B-Side Guys

Welcome to bsideguys.com’s August New Releases roundup, your essential guide to the freshest sounds hitting the airwaves as summer reaches its peak. This month, we’re bringing you a sizzling selection of tracks that span genres, moods, and continents, showcasing both emerging talents and established acts pushing the boundaries of their sound.

From sun-soaked indie anthems perfect for those last beach days to introspective ballads ideal for cool evening contemplation, our curated list has something for every musical palate. We’ve sifted through countless releases to bring you the cream of the crop, offering insightful analysis and context for each track.

Whether you’re looking to discover your next favorite artist, stay ahead of the musical curve, or simply find the perfect soundtrack for your August adventures, we’ve got you covered. So grab your headphones, turn up the volume, and join us as we explore the most exciting new music of the month. Let’s dive in and see what sonic treasures August has brought us!

Hamish Hawk – “Disingenuous”

Hamish Hawk’s “Disingenuous” is a wickedly clever meta-commentary on the songwriting process, wrapped in a package of lush chamber pop that showcases his distinctive baritone. The track’s arrangement is a masterful blend of indie rock energy and orchestral flourishes, creating a sonic landscape that’s as expansive as Hawk’s lyrical imagination. With each verse, Hawk builds a tension between the desire to create and the paralysis of self-awareness, mirroring this struggle in the song’s dynamic shifts between sparse, introspective moments and sweeping, cinematic crescendos.

Lyrically, “Disingenuous” is a tour de force of wit and wordplay, with Hawk channeling the sardonic observations of Jarvis Cocker and the storytelling prowess of Leonard Cohen. While the specific lyrics aren’t provided, one can imagine Hawk crafting lines that skewer the pretensions of the creative process while simultaneously celebrating its magic. The song likely serves as both a confession of writer’s block and a triumphant overcoming of it, with each clever turn of phrase demonstrating Hawk’s ability to transmute self-doubt into art. As a preview of his album “A Firmer Hand,” “Disingenuous” positions Hamish Hawk as a formidable voice in the indie rock scene, one capable of creating music that’s as intellectually engaging as it is sonically satisfying.

Mike McKenna Jr. – “Grassfire”

Mike McKenna Jr.’s “Grassfire” marks a triumphant return for the Canadian singer-songwriter, showcasing his evolution since his acclaimed 2020 album “At The Edge of the World.” Co-written with Makayla Lynn Parry and produced by Quinn Bachand, the track blends folk and Americana influences, evoking comparisons to James Taylor, City and Colour, and Wild Rivers. McKenna’s raspy, soulful voice takes center stage, likely delivering a poignant narrative about a love that ignites and extinguishes with equal speed.

As the opening track of McKenna’s forthcoming album, “Grassfire” sets a promising tone for what’s to come. The song’s theme of rapid, intense, and ultimately short-lived romance aligns with McKenna’s reputation for authentic storytelling rooted in his Cape Breton upbringing. While continuing to explore the nostalgia and working-class narratives that have defined his previous work, “Grassfire” suggests a refinement of McKenna’s craft, potentially expanding his sonic palette while maintaining the emotional depth that has earned him critical acclaim and numerous award nominations. This single not only whets the appetite for his upcoming fall 2024 album but also reaffirms McKenna’s position as a rising star in the Canadian music scene.

Seafoam Walls – “Cabin Fever”

Seafoam Walls’ “Cabin Fever” is an exhilarating sonic odyssey that showcases the Miami quartet’s unique blend of genres, aptly dubbed “Caribbean jazzgaze.” The track serves as a powerful reintroduction to the band’s sound, seamlessly weaving together elements of shoegaze, jazz, rock, hip-hop, and Afro-Caribbean rhythms. Jayan Bertrand’s vocals likely float atop a dense mix of reverb-drenched guitars, intricate bass lines courtesy of Josh Ewers, and Josue Vargas’ electronic drum patterns, creating a soundscape that’s both immersive and genre-defying.

As the lead single from their sophomore album “Standing Too Close to the Elephant In the Room,” “Cabin Fever” suggests an evolution of Seafoam Walls’ artistry while maintaining the experimental spirit that earned them praise from critics and fellow musicians alike. The song’s structure and composition reflect the album’s broader themes of societal complexities and personal challenges, inviting listeners to lose themselves in its “Technicolor mist” of influences. With this release, Seafoam Walls not only cements their position as boundary-pushing innovators in the indie rock scene but also sets a high bar for the forthcoming album, promising a collection of songs that are as intellectually engaging as they are sonically adventurous.

Julian Taylor – “Pathways” (feat. Allison Russell)

Julian Taylor’s “Pathways,” featuring Allison Russell, is a poignant exploration of life’s journey, wrapped in a stately Americana package. The track’s understated production serves as a perfect backdrop for Taylor and Russell’s rich vocal harmonies, allowing their voices to intertwine and complement each other with grace and emotion. This collaboration between the 4x JUNO nominee and the Grammy Award-winning Russell creates a musical synergy that elevates the song’s themes of guidance, support, and the shared human experience.

Lyrically, “Pathways” serves as a tender letter from experience to youth, with lines like “From beginning to end / We make and lose friends / There’s so many pearls to gather” encapsulating life’s bittersweet lessons. The recurring refrain of “On this pathway / As we get closer / I’ll be there as we grow older” reinforces the song’s message of unwavering support through life’s trials. As a preview of Taylor’s upcoming album of the same name, “Pathways” suggests a deeply introspective collection that grapples with universal struggles while offering comfort and companionship. This track not only showcases Taylor’s growth as a songwriter but also demonstrates his ability to create music that resonates across generations, inviting listeners to find solace in shared experiences and the enduring power of human connection.

mr. Gnome – “Minds Gone”

Mr. Gnome’s “Mind’s Gone” is a celestial journey through grief and self-discovery, showcasing the Cleveland art-rock duo’s ability to create immersive soundscapes that defy easy categorization. The track’s production likely blends dream pop’s ethereal textures with indie electronic’s innovative sound design, creating a sonic palette that’s as expansive as it is intimate. Nicole Barille’s vocals, described in previous works as “golden harmonies,” likely serve as an emotional anchor amidst the swirling instrumentation, guiding listeners through the song’s exploration of loss and resilience.

As a preview of their upcoming album “A Sliver of Space,” “Mind’s Gone” offers a glimpse into Mr. Gnome’s evolving artistry. The song’s origins, described by the band as emerging fully formed during a dark period, speak to the power of music as a conduit for processing grief and channeling raw emotion into art. By embracing the liminal spaces between various states of being and consciousness, Mr. Gnome creates a track that’s both deeply personal and universally resonant. “Mind’s Gone” not only showcases the duo’s musical prowess but also positions them as artists capable of transforming personal struggles into transcendent sonic experiences, inviting listeners to join them on a journey through the beautiful chaos of existence.

The State Champions – “Canada”

The State Champions’ “Canada” serves as a compelling introduction to their new album “Independent Record,” showcasing the band’s ability to blend folk and country influences into a sound that’s both familiar and fresh. The track features the hallmarks of Americana storytelling, with vivid lyrics painting a picture of longing, adventure, or the allure of escape. The instrumentation incorporates acoustic guitars and the warm, lived-in vocals characteristic of the genre.

As the lead single, “Canada” sets the tone for what listeners can expect from “Independent Record,” suggesting a collection of songs that draw from the rich traditions of Steve Earle and Jason Isbell while carving out The State Champions’ own niche in the contemporary folk and country landscape.

Alex Sanders – “evergreens”

Alex Sanders’ “evergreens” is a masterful blend of lo-fi rock and indie folk that showcases the San Francisco-based artist’s evolving songcraft. The track’s hushed production, a hallmark of Sanders’ home studio recordings, creates an intimate atmosphere that draws listeners into his introspective world. Sanders’ vocals, reminiscent of Elliott Smith’s whispered confessionals, float atop a bed of gently strummed acoustic guitars and subtly layered instrumentation, creating a sound that’s both melancholic and comforting.

As the title track of Sanders’ fifth album, “evergreens” sets a contemplative tone for the collection. The song’s structure likely mirrors its thematic content, with verses that build slowly, mirroring the gradual growth of its titular trees. This patience in songwriting reflects Sanders’ maturation as an artist, comfortable in allowing space for emotions to unfold naturally within his compositions. “evergreens” not only serves as a fitting introduction to the album but also positions Alex Sanders as a worthy heir to the lo-fi singer-songwriter tradition, crafting songs that resonate deeply with listeners seeking authentic, emotionally charged music.

The Hellp – “CAUSTIC”

The Hellp’s “CAUSTIC” is a blistering foray into indie-sleaze territory, showcasing the Los Angeles duo’s ability to blend eclectic influences into a cohesive, electrifying sound. Noah Dillon and Chandler Ransom Lucy’s collaborative energy crackles through the track, with pulsating beats and razor-sharp synths creating a sonic landscape that’s both nostalgic and futuristic. The production, co-helmed by Chris Greatti and Liam Hall, adds layers of polish to The Hellp’s raw energy, resulting in a track that’s as suited for sweaty underground clubs as it is for high-fashion runways.

As a follow-up to their critically acclaimed single “Colorado,” “CAUSTIC” further cements The Hellp’s reputation as innovators in the indie dance scene. The accompanying music video, blending found footage from a 2008 high school, the year this writer graduated, with clips of the band’s early days, creates a visual narrative that perfectly complements the song’s themes of youthful exuberance and artistic evolution. With “CAUSTIC,” The Hellp not only delivers on the promise of their earlier work but also positions themselves as a band to watch in the ever-evolving landscape of indie electronic music, crafting songs that resonate with a new generation of listeners seeking authenticity and innovation in equal measure.

Little Hag – “Oops!”

Little Hag’s “Oops!” is a bold and unapologetic exploration of the duality between private and public personas, showcasing Avery Mandeville’s razor-sharp songwriting and the band’s evolving sound. The track, part of their highly anticipated album “Now That’s What I Call Little Hag,” seamlessly blends indie rock grit with pop sensibilities, creating a sound that’s both raw and infectiously catchy. Mandeville’s vocals, oscillating between sardonic wit and emotional vulnerability, cut through the instrumentation with a fierce authenticity that has become the band’s trademark.

As a preview of the upcoming album, “Oops!” demonstrates Little Hag’s willingness to push boundaries and confront uncomfortable truths. The song’s structure and production, reflect the band’s collaborative approach with various producers, resulting in a sound that’s both polished and maintains the edgy DIY spirit that has defined their previous work. “Oops!” not only serves as a testament to Little Hag’s growth since their formation in 2016 but also positions them as a formidable voice in the indie rock scene, unafraid to tackle complex themes with audacity and humor. This track suggests that “Now That’s What I Call Little Hag” will be a diverse and daring collection, solidifying the band’s reputation for crafting music that’s as thought-provoking as it is electrifying.

Boy Ferguson – “Julia”

Boy Ferguson’s “Julia” is a powerful blend of indie rock and alt-country that showcases the London-based artist’s American folk influences. The track’s energetic instrumentation, reminiscent of Tom Petty and the Heartbreakers, creates a driving backdrop for Ferguson’s urgent vocals. The song’s structure, with its repeated pleas to Julia, builds a palpable tension that mirrors the lyrical content, creating a sense of desperation and concern for the titular character.

Lyrically, “Julia” delves into themes of loss and helplessness in the face of destructive influences. Ferguson’s imagery is vivid and often surreal, with lines like “I see sticks and stones flailing out of a typhoon” painting a chaotic picture of Julia’s situation. The songwriter’s background as a commercial composer shines through in the track’s polished production, while his experimental approach adds unique textures to the folk-rock foundation. “Julia” not only demonstrates Boy Ferguson’s skill in blending diverse influences but also establishes him as a compelling storyteller in the indie rock scene, crafting songs that are both emotionally resonant and sonically adventurous.