Posts Tagged ‘Jangle-pop’

Odd Hope

It’s hard to capture the feeling of an era lost. There are plenty of jangle-pop imitators and even a new crop of Kiwis that are attempting to resurrect what Flying Nun once found so effortless. In California, however, there remains a solitary lifeline to the sound in the form of Tim Tinderholt’s Odd Hope. Following on a solid single for Fruits & Flowers, Tinderholt has come ratcheting back with a perfect distillation of all those lost gems from the underside of the equator. Though, its not without noting that he’s also mining a great deal from The Jacobites and The Pastels as well. He’s found purchase not only in their sunny, jangled ebullience but also in the quieter, introverted weirdness that made so many of these ’80s and ’90s oddities such coveted releases.

Produced by Fruits & Flowers co-founder Glenn Donaldson, (Skygreen Leopards, The Birdtree) the record retains an unmistakable touch of his own homespun and hissed-flecked folk pop, but at the heart is Tim’s distinct gravitational pull. Tinderholt’s songwriting is given a treatment that flickers like an emergency candle in a power outage, an inviting harbor in the face of unblinking darkness. The album is both a beacon and a comfort. When he’s reflecting the brilliant sun’s glow there’s no other light that can hope to outshine his positivity, but when the vibes turn, as they often do, to smirking, unsure, melancholy and jittery, Tinderholt is the friend who understands just how overwhelming the outside world is.

So maybe just huddle down into these ten tracks like a blanket in a storm that may or may not pass. Tinderholt’s eponymous debut is the kind of record that’s destined to be missed by the oblivious as anathema to modern trends and revisited years later as a cherished totem to those who were paying attention. With so many of those types of records now getting the reissue treatment, it would seem only intuitive to nip into this while it’s fresh and fidgeting. Odd Hope is a truly endearing open wound that sucks the listener in with its weird and blissful ache.




Support the artist. Buy it HERE.

0 Comments

Spinning Coin

For all their plaudits abroad Glasgow’s Spinning Coin aren’t wrestling for review space Stateside. The crux of that probably has to do with my theory of America’s threshold for UK bands at any given time. I suppose the press feels we’ve already filled the tank on 2017, but that’s no reason to let this one languish. The album comes via a powerful pair of post-punk signifiers – released on The Pastels’ Geographic Music imprint and produced by Orange Juice’s Edwyn Collins. For what it’s worth, this sounds altogether like an album cherry-picked by The Pastels. It shares their penchant for jangled charms and an alternating emphasis on barbed hooks and lush surroundings.

That alternation is the key to Permo‘s strengths and, at times its unevenness. The band shares a pair of songwriters who each have a strength they choose to flex on any given track. Sean Armstrong tends to take his songs to those lush vistas, fully reclining in the bleary-eyed nostalgia of Sarah Records and the softer side of Creation. His counterpart, Jack Mellin tends to bring the ragged edge to Spinning Coin’s work, often making tracks that are fun but barely standing on their feet (which is not necessarily a bad thing in my opinion). The whiplash between gives the record plenty of variety, but can make it feel like two different bands. I’d think moving forward, they’d be wise to find a smoother way to bounce off of one another, but that kind of symbiosis takes time.

What comes about is a record that’s got a real grip on the past and more than half a handle on how to recontextualize the nostalgia. They hit the nail hard sometimes, namely the ragged glory of “Magdalene” or the frothing elation of “Raining on Hope Street”, but its clear there’s more in the coffers to come. This hits me in a lot of my personal obsessions, and I’m definitely going to keep an eye on where Spinning Coin winds up. For now, some playlists just got stocked up around here.


Support the artist. Buy it HERE.

0 Comments

Swiftumz – Game Six

You’d be forgiven for having missed Swiftumz’ two LPs over the years. Despite crafting consecutive albums of homespun pop that shimmers brightly, Chris McVicker’s output has slipped all too quietly out into the world via the Holy Mountain and Melters labels. Its a shame though, because both records captured an artist who is at ease with his corner of the world – tumbling through a muted brand of power pop, glimmering jangle-pop and slicing through the bleary-eyed glories of American Indie with a rather precise knife. So, it’s with the release of McVicker’s latest single that SF’s Fruits & Flowers posts their second essential release of the year.

“Game Six” is pure jangled glory, spillin’ sunshine out of its pockets like quarters on laundry day. Like most of MicVicker’s songs it sounds so effortlessly intuitive you’d almost swear you’ve heard it before. He’s a student of the late ’80s and early ’90s and given a good time shift would most certainly have been pulling down some zine ink. This track alone is worth the price of admission, but he backs it up with a b-side that’s also tipping the gold standard. Shifting into melted-amber Indie-pop mode here and threading his way through Galaxie 500 and Yo La Tango vibes as felt through the soul of the late great Brightblack Morning Light, he’s letting things fade into a sherbet sunset – glowing an orange aura around the track to the very end. Both songs are on endless repeat around here and you’d do well to snag one too.

Support the artist. Buy it HERE.

0 Comments

Odd Hope – “Reasons I Will Not Say”

Been a while since I’ve heard from Odd Hope, the solo project from Tim Tinderholt, but he’s back in fine jangled form on new track “Reasons I Will Not Say”. Still chasing the fading tail of the Sarah Records ghost, Tinderholt again creates a song that’s gently bumping the nostalgia centers of the brain. Full of wistful sighs and softly crying keys, it’s more fleshed out than the first single that he put out a few years back on Fruits & Flowers, a sign that the upcoming LP is shaping up to be a real jangle-pop contender. Produced by Skygreen Leopards’ Glenn Donaldson, the LP, also on the small SF imprint, is the label’s first full-length proper. If the rest of Tinderholt’s songs shape up as beautifully spare as this, then we’d all better keep an eye out for what’s sure to be a hushed classic in the making.




Support the artist. Buy it HERE.

0 Comments

Ciggie Witch – “Shadow”

Melbourne’s Ciggie Witch have found their own shambolic place in the pantheon of Aussie indie, refining and polishing their take since 2014’s Rock and Roll Juice. Alongside similarly conglomerate bands like Scott & Charlene’s Wedding or Wireheads, they’ve followed both pop brilliance and their own oddball impulses. But as with those two bands, when they’re on, they’re fucking on and they prove that with “Shadow,” a dark and sinewy ramble through jangled pastures. The song melds chiming guitars with mournful slide to find a place of bittersweet hope that’s elevated way beyond the fray of your average indie punters domestic or South Hemi. If the song is any barometer, their new tape for Lost and Lonesome is going to be a necessary pickup. Don’t let it get lost in the clutter of this overstuffed Fall.




Support the artist. Buy it HERE.

0 Comments

Milk Teddy

Been a few years since Milk Teddy laid their blissful gem, Zingers, on us, but the wait seems to have been well worth it. The band breezes in with their sophomore LP, Time Catches Up With Milk Teddy, which is equally shambolic in its scope. The band has an innate knack for bridging contemporary Aussie jangles with a windswept approach that scatters any of the natty, prim plucks into the surrounding sunshine. A lot of the credit for this can be hung squarely on the neck of vocalist Thomas Mendelovits, whose blissfully faded delivery folds in an out of the band’s swells with a natural ease.

Mendelovits’ anchoring croon remains a constant, but those underlying swells have taken on considerably more texture from their first outing. Zingers was awash in an echoplex haze, rendering the album gorgeous but gauzy and at times harder to sink your teeth into. Milk Teddy come down to the Earth’s crust to bump elbows with the rest of us on Time Catches Up. They’ve injected the occasional brush with post-punk in a few of their basslines and a couple of space-cake instrumentals but they’re essentially still working through their own brand of gossamer jangle, just on a more tactile level this pass.

The band’s relative obscurity in the US has always struck me as a tragedy, but perhaps it’s time to right a years-long wrong. Time Catches Up is a bold move by the band, stuck together with off-kilter interview snippets and woven like a patchwork quilt made of denim in varying quality and hues. It’s pock-marked and imperfect and that’s exactly what makes it so desirable. Get your perfect glossy pop elsewhere. The LP is worn in all the right places and comfortable as an old t-shirt. Each listen just makes this one more and more endearing as an album that’s gonna test time and come out winning.




Support the artist. Buy it HERE.

0 Comments

Wireheads – “Indian Pacific Express’

Getting to be a regular occurance around here, Wireheads have an album on the way via Tenth Court. The first cut is even more refined than I’ve heard them in the past – janglin’, plunking piano and a smooth keel running through Dom Trimboli’s vocals. This sounds like a natural progression from the material they’d cut into on Arrive, Alive, clean burning Aussie jangle with just the right touch of vulnerability and visceral punch. Definitely got eyes out for the new album.


Support the artist. Buy it HERE.

0 Comments

The Real Numbers – “Frank Infatuation” 7″

Sweeping up a few of the great entries to the small format world today, starting with this new single from Minneapolis’ Real Numbers. The band have captured full tilt the UK jangle-pop prime, feeling every bit like they stepped out of a Field Mice or Razorcuts show fully enamored and ready to join the ranks. The A-side here is a re-work of their album track “Frank Infatuation,” given a looser recording that actually pulls it closer to their influences, scratching a ramshackle DIY feeling into the track’s frantic strums. The track was already a standout on their album, Wordless Wonder from last year, but here they’ve given even more reason to fall in love with the song all over again.

On the flip, the label pulls in a Pastels comparison that’s pretty spot on. “Leave It Behind” is dreamy and smudged with all the downpour romance that the ’80s underground had to offer. The whole single is wrapped up like a love letter to the C86 set, and while they’re obviously gushing, we all get a win for their sincere homage. More solid senders from Slumberland.


Support the artist. Buy it HERE.

0 Comments

Patience – “White Of An Eye”

The end of Veronica Falls always left me feeling a bit sad. The band’s perfect distillation of jangle-pop on the skids, sunny melodies with a tear in their eye, was always comforting. James Hoare has gone on to a myriad bands in the interim, but Roxanne Clifford’s output has been more selective. Now on her third single as Patience, Clifford is ably working a brand of synth-pop stung with jangles and it suits her well. “White Of An Eye” swims through the backwaters of the ’80s – mopping up bits of The Jasmine Minks on a bender with Chris & Cosey and Strawberry Switchblade. Hopefully this third single signals the oncoming announcement of an album proper. For now, though, we’ll have to just enjoy it on its own merits. This one’s been growing on me with each subsequent listen.

Support the artist. Buy it HERE.

0 Comments

Premiere: The Lovebirds – “Ready To Suffer”

San Francisco is full of guitar rock of the jangled variety but rising above the typical Mission fray soars The Lovebirds. They’re packing a satchel full of chiming chords here, but rather than throw a nod to SF’s ’60s roots, they channel College-ready literate charmers and powerpop dandies alike, drawing a line from the Groovies on down to Elvis Costello and Teenage Fanclub waiting in the wings. “Ready To Suffer” flicks at the subconscious, feeling familiar in a way that pushes it out of time, like a lost b-side from the archives of any of those bands.

It certainly doesn’t holler fresh-faced kids about town, that’s for sure, but that’s to the band’s credit as scholars of their influences. Add to the quality tunes some mix n’ master duties from RSTB faves Glenn Donaldson and Mikey Young respectively and this is a tight package and prime introduction to a band to watch.




Support the artist. Buy it HERE.

0 Comments