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!

Meredith Gleason – “Thursday”

Meredith Gleason’s “Thursday” is a thoughtful dream pop ballad that explores the aftermath of a relationship’s end with haunting clarity. The track’s ethereal production creates a sonic landscape that mirrors the hazy, disorienting period following a breakup. Gleason’s vocals, at once delicate and resolute, navigate the emotional terrain with a vulnerability that invites listeners into her world of heartache and healing.

Lyrically, “Thursday” is a masterclass in conveying complex emotions through seemingly simple phrases. The opening lines, “Last week was the last week we ever spoke / Thursday was the first day you never said hello,” immediately establish the song’s temporal and emotional setting. The repeated chorus of “Have I told you I’m alright now / Have I told you I’m ok” serves as both a mantra and a question, highlighting the internal struggle between projected strength and genuine pain. Gleason’s exploration of the power of words (“Words don’t hurt / They just break”) and the passage of time adds depth to the narrative, creating a song that resonates with anyone who’s ever grappled with the complexities of moving on. “Thursday” not only showcases Gleason’s songwriting prowess but also positions her as a formidable voice in the dream pop genre, crafting music that’s as emotionally resonant as it is sonically captivating.

Meimuna – “fureurs secrètes”

Meimuna’s “fureurs secrètes” is a haunting exploration of inner turmoil and self-discovery, wrapped in a delicate acoustic folk arrangement that bridges the gap between French poetry and Anglo-Saxon folk traditions. Cyrielle Formaz’s ethereal vocals float atop a sparse instrumental backdrop, creating an intimate atmosphere that draws listeners into her introspective world. The song’s structure, with its gentle build and subtle dynamic shifts, mirrors the ebb and flow of the emotions described in the lyrics.

The lyrics of “fureurs secrètes” delve deep into themes of identity, belonging, and the power of unspoken words. Lines like “Je voulais faire des vagues, pour ça j’étais prête / À vivre dans des mondes qui ne m’appartenaient pas” (I wanted to make waves, for that I was ready / To live in worlds that didn’t belong to me) capture the struggle of seeking authenticity in unfamiliar territories. Formaz’s evocative imagery, particularly the juxtaposition of beaches and mountain slopes, underscores the tension between where one comes from and where one aspires to be. The recurring question “Toi t’as jamais eu peur / De pas savoir / Libérer ton cœur / De ce qui fait mal?” (Have you never been afraid / Of not knowing / How to free your heart / From what hurts?) serves as both a personal inquiry and a universal challenge, inviting listeners to confront their own hidden fears and unspoken truths. With “fureurs secrètes,” Meimuna solidifies her position as a formidable voice in the French dream pop scene, crafting songs that resonate on both emotional and intellectual levels.

Proper Youth – “Rusty Grand Am”

Proper Youth’s “Rusty Grand Am” is a nostalgic journey through the rearview mirror of youth, blending indie rock sensibilities with new wave influences. The track’s dreamy production creates a sonic landscape that’s both wistful and energetic, with shimmering guitars and soaring saxophones evoking the spirit of 80s arena rock. Adam Barito and Amy Nesky’s intertwining vocals capture the bittersweet essence of chasing after bygone thrills, their harmonies floating atop the lush instrumentation crafted by producer/drummer Bobb Barito.

Lyrically, “Rusty Grand Am” is a masterful exploration of the futility and allure of nostalgia. Lines like “Yeah there’s a young boy fading away / Who’s stayin up late for old time’s sake” encapsulate the tension between growing older and clinging to youthful escapades. The recurring refrain of “We’re runnin outta gas but I guess it’s alright / And tomorrow we’ll meet at the same damn time” serves as both a resignation to the passage of time and a defiant promise to keep chasing the high of youth. By structuring the song cyclically, Proper Youth creates a musical equivalent of the endless loop of nostalgia, inviting listeners to join them on this thrilling, if ultimately impossible, journey back in time. “Rusty Grand Am” not only showcases the band’s growth since their debut but also positions them as adept chroniclers of the human desire to relive the past, crafting music that resonates with anyone who’s ever longed for one more ride in their own metaphorical rusty Grand Am.

Cardboard Sessions: Pete Yorn – “Real Good Love”

Pete Yorn’s “Real Good Love” on Cardboard Sessions is a delightful exploration of lo-fi folk rock, showcasing the artist’s ability to create compelling music with unconventional instruments. The use of cardboard instruments adds a unique texture to the track, giving it a raw, organic quality that perfectly complements Yorn’s introspective lyrics. Despite the impromptu nature of the session, Yorn’s seasoned musicianship shines through, demonstrating his ability to craft engaging melodies even in the most stripped-down settings.

Lyrically, “Real Good Love” is a reflection on the ups and downs of relationships and the elusive nature of genuine connection. Lines like “Sometimes we get high / Sometimes we get low / Movin’ so fast but nowhere to go” capture the rollercoaster of emotions that often accompany love. The repeated refrain “You know well as good as I / That real good lovin’ is so hard to find” serves as both a lament and a celebration of the rarity of true connection. Yorn’s delivery, likely imbued with his characteristic raspy warmth, adds depth to these simple yet profound observations. This Cardboard Sessions rendition of “Real Good Love” not only highlights Yorn’s versatility as an artist but also offers listeners a fresh, intimate take on his songwriting, stripping away studio polish to reveal the heart of the composition.

NEØV – “Friedrichshain”

NEØV’s “Friedrichshain” is a captivating blend of indie rock and pop that showcases the Finnish duo’s ability to create expansive soundscapes within tightly crafted songs. The track’s production, likely benefiting from the legendary Clouds Hill recording facilities in Hamburg, creates a sonic landscape that’s both intimate and grandiose. NEØV’s instrumentation builds layers of texture, with shimmering guitars and pulsing rhythms evoking the bustling energy of the Berlin neighborhood for which the song is named.

As the focus track of NEØV’s new album “Soft Atlas,” “Friedrichshain” sets a compelling tone for the collection. While specific lyrical content isn’t provided, the song’s structure and mood likely reflect themes of urban exploration and personal discovery, mirroring the band’s own journey from Finland to the heart of Europe’s indie music scene. This track not only demonstrates NEØV’s growth since their critically acclaimed “Picture of a Good Life” but also positions them as a formidable voice in the international indie rock landscape. “Friedrichshain” bridges the gap between the dreamy atmospherics of Sigur Rós and the driving energy of The War On Drugs, creating a sound that’s both familiar and refreshingly unique.

ICHIWAWA – “Slow Down, My Guy”

ICHIWAWA’s “Slow Down, My Guy” is a turbulent shoegaze anthem that showcases the bedroom producer’s ability to create expansive soundscapes within intimate confines. The track’s production likely layers fuzzy guitars and driving rhythms to create a sonic landscape that’s both energetic and moody. The song’s structure, with its repetitive phrases like “you lose” and “slow down my guy,” builds tension and urgency, mirroring the internal conflict expressed in the lyrics.

Lyrically, “Slow Down, My Guy” paints a vivid picture of characters at crossroads, with lines like “she’s got a baby on the way and wants to be gone” and “he’s got a million things to say and he’s gonna be wrong” capturing moments of life-altering decisions. The recurring imagery of “hands in pockets with a death stare on” evokes a sense of contained frustration and impending change. The song’s latter half takes a surreal turn with references to actors, banquets, and captains, suggesting a meta-commentary on perception and reality. The final repetition of “it’s safe to laugh inside” adds a layer of irony to the plea to “slow down,” highlighting the tension between external pressures and internal desires. ICHIWAWA’s “Slow Down, My Guy” demonstrates a keen eye for detail and a talent for weaving complex narratives into shoegaze textures, marking them as a promising voice in the alternative rock scene.

First Day of Spring – “On Monday”

First Day of Spring’s “On Monday” is a haunting exploration of creative disillusionment, wrapped in a mesmerizing blend of slacker rock and shoegaze aesthetics. Samuel Jones and his five-piece outfit craft a sonic landscape that’s both expansive and intimate, with layers of shimmering guitars and ethereal vocals evoking the dreamy textures of Slowdive while maintaining the raw, unpolished edge of Pavement. The track’s structure, with its repetitive phrases and gradual build, creates a hypnotic effect that mirrors the cyclical nature of creative self-doubt.

Lyrically, “On Monday” delves deep into the existential quandaries faced by artists in the modern world. Lines like “No light / No sound / No speech / On Monday” paint a stark picture of creative paralysis, while “I kill myself / To get where you are” captures the self-destructive drive for success and recognition. The image of a knight without a shield serves as a poignant metaphor for the vulnerability of the creative process. The repeated refrain of “I play the guitar / All day / All day / On Monday” encapsulates both the dedication and the potential futility of artistic pursuits. Through this track, First Day of Spring not only showcases their musical prowess but also positions themselves as astute commentators on the challenges faced by contemporary artists, crafting a song that resonates with anyone who’s ever questioned the value of their creative endeavors.