B-Side Guys

Welcome to bsideguys.com’s September New Releases roundup, your essential guide to the freshest sounds hitting the airwaves as summer fades into fall. This month, we’re bringing you a diverse array of tracks that capture the changing moods of the season, from wistful indie anthems to energetic bangers perfect for those last warm nights.

Our team has sifted through countless releases to bring you the cream of the crop, offering insightful analysis and context for each track. We’ve got emerging artists making bold statements with their debuts, established acts pushing the boundaries of their sound, and everything in between.

Whether you’re looking to discover your next favorite band, stay ahead of the musical curve, or simply find the perfect soundtrack for your September adventures, we’ve got you covered. From dreamy bedroom pop to hard-hitting rock, and soulful R&B to experimental electronica, this month’s selection spans genres and emotions.

So grab your headphones, brew a warm beverage, and join us as we explore the most exciting new music September has to offer. Let’s dive in and see what sonic treasures await us as we transition into autumn!

Blaudzun – “Bonfire”

Blaudzun’s “Bonfire” is a rousing indie rock anthem that showcases Johannes Sigmond’s distinct vocal timbre and knack for crafting melodious, string-laden compositions. The track’s production creates a sonic landscape that’s both expansive and intimate, with layers of instrumentation building to a cathartic chorus. Sigmond’s vocals, reminiscent of Arcade Fire’s Win Butler, convey a sense of urgency and liberation that perfectly matches the song’s thematic content.

Lyrically, “Bonfire” serves as a call to shed past burdens and embrace renewal. Lines like “Forget the Saturdays we met before / The nights we fed the monkey on my kitchen floor” evoke specific memories, while the recurring refrain of “Tonight I’m gonna burn it to the ground” emphasizes the transformative power of letting go. The metaphor of a bonfire as a symbol of rebirth is reinforced throughout, culminating in the hopeful declaration “Our love will be reborn.” This single not only demonstrates Blaudzun’s growth as an artist but also positions him as a compelling voice in the indie rock scene, capable of crafting songs that are both emotionally resonant and sonically adventurous.

Trophy Husband MA – “I HATE SPEED RACER”

Trophy Husband MA’s “I HATE SPEED RACER” is a mind-bending fusion of blues, progressive rock, and math rock that defies easy categorization. The instrumental track’s structure is a rollercoaster of time signatures and genre-bending riffs, showcasing the band’s technical prowess and irreverent approach to composition. The interplay between Donny DeFala and Tyler Cantrell’s guitars creates a dense, intricate soundscape, while Max Kozol’s slap bass solo in the middle section adds a funky twist to the progressive madness.

As a preview of their album “Trophy Husband Hates You,” this track sets a tone of musical adventurousness and surrealist humor. The song’s inspiration – the guitarist’s multiple survival of car accidents – adds a layer of dark comedy to the composition, reflecting the band’s penchant for blending the serious and the absurd. With its massive ending and groovy rhythms courtesy of Ben Heck’s drumming, “I HATE SPEED RACER” positions Trophy Husband MA as a unique voice in the modern progressive rock scene. Their ability to seamlessly blend technical complexity with a sense of fun and irreverence suggests an album that will challenge and entertain in equal measure, appealing to fans of genres ranging from Animals As Leaders’ technical wizardry to Primus’ offbeat sensibilities.

Kylie Spence – “Locker Room Talk”

Kylie Spence’s “Locker Room Talk” is a powerful alt-pop anthem that tackles the pervasive issue of sexual harassment and misogynistic behavior in social settings. The Nashville-based singer-songwriter’s production, which she co-helmed, creates a sonic landscape that’s both intimate and expansive, allowing her vocals to convey the raw emotion behind her lyrics. The track’s structure builds from a quiet, reflective opening to a more forceful chorus, mirroring the journey from vulnerability to empowerment that Spence describes.

As a preview of her forthcoming album “Everything And Nothing,” “Locker Room Talk” showcases Spence’s growth as both a songwriter and a social commentator. The song’s inspiration, drawn from a personal experience at a bar, lends authenticity to its message, while its broader exploration of issues like drink spiking and name-calling gives it universal relevance. Spence’s ability to transform a frustrating and potentially traumatic experience into a song that aims to empower others demonstrates her skill in crafting music that’s both personally cathartic and socially impactful. With “Locker Room Talk,” Kylie Spence positions herself as a voice for her generation, unafraid to address difficult topics through her art and contribute to important conversations through her music.

Lunar Noon – “With and without”

Lunar Noon’s “With and Without” is a mesmerizing blend of indie rock and dream pop that showcases Michelle Zheng’s prowess as both a composer and vocalist. The track’s intricate arrangement weaves together handclaps, subtle electronics, and swelling orchestration, creating a sonic tapestry that’s both intimate and expansive. Zheng’s striking vocals soar above this lush backdrop, evoking comparisons to the ethereal work of Julianna Barwick and the orchestral pop of Sufjan Stevens.

The inclusion of field recordings from a creek in the woods of Zheng’s childhood adds a layer of authenticity and depth to the composition, serving not as a mere nostalgic touchstone but as a thematic anchor for the album’s overarching meditation on circularity and return. This attention to detail in both production and conceptual framework demonstrates Lunar Noon’s commitment to creating music that’s as intellectually engaging as it is sonically captivating. “With and Without” not only sets a high bar for the forthcoming album “A Circle’s Round” but also establishes Lunar Noon as a significant voice in the chamber pop scene, crafting songs that bridge the gap between personal introspection and universal themes.

LIL DUSTY G – “Old Days”

LIL DUSTY G’s “Old Days” is a raw, introspective slice of alternative rock that delves deep into the struggle of self-redefinition. The track’s instrumentation creates a sonic landscape that mirrors the internal turmoil described in the lyrics, with driving guitars and pulsing rhythms reflecting the chaotic journey of personal growth. DUSTY’s vocals, likely delivered with a mixture of vulnerability and defiance, cut through the musical backdrop to convey the emotional weight of confronting one’s past and personal demons.

Lyrically, “Old Days” serves as a powerful exploration of the messiness inherent in personal transformation. The song’s narrative arc, moving from the acknowledgment of past expectations to the embrace of chaos as a means of growth, resonates with anyone who’s ever grappled with the challenge of redefining themselves. By tackling themes of breaking down walls and pushing through personal barriers, LIL DUSTY G crafts a track that’s both deeply personal and universally relatable. “Old Days” not only showcases the artist’s evolving sound but also positions LIL DUSTY G as a voice for those navigating the complex terrain of self-discovery and reinvention in the alternative rock scene.

Soulganic – “Family Ties” feat. Stan Odell Graham

Soulganic’s “Family Ties” is a vibrant fusion of funk, soul, and jazz that showcases the band’s mastery of genre-bending composition. The track’s intricate groove serves as a solid foundation for the playful interplay between Cory McClure’s drums, Ryan McKeithan’s guitars, and Anthony Rodriguez’s bass. Stan Odell Graham’s trumpet work adds a fiery, free jazz element to the mix, elevating the song from mere funk to a complex, multi-layered sonic experience.

The instrumental track’s structure allows each musician to shine while maintaining a cohesive, unquantized feel that speaks to Soulganic’s commitment to organic, tactile instrumentation. The hints of afrobeat woven throughout the composition create a global flavor that expands the song’s sonic palette beyond traditional funk boundaries. “Family Ties” not only serves as a standout track in its own right but also as a compelling introduction to Soulganic’s upcoming album “Phosphene.” By seamlessly blending multiple genres and influences, Soulganic positions themselves as innovators in the contemporary funk scene, crafting music that pays homage to the past while pushing boldly into new territories.

Alexander Mountain – “Why”

Alexander Mountain’s “Why” is a haunting exploration of heartbreak and indecision, showcasing the East Sussex-based singer-songwriter’s ability to craft emotionally resonant acoustic folk. The track’s production, with its agonizing string sections and intricate guitar work, creates a sonic landscape that perfectly mirrors the internal turmoil described in the lyrics. Mountain’s rich timbre and emotive vocals carry the weight of the narrative, evoking comparisons to the raw delivery of Lewis Capaldi and the melodic sensibility of James Bay.

Lyrically, “Why” delves deep into the aftermath of a four-year relationship, with lines like “How can you throw four years away / I’m aware I made mistakes” capturing the self-recrimination and confusion that often accompany a breakup. The repeated refrain of “Why” serves as both a question and a lament, underscoring the song’s central theme of grappling with unresolved emotions. Mountain’s ability to convey complex feelings through vivid imagery, such as “Smothered in dust sheets / Suffocation you’ve born,” demonstrates his growth as a songwriter since his 2019 debut. “Why” not only marks a triumphant return for Alexander Mountain after a two-year hiatus but also positions him as a compelling voice in the acoustic folk scene, capable of transforming personal pain into universally relatable art.

Club Silencio – “Radium Girl”

Club Silencio’s “Radium Girl” is a masterful blend of indie rock, dub, and lo-fi emo that manages to pack a powerful punch in just two and a half minutes. The track’s production, helmed by Dylan Frankland, creates a sonic landscape that’s both haunting and propulsive, with pulsing dub-style bass and motorik drums evoking the mechanical rhythms of factory work. Connor Anderson’s vulnerable vocals float above this industrial backdrop, delivering baroque melodies that contrast sharply with the song’s weighty subject matter.

Lyrically, “Radium Girl” serves as a poignant tribute to the women who unknowingly sacrificed their health in the early 20th century factories. Lines like “She would only do it right / Nobody could change her mind” and “She never makes excuses / She’s got the weight of the world / Resting on her shoulders” paint a picture of dedication in the face of unseen danger. The juxtaposition of the radium’s “after-glow” with the tragic consequences of its use adds a layer of bitter irony to the narrative. As the third single from their upcoming album, “Radium Girl” not only showcases Club Silencio’s evolution as a band but also positions them as skilled storytellers capable of addressing historical injustices through the lens of contemporary indie rock.

Mo Kenney – “From Nowhere”

Mo Kenney’s “From Nowhere” is a haunting exploration of childhood memories and personal growth, set against a backdrop of dreamy folk and lo-fi pop. The track’s production, helmed by Thomas Stajcer at Joel Plaskett’s Fang Studios, creates an ethereal soundscape that perfectly complements Kenney’s introspective lyrics. Siobhan Martin’s eerie organ melody intertwines with Kenney’s gentle vocals, evoking a sense of nostalgia tinged with unease.

As the title track of Kenney’s fifth studio album, “From Nowhere” sets the tone for a collection that defies easy categorization. The song’s structure, with its nursery rhyme-like quality, serves as a metaphor for the non-linear nature of personal development and the shadowy realm of memory. Kenney’s ability to craft a narrative that is both deeply personal and universally relatable demonstrates their growth as a songwriter since their critically acclaimed earlier works. “From Nowhere” not only showcases Kenney’s evolving sound but also positions them as a skilled storyteller in the indie rock scene, capable of weaving complex emotional tapestries through their music.

Beth White – “Pretty Baby”

Beth White’s “Pretty Baby” is a soulful exploration of love’s complexity, blending neo-soul grooves with alt-pop sensibilities. The track’s production creates a smooth, atmospheric backdrop that allows White’s emotive vocals to take center stage. Her delivery, reminiscent of Emily King’s nuanced performances, effortlessly conveys the emotional nuances of a relationship in flux.

Lyrically, “Pretty Baby” navigates the terrain of modern love with honesty and vulnerability. White’s verses delve into the challenges of maintaining a relationship, with lines like “Maybe therapy and working for me stuck in my brain” acknowledging the impact of personal growth on partnerships. The chorus, in contrast, affirms the fundamental connection between lovers, declaring “I was made for you, you were made for me.” This juxtaposition of doubt and certainty mirrors the real-life ebb and flow of romantic relationships. The bridge’s nostalgic reflection on “the early days” adds depth to the narrative, acknowledging change while celebrating endurance. With “Pretty Baby,” Beth White establishes herself as a thoughtful voice in the neo-soul scene, crafting music that speaks to the complexities of modern love with both wisdom and warmth.