B-Side Guys

Welcome to bsideguys.com’s Weekly New Releases roundup for Friday, September 27, 2024! As we bid farewell to summer and embrace the crisp autumn air, the music world is treating us to a cornucopia of fresh sounds to soundtrack the changing seasons.

This week’s lineup is a thrilling mix of established artists pushing their boundaries and emerging talents making their mark. From indie rock anthems perfect for leaf-kicking walks to introspective folk ballads ideal for cozy evenings in, we’ve got your autumn playlist covered.

Our dedicated team has sifted through the latest 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 tune to match the golden hues of fall, we’ve got you covered.

So grab your pumpkin spice latte, don your favorite sweater, and join us as we explore the most exciting new music of the week. Let’s dive in and see what sonic treasures await us as we transition into the heart of autumn!

mr. Gnome – “Not This Time, Devil”

Mr. Gnome’s “Not This Time, Devil” is a high-octane burst of psychedelic rock that showcases the Cleveland duo’s ability to blend raw energy with cinematic scope. The track’s production, mixed by Claudius Mittendorfer, creates a sonic landscape that’s both gritty and expansive, with Nicole Barille’s vocals cutting through layers of distorted guitars and Sam Meister’s thunderous drumming. This single serves as a powerful preview of their upcoming album “A Sliver of Space,” promising a collection that pushes the boundaries of what’s possible within the realm of art-rock.

As the final single before the album’s release, “Not This Time, Devil” encapsulates Mr. Gnome’s evolution since their inception in 2005. The song’s structure, likely alternating between intense, driving sections and more atmospheric moments, reflects the band’s knack for creating dynamic, genre-defying compositions. This track not only demonstrates Mr. Gnome’s musical prowess but also sets the stage for their upcoming North American tour, hinting at the cathartic, raucous performances that have earned them a cult following. With “Not This Time, Devil,” Mr. Gnome continues to establish themselves as innovators in the indie rock scene, crafting music that’s as visually evocative as it is sonically adventurous.

SCHØØL – “THE END”

SCHØØL’s “THE END” is a melancholic slice of slacker rock that belies its upbeat instrumentation with a profound sense of alienation and despair. The track’s production creates a sonic landscape that’s both nostalgic and fresh, channeling the spirit of ’90s shoegaze while infusing it with a contemporary edge. Francis Mallari’s vocals, likely delivered with a detached coolness, float above the layers of fuzzed-out guitars and driving rhythms, creating a tension between the song’s energetic sound and its somber themes.

Lyrically, “THE END” explores the darkest corners of modern existence, touching on themes of societal disconnection and suicidal ideation. The song’s protagonist, teetering on the edge of giving up but held back by “a little feeling,” captures a sentiment that resonates with anyone who’s ever felt out of step with the world around them. This track not only showcases SCHØØL’s ability to craft catchy, guitar-driven indie rock but also positions them as thoughtful commentators on the human condition. As a preview of their upcoming album, “THE END” suggests a collection that will balance infectious melodies with weighty subject matter, marking SCHØØL as a band unafraid to confront life’s darker aspects through their music.

Jon Cocker – “She Moves Through The Air”

Jon Cocker’s “She Moves Through The Air” is a delicate folk tapestry that weaves together introspective lyrics with sparse, emotive instrumentation. The track’s production creates an intimate atmosphere, with Cocker’s warm vocals floating above gentle acoustic guitar work. The minimal arrangement allows each element to breathe, creating a sense of space that mirrors the song’s themes of freedom and perseverance.

Lyrically, Cocker paints a vivid picture of resilience and grace under pressure. The repeated imagery of a featherless bird that “flies anyway” serves as a powerful metaphor for overcoming obstacles. Lines like “She didn’t wanna take any break / No she never” highlight the subject’s determination, while the refrain of “She moves through the air / With the wind in her hair” evokes a sense of liberation and natural beauty. This track not only showcases Cocker’s skills as a songwriter but also positions him as a thoughtful voice in the contemporary folk scene, crafting songs that balance introspection with universal themes of endurance and hope.

ARK IDENTITY – “Bleed Out In The Night”

ARK IDENTITY’s “Bleed Out In The Night” is a deceptively upbeat indie pop track that masks its weighty themes with summery instrumentation. Noah Mroueh’s production creates a sonic landscape that’s both laid-back and intricate, with a distinctive bass melody serving as the song’s backbone. The contrast between the sing-song verses and the more somber chorus reflects the internal struggle described in the lyrics.

Lyrically, “Bleed Out In The Night” explores the challenge of maintaining one’s integrity in the face of external pressures. The chorus refrain, “You leave me there to bleed out in the night / You run so fast the impact is a fight,” encapsulates the pain and conflict that can arise from standing firm in one’s beliefs. Mroueh’s vocals, likely delivered with a blend of defiance and vulnerability, bring these themes to life. As a preview of ARK IDENTITY’s upcoming EP “ANNDALE,” this track showcases Mroueh’s ability to craft dream pop that’s as thought-provoking as it is catchy, positioning him as a promising voice in Toronto’s indie music scene.

We Found a Lovebird – “100%”

We Found a Lovebird’s “100%” is a shimmering slice of indie rock that channels the spirit of ’80s alternative while maintaining a fresh, contemporary edge. The track’s production creates a sonic landscape that’s both bouncy and introspective, with Kerry MacPherson’s finger-picked guitar melody serving as the song’s foundation. Larry Lechner’s vocals, likely delivered with a mix of wry observation and earnest emotion, float above the jangly instrumentation, creating a sound that’s as intellectually engaging as it is catchy.

Lyrically, “100%” delves into the realms of artistic struggle and everyday moral conundrums, with Lechner drawing inspiration from figures like Leonard Cohen. The line “Now I know that age old feeling / That wraps around my walls and ceiling” captures a sense of familiarity with life’s recurring challenges. By blending references to other artists with observations on love and daily life, We Found a Lovebird crafts a song that’s both personal and universally relatable. As the latest single from their upcoming album “With Friends Like These,” “100%” not only showcases the band’s growth since their 2009 inception but also positions them as skilled practitioners of the enduring magic of a well-crafted rock song.

Constant Follower – “All Is Well”

Constant Follower’s “All Is Well” is a haunting exploration of modern existential dread, wrapped in a deceptively soothing folk-slowcore package. Stephen McAll’s production creates a sonic landscape that’s both expansive and intimate, with layers of instrumentation building to create a dreamlike atmosphere. The transformation of the track from its acoustic origins to a “weightless, blissed-out dream pop epic” showcases McAll’s willingness to push the boundaries of his sound.

Lyrically, “All Is Well” delves into the paradoxes of contemporary life, using the myth of Sisyphus as a metaphor for the repetitive nature of modern existence. The repeated phrase “All is well” takes on an unsettling quality, highlighting the disconnect between surface-level comfort and underlying unrest. McAll’s vocals, likely delivered with a mixture of resignation and hope, bring these themes to life, inviting listeners to question the numbing effects of modern distractions. As a preview of the upcoming album “The Smile You Send Out Returns To You,” this track not only demonstrates Constant Follower’s evolution since their acclaimed debut but also positions them as thoughtful commentators on the human condition, crafting music that resonates deeply with anyone grappling with the complexities of life in the 21st century.

Rosie Frater-Taylor – “Running Up That Hill” (Cover)

Rosie Frater-Taylor’s cover of “Running Up That Hill” is a masterful reimagining of Kate Bush’s iconic track, infusing it with jazz-fusion elements that showcase her virtuosic guitar skills. Frater-Taylor’s production, largely crafted in her bedroom studio, creates a sonic landscape that’s both intimate and expansive, with layers of nylon string, electric, and acoustic guitars building a rich tapestry of sound. Her use of various effects pedals, including tremolo, reverb, and freeze, adds a spacey, ethereal quality to the track that pays homage to Bush’s original synthesizer-heavy production while carving out its own unique sonic identity.

Vocally, Frater-Taylor brings a fresh perspective to Bush’s lyrics, likely infusing them with the emotional depth she’s known for. The decision to expand a one-minute demo into a full-length cover demonstrates Frater-Taylor’s willingness to engage with her audience and push her artistic boundaries. As a follow-up to her acclaimed album “Featherweight,” this cover not only showcases Frater-Taylor’s technical prowess but also her ability to reinterpret classic songs through her own genre-bending lens. “Running Up That Hill” serves as a bridge between Frater-Taylor’s jazz roots and her evolving sound, positioning her as an artist capable of honoring musical legacy while forging her own path in the contemporary British music scene.

Lior Holzman – “Essence”

Lior Holzman’s “Essence” is a raw, emotionally charged folk ballad that grapples with the weighty themes of loss, mortality, and the ephemeral nature of life. Recorded in one take with just Holzman and his guitar, the track’s production creates an intimate atmosphere that allows the song’s powerful lyrics to take center stage. This stripped-back approach, reminiscent of Gregory Alan Isakov and Leonard Cohen, serves to heighten the emotional impact of Holzman’s storytelling.

Lyrically, “Essence” is a profound meditation on the human experience, with lines like “We rise alone to the heavens / Up above we’re at peace” setting a tone of both melancholy and acceptance. Holzman’s imagery of a tower built from memories and the concept of love as both a “fire” and a “coin we trade for home” adds layers of complexity to the narrative. The song’s exploration of envy, time, and the burden of living culminates in a poignant reflection on the nature of love and loneliness. As part of Holzman’s project “The Searcher’s Ballad,” “Essence” not only showcases his growth as a songwriter but also positions him as a thoughtful voice in the contemporary folk scene, crafting music that resonates deeply with anyone who’s ever contemplated the big questions of existence.

Pekoe Cat – “Don’t Think Just Do It”

Pekoe Cat’s “Don’t Think Just Do It” is a psychedelic whirlwind that showcases Kyle Woolven’s unfiltered creative process. The track’s production, crafted entirely in Woolven’s unfinished basement, creates a sonic landscape that’s both raw and intricate, blending elements of psychedelic rock with indie sensibilities. While initially conceived as an attempt at surf music, the song evolves into something far more complex, reflecting Woolven’s stream-of-consciousness approach to songwriting and recording.

The track’s structure mirrors its creation process, with unexpected twists and turns that keep listeners on their toes. Woolven’s multi-instrumental talents shine through in the layered arrangement, creating a sound that’s both cohesive and unpredictable. “Don’t Think Just Do It” serves as a manifesto for Pekoe Cat’s artistic philosophy, embracing spontaneity and rejecting overthinking in favor of pure creative expression. This approach not only results in a captivating listening experience but also positions Pekoe Cat as a unique voice in the DIY music scene, crafting songs that feel both intimately personal and wildly adventurous.

Rose Cousins – “I Believe in Love (and it’s very hard)”

Rose Cousins’ “I Believe in Love (and it’s very hard)” is a tender exploration of love’s complexity, showcasing her ability to distill profound emotions into accessible folk melodies. The track’s production, co-helmed by longtime collaborator Joshua Van Tassel, creates an intimate sonic landscape that puts Cousins’ piano and vocals at the forefront. This stripped-back approach allows the raw emotion in Cousins’ performance to shine through, creating a deeply personal listening experience.

Lyrically, Cousins navigates the paradoxes of love with both humor and insight. Lines like “You wanna be the lake, you wanna be the one to shine / But feelings we feel are hard to define” capture the struggle between vulnerability and self-preservation in relationships. The repeated affirmation “I believe in love” juxtaposed with “And it’s very, very hard to know what to do” encapsulates the song’s central theme: the enduring faith in love despite its challenges. As the cornerstone of her upcoming album “Conditions of Love – Vol 1,” this track not only demonstrates Cousins’ growth as a songwriter but also positions her as a skilled chronicler of the human heart, crafting music that resonates deeply with anyone who’s ever grappled with the complexities of love.