicate balance, allowing Anderson’s signature slide guitar to shine without overshadowing the heartfelt vocals.

Lyrically, “You’re Mine” explores themes of self-discovery and the transformative power of love. Anderson’s vocals convey a raw honesty as he sings lines like “I searched the whole world just to find what was right in-front of me,” capturing the universal experience of finding clarity in relationships. The chorus, with its simple yet powerful declaration of “You’re mine,” serves as an anchor for the song, inviting listeners to connect with its message of commitment and belonging. As a preview of his upcoming album “Electric,” this track suggests that Anderson is continuing to evolve as an artist, blending his blues roots with a more expansive sonic palette.

Recoverer – “can you come home?”

Recoverer’s “can you come home?” is a tender slice of emo-tinged dream pop that tugs at the heartstrings with its raw honesty and delicate instrumentation. The track’s shimmering guitars and lo-fi production create a nostalgic atmosphere that perfectly complements the song’s themes of regret and reconciliation. Ricky Garvey’s vocals, both vulnerable and hopeful, float atop the dreamy soundscape, inviting listeners into an intimate space of reflection and healing.

At its core, “can you come home?” is a powerful exploration of the impact of addiction on family relationships. The lyrics, framed from the perspective of Garvey’s young daughter, are both simple and devastating in their directness. Lines like “Can you come home? / We can just play with trains” and “What goes on inside your brain?” capture the innocence and confusion of a child grappling with a parent’s absence. The repetition of the plea to “come home” throughout the song serves as a poignant reminder of the distance addiction creates and the desire for reconnection. As part of Recoverer’s larger project celebrating sobriety, this track stands out as a moving testament to the possibility of redemption and the enduring bonds of family love.

Aubrey Haddard – “Pedestal”

Aubrey Haddard’s “Pedestal” is a dynamic fusion of indie dance and alternative rock that pulses with an irresistible energy. The track’s production, a collaboration between Haddard and CARRTOONS, seamlessly blends driving guitars with electronic drum samples, creating a sonic landscape that’s both familiar and refreshingly inventive. Haddard’s vocals navigate this terrain with confidence, alternating between sultry whispers and powerful belts that showcase her impressive range.

The lyrics of “Pedestal” offer a clever exploration of romantic idealization and its inevitable pitfalls. Lines like “Took you out / Took you home / Put you on, put you on a pedestal” encapsulate the intoxicating early stages of attraction, while the repeated refrain of “Sun to set / Set to rise” hints at the cyclical nature of relationships. Haddard’s imagery is both vivid and enigmatic, with references to drained lakes and cinnamon breath adding layers of sensory detail to the narrative. The song’s structure, building from verse to an expansive chorus before collapsing into a mantra-like repetition of “pedestal,” mirrors the emotional journey of falling for someone and subsequently grappling with the reality of who they truly are.

Emma Frances – “Melt”

Emma Frances’ “Melt” is a sultry indie rock slow-burner that perfectly captures the intoxicating haze of new desire. The track’s backbone is a languid guitar riff that simmers with tension, gradually building to a passionate solo in the latter half. Frances’ vocals effortlessly glide over the instrumentation, her delivery alternating between hushed intimacy and soaring emotion as she navigates the thrilling uncertainty of a budding romance.

Lyrically, “Melt” is awash in sensory detail, painting a vivid picture of stolen moments and electric anticipation. Lines like “Nighttime, couches, tension in the air / On the tip of my tongue is something that isn’t there” evoke the charged atmosphere of unspoken attraction, while the repeated plea to “Let me melt into your arms” serves as both chorus and mantra. The song’s structure mirrors the ebb and flow of desire, with verses that build tension and a chorus that releases it in waves of longing. As the lead single from her debut EP “Caverns of Youth,” “Melt” showcases Frances’ ability to craft songs that are at once deeply personal and universally relatable, promising a bright future for this emerging artist.

Peter Anderson – “Phosphenes”

Peter Anderson’s “Phosphenes” is a mesmerizing journey through the realms of trip-hop and instrumental hip-hop, blending jazzy elements with electronic textures to create a soundscape that’s both soothing and intriguing. The track’s lush production seamlessly weaves together laid-back beats, shimmering synths, and mellow jazz instrumentation, creating a sonic tapestry that evolves over its concise 2:28 runtime. Anderson’s skill in crafting atmospheric compositions shines through, as each element of the track works in harmony to evoke a sense of dreamy introspection.

Despite its brevity, “Phosphenes” manages to take listeners on a complete auditory adventure. The song’s title, referring to the phenomenon of seeing light without light entering the eye, is perfectly reflected in the music’s ability to conjure vivid mental imagery through sound alone. As a preview of Anderson’s forthcoming EP, this track sets a high bar, promising a collection that will likely appeal to fans of nu-jazz and electronic chill-out music alike. “Phosphenes” demonstrates Anderson’s prowess in creating instrumental pieces that speak volumes without uttering a single word.

Jane N’ The Jungle – “GTFO”

Jane N’ The Jungle’s “GTFO” explodes out of the gate with a ferocious blend of post-hardcore aggression and alternative metal riffage. The track’s production, courtesy of Cameron Mizell, perfectly captures the band’s raw energy, allowing Jordan White’s powerful vocals to soar over a wall of distorted guitars and thunderous drums. The song’s structure builds tension masterfully, culminating in a cathartic chorus that’s bound to ignite mosh pits and inspire sing-alongs in equal measure.

Lyrically, “GTFO” tackles themes of empowerment and reclamation with uncompromising directness. Lines like “I’m everything that you said I’d be / We were losers you found strength in me” speak to overcoming adversity and defying expectations, while the repeated refrain of “I’m the bullet and the gun” serves as a defiant statement of agency. The track’s climax, with its blunt command to “get the fuck out,” is a visceral release of pent-up frustration that resonates far beyond its surface-level aggression. As a preview of their upcoming record, “GTFO” positions Jane N’ The Jungle as a formidable force in the modern rock landscape, unafraid to confront societal issues like American greed and gun violence through their music.