B-Side Guys

Welcome to bsideguys.com’s Fresh Finds, your mid-August 2024 roundup of the most exciting new releases hitting the airwaves and streaming platforms. As summer reaches its peak, the music world is turning up the heat with a diverse array of tracks that promise to soundtrack your final weeks of sun-soaked adventures and late-night revelations.

This edition brings you a smorgasbord of sonic delights, from indie rock anthems that’ll have you air-drumming at stoplights to ethereal electronica perfect for stargazing sessions. We’ve got emerging artists making bold statements with their debuts, established acts pushing the boundaries of their sound, and everything in between.

Our team of music enthusiasts has been working overtime, sifting through countless releases to bring you the cream of the crop. Whether you’re looking to discover your next favorite artist, stay ahead of the musical curve, or simply find the perfect track to capture the essence of these fleeting summer days, we’ve got you covered. So grab your headphones, crank up the volume, and join us as we explore the freshest sounds of mid-August 2024. Let’s dive in and see what auditory treasures await us!

First Day of Spring – “Old World”

First Day of Spring’s “Old World” is a shimmering slice of shoegaze that captures the bittersweet nostalgia of post-pandemic life. The track’s buoyant instrumentation, with its jangly guitars and propulsive rhythm, creates a sonic landscape that’s both dreamy and energetic, evoking comparisons to DIIV’s sun-drenched melodies and The Cure’s more optimistic moments. Samuel Jones’ vocals float atop this musical backdrop, conveying a sense of wistful hopefulness that perfectly matches the song’s thematic content.

Lyrically, “Old World” grapples with the complex emotions of returning to normalcy after a period of upheaval. Lines like “Do you think to smile / When you saw the crowstone” reference specific local landmarks, grounding the song’s universal themes in a deeply personal context. The repeated refrain of “Do you feel it now / Do you feel that old world” serves as both a question and an affirmation, inviting listeners to reconnect with the simple joys of pre-pandemic life. As the closing track of their EP, “Old World” not only encapsulates First Day of Spring’s ability to blend introspective lyrics with euphoric soundscapes but also offers a poignant reminder of the resilience of the human spirit in the face of global challenges.

Phantogram – “Happy Again”

Phantogram’s “Happy Again” marks a triumphant continuation of the duo’s recent resurgence, blending their signature shoegaze-infused alt-pop with a newfound sense of introspection. Sarah Barthel and Josh Carter’s sonic palette draws comparisons to the moody intensity of Nine Inch Nails and the arena-ready anthems of The Killers, while maintaining a distinctly Phantogram flavor. The track’s production likely showcases their knack for weaving together hypnotic synths, crushing drum machines, and ethereal vocals into a psychedelic tapestry of sound.

Thematically, “Happy Again” explores the complex journey through darkness towards hope. As the band explains, it’s “a song about feeling lost” that acknowledges the cyclical nature of emotions, where “dark is a season that can feel never-ending.” This nuanced approach to discussing mental health and resilience aligns with Phantogram’s history of crafting music that’s both emotionally resonant and sonically adventurous. As they embark on their tour with Kings of Leon and launch their partnership with Neon Gold Records, “Happy Again” positions Phantogram as a band continuing to push the boundaries of alternative pop while staying true to their experimental roots.

Japandroids – “D&T”

Japandroids’ “D&T” is a raucous, heart-on-sleeve anthem that perfectly encapsulates the band’s signature blend of emo intensity and punk rock energy. The track’s origins, born from a booze-soaked Philadelphia sojourn, infuse every note with a raw, lived-in authenticity. Brian King and David Prowse’s dual vocals, ragged and impassioned, tear through the song’s narrative of alcohol-fueled nostalgia and romantic regret, their delivery as urgent and unpolished as a late-night confessional.

Musically, “D&T” is a relentless assault of distorted guitars and thunderous drums, with a chorus that begs to be shouted along to in sweaty, overcrowded venues. Lines like “Now I’m drinking, and I’m thinking, about you” and “Take this fucking phone from my hand / Before I break down, call medicine man” capture the universal struggle against drunk-dialing an ex with unflinching honesty. As a preview of their final album “Fate & Alcohol,” “D&T” suggests that Japandroids are bowing out at the peak of their powers, crafting songs that are as emotionally resonant as they are sonically explosive. This track not only serves as a fitting capstone to their career but also reaffirms their status as masters of cathartic, no-holds-barred rock ‘n’ roll.

Juju – “Swings and Roundabouts”

Juju’s “Swings and Roundabouts” is a turbulent indie rock anthem that captures the chaotic ebb and flow of life’s challenges. The London-based artist crafts a sonic landscape that’s as dynamic as it is emotive, blending gritty alt-rock instrumentation with dark pop sensibilities. Juju’s vocals, reminiscent of PJ Harvey’s raw power and Kate Bush’s ethereal charm, soar above the track’s electric guitar lines, conveying a sense of urgency and resilience in the face of personal turmoil.

Lyrically, “Swings and Roundabouts” delves into the struggle of maintaining routine amidst mental distress, with Juju’s confrontational guitar work mirroring the internal chaos described in the verses. The titular phrase serves as both a sardonic acknowledgment of life’s unpredictability and a reminder that difficult times are temporary. By crafting a song that’s simultaneously introspective and sonically expansive, Juju positions herself as a formidable voice in the alt-rock scene, capable of translating complex emotions into powerfully cathartic music. As a follow-up to her debut EP, “Swings and Roundabouts” suggests an artist unafraid to explore the darker corners of the human experience while maintaining a sense of hope and humor.

Ryan Wayne – “Grand Illusions”

Ryan Wayne’s “Grand Illusions” is a mesmerizing blend of shoegaze and dream pop that draws inspiration from an unexpected source: a 1950s typewritten letter found in a collection of Rilke poems. The track’s lush instrumentation, featuring Grammy Winner Malcolm Burn on keys and synths, creates a sonic landscape that’s both nostalgic and ethereal. Wayne’s vocals, complemented by Felicity Williams’ haunting harmonies and Tim Vesely’s background contributions, float atop the dreamy arrangement, evoking comparisons to Pink Floyd’s more introspective moments and The Flaming Lips’ cosmic wanderings.

Lyrically, “Grand Illusions” weaves a narrative of separation and ideological divide, with lines like “You left about a month back now / A red moon overhead, to save the world again” capturing the tension between personal relationships and broader social movements. The recurring plea of “Come back now, will you come back” serves as both a personal entreaty and a metaphor for the desire to bridge ideological gaps. By transforming a decades-old letter into a contemporary meditation on connection and disillusionment, Wayne demonstrates his ability to craft songs that are both deeply personal and universally resonant. “Grand Illusions” not only showcases Wayne’s songwriting prowess but also positions him as an artist capable of bridging the gap between classic rock storytelling and modern indie sensibilities.

Isabella&Sebastian – “Lavender”

Isabella&Sebastian’s “Lavender” is a deceptively sweet indie pop confection that masks a darker, more complex core. The Memphis-based duo crafts a dreamy sonic landscape, with Isabella DeFir’s serene vocals floating effortlessly above Sebastian Stephens’ skillful instrumentation. The track’s production, balancing lo-fi bedroom pop intimacy with polished indie pop hooks, creates a nostalgic yet contemporary soundscape that perfectly mirrors the song’s exploration of youthful infatuation and its hidden dangers.

Lyrically, “Lavender” paints a vivid portrait of a captivating but unstable young woman, with lines like “Specks of dust / On your false eyelashes / Body’s rust / Failing all your classes” hinting at the cracks in her carefully constructed facade. The chorus’s imagery of “lavender and carcinogens” and “bloody paper cuts from touching your skin” beautifully encapsulates the allure and danger of toxic relationships. As the song progresses, the narrator’s growing awareness of the situation (“I think this time I’ll let you win”) adds a layer of poignancy to the seemingly upbeat melody. With “Lavender,” Isabella&Sebastian demonstrate their ability to craft pop songs that are as intellectually engaging as they are catchy, positioning them as a promising new voice in the indie pop scene.

Make Friends – “I Lose, You Lose”

Make Friends’ “I Lose, You Lose” is a vibrant indie rock anthem that showcases the Bristol-based quartet’s evolution and growing maturity as songwriters. Produced by Bombay Bicycle Club’s Ed Nash, the track blends the band’s signature indie-pop sensibilities with hints of math rock complexity, creating a sound that’s both accessible and intellectually engaging. The song’s pulsating opening mirrors the emotional turbulence of a relationship’s end, while its gradual mellowing reflects the bittersweet acceptance that follows.

Lyrically, “I Lose, You Lose” delves into the shared melancholy of a mutual breakup, with the band noting that it’s about “losing control over your thoughts, running through every situation that may have led you to this breakup conclusion.” The juxtaposition of the song’s upbeat instrumentation with its more somber subject matter creates a compelling tension, echoing the conflicting emotions often present in such situations. As the closing track of their ‘Loaded Fun’ EP, “I Lose, You Lose” not only demonstrates Make Friends’ musical growth but also positions them as a band capable of tackling complex emotional themes while maintaining their infectiously energetic sound. With this release, Make Friends solidify their place in the UK’s thriving indie scene, drawing comparisons to established acts like Everything Everything while carving out their own unique sonic identity.

Luke De-Sciscio – “Spinning”

Luke De-Sciscio’s “Spinning” is a raw, emotionally charged folk-emo hybrid that showcases the singer-songwriter’s unflinching commitment to authenticity. Recorded in the intimate setting of a shared bedroom studio, mere weeks after the birth of his daughter Theodora, the track pulses with the overwhelming emotions of new fatherhood. De-Sciscio’s distinctive vocal style, somewhere between a whisper and a plea, perfectly captures the vulnerability and introspection at the heart of the song.

Lyrically, “Spinning” is a kaleidoscopic journey through memory and identity, with vivid imagery like “In a public bathroom / Somewhere in a mall in Manchester” grounding the song’s more abstract reflections. The recurring motif of spinning serves as a powerful metaphor for the disorientation of profound life changes and self-realization. Lines like “You were who I was / When my reflection broke down in the mirror” blur the boundaries between past and present selves, creating a narrative that’s as much about personal growth as it is about newfound parental responsibility. As part of the album “Theo,” “Spinning” not only marks a new chapter in De-Sciscio’s musical journey but also stands as a testament to his ability to transmute life’s most intense experiences into deeply affecting folk music.

Kimberly Morgan York – “FUN”

Kimberly Morgan York’s “FUN” is a raucous, tongue-in-cheek anthem that showcases her self-proclaimed title as the “queen of campy country.” The track’s rollicking instrumentation, complete with twangy guitars and boot-stomping rhythms, provides the perfect backdrop for York’s irreverent lyrics and bold vocal delivery. Her performance channels the outlaw spirit of Margo Price while infusing it with a healthy dose of theatrical flair reminiscent of Amanda Shires’ more playful moments.

Lyrically, “FUN” is a gleeful celebration of living life on the edge, with York’s protagonist reveling in her wild side. Lines like “I wanna crawl from the wreckage / Sayin’, ‘Now we’ve done it!’” capture the thrill-seeking nature of the song’s subject, while the repeated refrain of “You coulda had fun with me / But you had to run” serves as both an invitation and a taunt to those too timid to join in the revelry. York’s clever wordplay and unapologetic embrace of her “crazy” persona create a narrative that’s as empowering as it is entertaining. As the lead single from her upcoming album, “FUN” sets a tone of unbridled joy and self-acceptance, promising a collection of songs that will have listeners line-dancing with abandon while embracing their own wild sides.

We Demand Parachutes – “Caramel Macchiato (Chuggy)”

We Demand Parachutes’ “Caramel Macchiato (Chuggy)” is a high-octane blend of emo introspection and pop-punk energy that tackles the uncomfortable truth of recognizing one’s own failures. The Boston and Brooklyn-based trio, working with producer Alan Day of Four Year Strong, crafts a sound that’s both nostalgic and fresh, channeling the raw emotion of early 2000s emo while infusing it with modern alt-rock sensibilities. The track’s driving rhythm and crunchy guitar riffs create a sonic backdrop that’s as turbulent as the lyrics’ emotional landscape.

Lyrically, “Caramel Macchiato (Chuggy)” paints a vivid picture of a relationship in freefall, with lines like “Missed my flight again, and the coffee sucks in the Delta Lounge” grounding the song’s broader themes in relatable, everyday details. The repeated refrain of “I pulled away, I pulled away, it’s my fault like always” serves as a brutal self-indictment, capturing the moment of clarity when one realizes their own role in a relationship’s demise. By balancing vulnerability with high-energy instrumentation, We Demand Parachutes creates a cathartic experience that invites listeners to confront their own shortcomings while moshing out their frustrations. As a single from their debut record “Outside The Null Field,” “Caramel Macchiato (Chuggy)” positions We Demand Parachutes as a promising new voice in the alt-rock and pop-punk scenes, one that’s not afraid to dive deep into emotional complexity while keeping the energy levels cranked to eleven.