B-Side Guys

Welcome to bsideguys.com’s August New Releases roundup, where we dive into the freshest sounds kicking off the month. As summer reaches its peak, the music world shows no signs of cooling down, offering up a diverse array of tracks that span genres and moods. From indie rock anthems to soulful retrospectives, and from dreamy pop excursions to hard-hitting alternative cuts, this first week of August has delivered a sonic smorgasbord that’s sure to satisfy even the most discerning music lovers.

In this edition, we’re spotlighting both emerging artists making their mark and established acts pushing their boundaries. Our team has sifted through the noise to bring you the tracks that deserve your attention, offering insightful analysis and context for each release. Whether you’re looking to discover your next favorite band or simply stay on top of the latest trends, our curated selection promises to keep your playlists fresh and your ears engaged. So grab your headphones, turn up the volume, and join us as we explore the most exciting new music ushering in the dog days of summer.

French Boyfriend – “My Year of Rest and Relaxation”

French Boyfriend’s “My Year of Rest and Relaxation” is an instrumental journey that seamlessly blends trip-hop rhythms with indie dance sensibilities. The Nashville-based production duo crafts a sonic landscape that’s both laid-back and engaging, with downtempo beats providing a solid foundation for layers of melodic exploration. The track’s title, borrowed from Ottessa Moshfegh’s novel, sets an intriguing tone that the music lives up to, creating a soundscape that feels both restful and quietly invigorating.

Without lyrics to guide the narrative, French Boyfriend lets their instrumental prowess shine, allowing listeners to project their own stories onto the music. The interplay between electronic elements and more organic sounds creates a texture that’s rich and inviting, perfect for late-night contemplation or as a soundtrack to a lazy Sunday afternoon. “My Year of Rest and Relaxation” showcases French Boyfriend’s ability to create music that’s simultaneously chill, happy, and subtly sexy, positioning them as an exciting new voice in the world of electronic indie music. This track suggests a promising future for the duo, hinting at depths of creativity and musical sophistication that listeners will eagerly anticipate exploring in future releases.

Wax Owls – “The Waiting Room”

Wax Owls’ “The Waiting Room” is a haunting exploration of personal limbo, wrapped in a lush indie rock package. The track’s instrumentation builds gradually, with jangling guitars and subtle percussion creating a sonic landscape that’s both expansive and intimate. Gerry Hirschfeld’s raspy vocals anchor the song, his delivery imbued with a raw emotional honesty that draws listeners in from the first line.

Lyrically, “The Waiting Room” delves into themes of personal stagnation and the struggle to move forward. Lines like “Go on and face the tide we could let it slide or grow” and “I’m in the waiting room, still alive in the storm” paint a vivid picture of someone caught between inertia and the desire for change. The chorus’s refrain of “There’s so many ways to fall” serves as a poignant reminder of life’s uncertainties, while the imagery of fading “into the fog / Like a raindrop in a pond” beautifully captures the feeling of losing oneself. As a preview of their upcoming EP, “The Waiting Room” showcases Wax Owls’ ability to craft anthemic indie folk that’s both introspective and universally relatable, positioning them as a band to watch in the evolving landscape of alternative rock.

Daru Jones and DJ J. Rocc: Cardboard Sessions Ep. 24

Daru Jones and DJ J. Rocc’s collaboration on Cardboard Sessions Ep. 24 is a masterclass in spontaneous musical alchemy. This instrumental hip-hop odyssey showcases the raw talent and improvisational skills of two genre veterans, with Jones’ thunderous drumming providing a rock-solid foundation for J. Rocc’s dexterous turntablism. The track’s organic evolution, born from a no-rehearsal, all-feel approach, results in a sonic journey that’s as unpredictable as it is captivating, with each artist pushing the other to new heights of creativity.

The interplay between Jones’ powerful, rhythmic drumming and J. Rocc’s eclectic sample manipulation creates a rich tapestry of sound that defies easy categorization. Moments of frenetic energy give way to pockets of space and contemplation, mirroring the ebb and flow of a conversation between two musical masters. This episode of Cardboard Sessions not only showcases the individual talents of Jones and J. Rocc but also highlights the magic that can happen when artists are given the freedom to explore and create without boundaries. The result is a piece of experimental hip-hop that feels both nostalgic and forward-thinking, offering listeners a glimpse into the boundless possibilities of the genre when in the hands of true innovators.

Billie Zizi – “Everything in Between”

Billie Zizi’s “Everything in Between” marks a gentle yet profound shift in the Edmonton-based artist’s sonic palette, embracing a folkier sound that showcases her poetic lyricism. The track’s stripped-back arrangement, featuring subtle pedal steel and fingerpicked acoustic guitar, creates an intimate atmosphere that allows Zizi’s contemplative lyrics to take center stage. This musical simplicity serves as a perfect backdrop for the song’s exploration of life’s complexities, particularly the multifaceted nature of relationships and personal growth.

Lyrically, “Everything in Between” is a masterful meditation on the duality of human experience. Lines like “The falling sky, the quick divide / The way you wish you could change your mind” capture the tumultuous emotions of breakups, while simultaneously acknowledging the beauty and freedom that can emerge from such challenges. Zizi’s ability to find poetry in life’s transitions shines through, offering listeners a comforting perspective on change and loss. As a preview of her upcoming album “Levitate,” this track suggests a work that will continue to push boundaries while maintaining a deep connection to folk and Americana roots. With “Everything in Between,” Billie Zizi proves her capacity to evolve as an artist while staying true to her introspective songwriting style, promising an album that will resonate with both long-time fans and newcomers alike.

Low Hum – “Romantic Rights”

Low Hum’s cover of Death From Above 1979’s “Romantic Rights” is a masterful reimagining that pays homage to the original while carving out its own distinct sonic identity. Collin Desha, the mastermind behind Low Hum, has taken the raw, fuzzed-out energy of the 2004 hit and infused it with a darker, more industrial edge. The track’s transformation from its punk-dance origins to a brooding, electro-tinged alternative rock anthem showcases Desha’s ability to reinterpret influential music through his own unique lens.

The production on this cover is a standout element, with Desha and collaborator Cameron Dmytryk exploring innovative ways to capture the original’s gritty essence. The use of bass synths and a halftime beat creates a spacious soundscape that allows the distorted elements to breathe and expand, resulting in a version that feels both familiar and refreshingly new. This approach not only honors the spirit of Death From Above 1979’s groundbreaking sound but also demonstrates Low Hum’s evolving artistry. As part of Last Gang Records’ 20th anniversary celebration, this cover serves as a bridge between generations of alternative rock, highlighting the enduring influence of DFA1979 while showcasing Low Hum’s position at the forefront of contemporary alternative music.

Caleb L’Etoile – “Goblin”

Caleb L’Etoile’s “Goblin” is a kaleidoscopic journey through the landscape of mental health, blending indie dance beats with lo-fi pop sensibilities to create a sound that’s both introspective and infectiously energetic. The track’s foundation, built on a Jack Antonoff-inspired beat and a sample from the 1981 Japanese psychedelic record “The Rainbow Goblins,” creates a rich sonic tapestry that’s as complex as the emotions it explores. L’Etoile’s clever wordplay and rapid-fire delivery showcase his ability to tackle weighty themes with a light touch, making the exploration of anxiety and depression feel like a cathartic dance party.

Lyrically, “Goblin” is a tour de force of self-reflection and pop culture references. Lines like “I am an armada / I am at war with myself” encapsulate the internal struggles of mental health, while the nod to Gavin DeGraw’s “I Don’t Wanna Be” in the bridge adds a playful touch of nostalgia. The recurring refrain of “I am a god” juxtaposed with admissions of vulnerability (“I am a small raft”) creates a compelling tension that mirrors the complexities of self-identity. By drawing inspiration from sources as diverse as 90s anime and 2000s pop hits, L’Etoile crafts a track that feels both deeply personal and universally relatable. “Goblin” positions Caleb L’Etoile as an artist unafraid to push boundaries, blending genres and influences to create a sound that’s uniquely his own in the ever-evolving landscape of bedroom pop.

Um, Jennifer – “Went on T”

Um, Jennifer?’s “Went on T” is a raw, unapologetic punk anthem that tackles the complexities of gender transition with both humor and righteous anger. The New York City-based duo unleashes a torrent of distorted guitars and pummeling drums, creating a sonic backdrop that’s as fierce and uncompromising as their lyrics. Elijah Scarpati’s defiant vocals cut through the noise, delivering lines that challenge societal norms and expectations with a sneer and a wink.

The track’s lyrics are a masterclass in balancing personal vulnerability with biting social commentary. Lines like “No one knows me like I know my goddamn self” serve as a rallying cry for self-determination, while the sardonic jab “My biceps are bigger than / Your stupid cis boyfriend’s” injects a dose of irreverent humor into the serious subject matter. Um, Jennifer? doesn’t shy away from addressing the darker aspects of transition, calling out the guilt and shame imposed by others while asserting their own consistency of self. With “Went on T,” the duo cements their place in the lineage of politically charged punk acts like Bikini Kill and L7, while bringing a fresh, contemporary perspective to the genre. This track not only showcases Um, Jennifer?’s musical prowess but also positions them as important voices in the ongoing conversation about gender identity and expression in rock music.

Supercaan – “Storms Over Scafell”

Supercaan’s “Storms Over Scafell” is a haunting journey through the landscape of personal introspection, set against the backdrop of the Lake District’s rugged terrain. The track’s sonic palette is a masterful blend of dreamy arpeggiated guitar and piano, juxtaposed against an increasingly volatile synth soundscape and glitchy percussion. This musical tension mirrors the internal struggle described in the lyrics, creating a rich, immersive experience that draws the listener deeper into the narrator’s psyche with each passing moment.

Lyrically, “Storms Over Scafell” is a poignant exploration of existential dread and the search for meaning. Lines like “I feel counterfeit again / Playing on me, lost in this terrain” capture the disorientation of self-doubt, while the repeated plea for “A bit of mercy” speaks to a profound yearning for grace and understanding. The imagery of natural elements – storms, ravens, and collapsing stars – serves as a powerful metaphor for the turbulent emotional landscape being navigated. As the track builds to its crescendo, the mantra-like repetition of “Don’t be afraid” offers a glimmer of hope amidst the turmoil. With this song, Supercaan demonstrates their ability to craft deeply introspective indie rock that resonates on both an emotional and intellectual level, positioning them as worthy inheritors of the sonic legacy left by bands like Radiohead and Slowdive.

Rye – “I Feel Everything”

Rye’s “I Feel Everything” is a mesmerizing journey through the darker corners of dream pop and alternative rock. The Lithuanian-born, Newcastle-based artist crafts a sonic landscape that’s as expansive as it is intimate, with layers of textured synths and driving electric guitars creating a backdrop that’s both ethereal and grounded. Rye’s haunting vocals float above this turbulent sea of sound, her multilingual approach adding depth and intrigue to an already complex composition. The track’s Radiohead-esque intensity builds gradually, drawing listeners deeper into its moody, atmospheric embrace.

Lyrically, “I Feel Everything” is a raw exploration of human vulnerability and the complexities of relationships. Lines like “Will they give me back my heart / Just to find / Praying’s futile” capture the ache of unrequited love, while the repeated refrain of “I’m so far from the place where I belong” speaks to a profound sense of displacement. Rye’s ability to weave together themes of longing, desperation, and resilience creates a narrative that’s as captivating as the music itself. As the second track from her upcoming EP, “I Feel Everything” positions Rye as an artist unafraid to delve into the darker aspects of the human experience, crafting songs that are simultaneously introspective and universally relatable. With this release, Rye establishes herself as a compelling new voice in the dream pop landscape, one whose music promises to linger in the listener’s mind long after the final note fades.

Aberdreamin & Moody Moody – “Feels Like This”

Aberdreamin & Moody Moody’s “Feels Like This” is a pulsating indie dance track that seamlessly blends electro influences with a distinctly Scottish edge. The remix transforms the original song into a synth-driven journey through the neon-lit corridors of a night out, with chopped-up vocals echoing the persistent pleas of a friend unwilling to call it a night. The production is tight and focused, with reverb-drenched vocals floating above a bed of driving rhythms and shimmering synthesizers, creating a soundscape that’s both haunting and irresistibly danceable.

Lyrically, “Feels Like This” captures the ephemeral magic of a night out, with the repeated questions “How can you go home? How can you go?” encapsulating the desire to prolong the euphoria of the dancefloor. The chorus’s mantra of “Feels like this, close my eyes” evokes the sensory overload of club culture, while the juxtaposition of “buzzkill, day by day” hints at the inevitable comedown. This tension between ecstasy and reality is mirrored in the track’s production, which balances upbeat, energetic elements with darker, moodier undertones. As a remix, “Feels Like This” showcases Aberdreamin’s ability to reinterpret and elevate existing material, creating a track that stands on its own while paying homage to its origins. The result is a compelling piece of electronic music that feels equally at home in a packed club or through headphones on a solitary night walk through city streets.