B-Side Guys

Welcome to bsideguys.com’s Rad New Releases: Early August 2024 edition! As the dog days of summer roll on, the music world shows no signs of slowing down, delivering a sizzling array of fresh tracks to soundtrack your sun-soaked adventures and late-night musings alike.

This week, we’re diving into a diverse pool of sonic offerings that span genres and moods, from indie rock anthems that’ll have you air-guitaring in your living room to dreamy pop gems perfect for those lazy afternoon daydreams. We’ve got emerging artists making bold statements with their debuts, established acts pushing their creative boundaries, and everything in between.

Our team of music enthusiasts has been working overtime, sifting through the noise to bring you the cream of the crop. Whether you’re looking to discover your next favorite band, stay on top of the latest trends, or simply find the perfect track to add to your summer playlist, we’ve got you covered. So grab your headphones, crank up the volume, and join us as we explore the most exciting new music hitting the airwaves in early August 2024. Let’s dive in and see what sonic treasures await us!

j.paul – “Clementines”

j.paul’s “Clementines” is a sun-drenched slice of lo-fi surf rock that perfectly captures the fleeting magic of a summer romance. The track’s jangly guitars and laid-back rhythms create a sonic landscape that’s equal parts nostalgic and refreshingly current, evoking comparisons to Dayglow’s breezy melodies and The Strokes’ garage rock sensibilities. Justin Genzo’s vocals, slightly hazy and effortlessly cool, float atop the instrumentation like a warm breeze, inviting listeners into the intimate moment he’s describing.

Lyrically, “Clementines” paints a vivid picture of a chance encounter in a crowded bar, with lines like “I saw you in a crowded room / Honey I can tell you feel it too” capturing the electric anticipation of new attraction. The repeated refrain of “Sweet like clementines / Something feels so damn right” serves as both a clever simile and a catchy hook, encapsulating the song’s overall mood of carefree optimism. As the lead single from j.paul’s upcoming EP, “Clementines” sets a promising tone, suggesting a collection of tracks that will blend lo-fi aesthetics with pop sensibilities to create the perfect soundtrack for lazy park hangs and impromptu summer adventures.

Psych-O-Positive – “Lipstick”

Psych-O-Positive’s “Lipstick” is a delightfully off-kilter indie rock gem that channels the spirit of The Velvet Underground’s more whimsical moments. The track’s meandering melody lines and “broken music box vibes” create a sonic landscape that’s both nostalgic and slightly disorienting, perfectly mirroring the song’s themes of forgetfulness and unintended consequences. The balmy harmonies add a layer of warmth to the proceedings, softening the edges of the narrator’s litany of minor disasters.

Lyrically, “Lipstick” is a masterclass in finding poetry in the mundane. The repeated lines about lipstick in the dryer and burned pans serve as metaphors for the slow erosion of memory and the accumulation of life’s small mishaps. The refrain “Oh, my memory is going and I don’t know when my memory’s going to end” strikes a poignant note amidst the seemingly trivial incidents, hinting at deeper anxieties about aging and loss of self. By blending humor with heartache, Psych-O-Positive crafts a song that resonates on multiple levels, inviting listeners to find comfort in shared human experiences of forgetfulness and nostalgia. “Lipstick” showcases the band’s ability to create music that’s simultaneously introspective and universally relatable, positioning them as worthy heirs to the psychedelic pop tradition.

Sarah Morgan – “Red Seated Porsche”

Sarah Morgan’s “Red Seated Porsche” is a high-octane indie rock anthem that captures the frenetic energy of a summer joyride. The track’s pulsating rhythms and crunchy guitar riffs evoke the spirit of The Strokes’ early work, while Morgan’s vocals, alternating between sardonic detachment and raw emotion, bring to mind the playful irreverence of Wet Leg. This sonic cocktail creates a sound that’s both nostalgic and refreshingly current, perfect for blasting with the windows down on a sweltering city night.

Lyrically, “Red Seated Porsche” paints a vivid picture of desire and disillusionment, with the titular vehicle serving as a potent symbol of grown-up aspirations and unfulfilled promises. Lines like “Red is the color of my eyes when you drive away” and “Always the bride, never the bridesmaid” hint at deeper themes of abandonment and self-image, adding layers of complexity to what initially seems like a straightforward party track. Morgan’s clever use of the color red as a recurring motif ties the narrative together, creating a cohesive exploration of passion, pain, and the bittersweet nature of growing up. With this track, Sarah Morgan establishes herself as a formidable voice in the indie rock scene, crafting songs that are as intellectually engaging as they are danceable.

Retrograded – “Rhode (I Don’t Bite)”

Retrograded’s “Rhode (I Don’t Bite)” is an exuberant indie pop romp that captures the electric thrill of an unexpected encounter. Jackson Klarsfeld’s production skills shine through in the track’s layered arrangement, blending jangly guitars with pulsing synths to create a sound that’s both nostalgic and contemporary. The song’s structure, evolving from a voice note to a full-band jam session, lends it an organic energy that’s palpable in every beat.

Lyrically, “Rhode (I Don’t Bite)” paints a vivid picture of flirtatious tension, with lines like “She caught me pickin’ my nose / It was nice to know ya” adding a touch of self-deprecating humor to the proceedings. The repeated refrain of “You don’t know me but I don’t bite” serves as both an invitation and a playful warning, encapsulating the thrill and uncertainty of new connections. Klarsfeld’s vocals, alternating between casual nonchalance and barely contained excitement, perfectly capture the rollercoaster of emotions that accompany such encounters. As a standout track from an album exploring the challenges of living in the present, “Rhode (I Don’t Bite)” succeeds in creating a moment so engaging that listeners can’t help but be fully immersed in its ebullient atmosphere.

LIL DUSTY G – “GODSAW”

LIL DUSTY G’s “GODSAW” is a raw exploration of spiritual conflict, wrapped in a moody indie rock package. The track’s soft rock undertones create a somber backdrop for the artist’s introspective lyrics, with gentle guitar strums and subdued percussion mirroring the internal struggle being described. LIL DUSTY G’s vocals, alternating between whispered confessions and impassioned pleas, convey a palpable sense of emotional turmoil.

Lyrically, “GODSAW” grapples with themes of betrayal, doubt, and the search for meaning in the face of perceived divine indifference. Lines like “Paradise cannot be given / So build it right here where you’re living” speak to a rejection of traditional religious narratives in favor of self-reliance. The repeated refrain of “God saw, everything / Right wrong I’m wrong / Still I got my cross on” encapsulates the complex relationship between faith and doubt, suggesting a reluctance to fully abandon belief despite deep-seated skepticism. Through this track, LIL DUSTY G offers a nuanced perspective on the struggle to reconcile personal experiences with religious teachings, creating a song that resonates with anyone who’s ever questioned their faith while still yearning for spiritual connection.

Prismala – “Stella”

Prismala’s “Stella” is a vibrant fusion of neo-soul and indie rock that explores the cosmic dimensions of infatuation. The track’s bouncy rhythm and funky guitar licks create a groove that’s impossible to resist, evoking the carefree spirit of Ocean Alley while maintaining the soulful depth of Leon Bridges. Prismala’s vocals, smooth and playful, dance atop the instrumentation with an effortless charm, inviting listeners to join in on this interstellar journey of attraction.

Lyrically, “Stella” cleverly uses extraterrestrial imagery to describe the otherworldly allure of its subject. Lines like “Like the sun before the morning you’re hard to be observed” and “Can’t tell if it’s a bird or a plane or the birds and the bees” paint a picture of someone so captivating they seem almost inhuman. The playful reference to NASA and the offer of a free phone to “phone home” add a touch of humor to the cosmic love story. By framing attraction in such grandiose, intergalactic terms, Prismala captures the dizzy heights of infatuation while acknowledging its potentially fleeting nature. “Stella” stands as a testament to Prismala’s ability to craft songs that are both intellectually engaging and irresistibly danceable, marking them as a rising star in the neo-soul galaxy.

Native Harrow – “I Wanna Thank You”

Native Harrow’s “I Wanna Thank You” is a tender exploration of gratitude and intimacy, wrapped in a warm blanket of folk and Americana. The Philadelphia-based duo, Devin Tuel and Stephen Harms, craft a sonic landscape that’s as inviting as a sun-drenched living room, with Tuel’s liquid drawl floating effortlessly over Harms’ understated guitar work. The decision to build the track around vocals and bass creates a sense of immediacy that draws listeners into the heart of the song’s emotional core.

Lyrically, “I Wanna Thank You” is a love letter to unwavering support, with lines like “I owe you for showing me the light” challenging notions of rigid independence in favor of acknowledging the transformative power of love and care. The song’s structure, with its moment of timelessness after the first chorus where “the guitar snakes off into infinity,” mirrors the way profound gratitude can seem to suspend reality. As the final single before their album “Divided Kind,” “I Wanna Thank You” showcases Native Harrow’s ability to distill complex emotions into accessible, soul-stirring folk music. This track not only cements their place in the contemporary Americana landscape but also serves as a poignant reminder of the beauty in vulnerability and appreciation.