Posts Tagged ‘Jangle-pop’

R. E. Seraphin – “Leave Me Here in the Tide”

The last EP from R.E. Seraphin was steeped in a vaseline-lensed power pop, but on his follow-up, Seraphin is moving towards the crossroads of janglepop and indie pop that culls moves from The Field Mice, Even As We Speak, and all manner of 80’s twee pop confections. The track is cut with a dreaminess that’s less easy to pin down. For contemporary comparisons, Seraphin is running through the same filters that Cory Cunningham’s Business of Dreams seems to find familiar, and both bands share a lot of time among the soft pink clouds of daybreak, working their way through the mists. “Leave Me in the Tide” is pinned to a cracking drum machine, and finds its charm in not letting the jangle become the dominant force, letting the guitar warp in the sun just a bit as it wriggles its way through the song. The last EP showed a lot of promise and A Room Forever makes good on it in short order. The EP is out now on Paisley Shirt Records.



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Pop Filter – “Big Yellow Van”

The Ocean Party spent quite a bit of time on the turntable here, but after the tragic passing of member Zac Denton, the band has dissolved and reformed under the name Pop Filter. The same breezy bounce is in place here, through Zac’s songwriting is missed among the stars that have cropped up in pre-album singles. “Big Yellow Van” is rife with nostalgia for the road, the past, and another time that’s been lost forever. With bittersweet harmonies, a crackerjack bounce of drums, and chipper keys, the band nails this wistful tune to the wall for all time. There’s quite a bit of heartache in between the bars, but I’m smiling through the tears over here. The Aussie band’s debut record Banksia is out August 21st through Spain’s Bobo Integral.





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The Reds, Pinks & Purples – “I’d Rather Astral Project”

I can’t resist a chance to post The Reds, Pinks & Purples and while the band’s upcoming new LP for Slumberland is still a ways off, they’ve worked up a nice animated vid for one of the myriad singles that have packed their Bandcamp over the last few months. The message in “I’d Rather Astral Project” seems a bit more prescient now with physical shows in indefinite hiatus it would seem more convenient to take up the astral plane as the new venue. As usual the band wraps their wry thoughts in the jangled melancholia that’s made them so steady on the speakers over here. Check out the Jem Fanvu directed vid above.



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Galore

Been really enjoying this scrappy, scruffy dose of post-punk from San Francisco’s Galore lately. The band’s hitting on the same intersection of influences as Aussie upstarts Primo!, Terry, and School Damage but they add a dose of sweetness that’s sometimes sanded away from those outfits, perhaps bringing them most in line with the windswept charm of Parsnip. The band employs an austerity that cuts through the fat of pop and hits straight onto the bone. Jangled and jostled, nervy, but emotionally raw, the band’s eponymous LP also draws a crooked line between Look Blue Go Purple, The Pastels, and Talulah Gosh. The songs are catchy without cloying, crafting hooks that knock around the brain but won’t latch completely due to the rough edges. Each go round with the album lets them stick in a different nook of consciousness and if feels just right.

They sweep from strums and the lilt of jangles that populate much of the album to the sonic shrapnel of “Cucaracha,” and the bent tin twist of “Lydia,” executing the switch without so much as a skid on the pavement. They make the juxtaposition feel natural like the flow of an 80’s college station. The songs crunch confessionally, detailing days spent lolling in the bed, creature comforts, dashed hopes, and sneaking suspicions. The bubble-wrap snap of drums skitters in the background and the bass feels like its just getting its land legs back on more than a few songs. The whole record comes together in a lovely slump on the bed — conflicted, content, confused, and catchy. It’s holding up a long tradition of jangle n’ bop that doesn’t quite fit into the boxes that folks want to try to stuff ‘em into and Galore comes out shining all the brighter for their refusal to take shape.


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Boyracer – “Crack The Red”

Got another volley of fuzz from Boyracer, who are just coming into their 13th album. Having blossomed in the ‘90s, working through labels like Slumberland and Sarah, they became nothing if not prolific ambassadors of indie pop over the years. While the lineups would change, the buoyant, blistering songwriting of Stewart Anderson remained a constant and as luck would have it the world found itself ready to love indie-pop with a newfound enthusiasm over the last decade or so and the band’s come into a rather pervasive second (or third) wind. “Crack The Red” is a fuzz-rumbled ripper that works as an ode to a well-earned bottle at the end of the day. While the guitars are set to sunburn, the harmonies cool it off and let the song sink into the skin. The band’s lengthy tenure lets them call in a whole host of friends on the new LP. While Burnt Palms’ Christina Riley joins as a permanent member there are pop-ins from Mary Wyer and Anita Rayner (Even As We Speak), Snowy (Ocean Party), Penny McBride (Cannanes) and Boyracer roster legacies from Simon Guild, Laura Bridge, Matty Green, Jen Turrell, Ged McGurn and Ara Hacopian. The video embraces the bottle in the only way a pandemic vid can – Anderson leads the charge with a whole host of friends sharing the screen to sympathize with a glass. If you’ve missed out on the record, I’d recommend getting it onto the decks.

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Pop Filter – “Laughing Falling”

Kinda loving this new cut from Aussies Pop Filter. A low-slung jangler that employs a New Wave beat, “Laughing Falling,” is an instant charmer. The song attempts to wrangle the fuzzy delight of being a bit buzzed and walking around and its got a nice take on that out-of-body delight wherein you can almost watch yourself having a good time while simultaneously being sad that its going to end. That curdle of sadness ripples underneath, and in the sunset hues that streak the song, but mostly its a romp. The band takes a nice stab at the distanced video with a steampunk exploration that’s not just band members playing parts in different houses — a trope that’s already worn too thin. The song sidles alongside previous single “Romance At The Petrol Station,” and both will appear on their album Banksia in August.



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The Reds, Pinks and Purples – “I Should Have Helped You”

Some subtle news slips out over the long weekend that there’s a new 7” from The Reds, Pinks and Purples coming on EU label Discreet Music. The official follow-up to the band’s last LP, Anxiety Art culls four tracks from Glenn and co.’s prolific Bandcamp run over the last few months. In addition to the title track, “I Should Have Helped You,” the record picks up official version of “Unrequited,” “Keep Your Secrets Close,” and “They Only Wanted Your Soul.” As with the last album the band excels at mining the Sarah Records heyday with songs that tip both jangled and jilted – catchy but with a true melancholy heat. There’s not a cut on here worth missing but check out the autumn sighs that abound on the EP closer below. The song’s got Glenn’s earnest delivery humming and close enough to feel breath in the speakers, but its heard to push down the lump in the throat that forms over these two and a half minutes. Seems there should be some copies stateside soon, but there’s a link below for the import as well. Along with his Telephone Numbers output, these are some of Donaldson’s most intimate, but aching songs and its worth keeping an ear on them to see what’s popping up next.




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The Telephone Numbers – “Pictures of Lee”

As I mentioned Friday was a hectic day with the feeds flying fast, but if you were looking in the right places there were plenty of gems to be had. This new single/digital EP from The Telephone Numbers is just such a gem, so let’s rewind and take a listen. The band’s popped up here before and its a new one from Glenn Donaldson (The Skygreen Leopards, The Reds Pinks and Purples) who’s hooked up with a few more SF janglers to create some pristine and perfect pop in this absolute shit year. Sometimes all you need is a crisp jangle, earnest harmonies, and a good dose of swoon and everything just melts away for 3 minutes or so. The title track off of the single garners this kind of appeal. Its a such a crystal clear moment in sound that everything relaxes for a moment and just soaks in the West Coast sun for a few suspended minutes. The rest of the tracks spar between the melancholy shuffle of “Curtains Close,” the late-afternoon sidle of “It’s Not All About Your Life,” and a cracking cover of Alec Bathgate’s “Run.” Just like their last single, there’s a lot to love here and the band’s poised to be one’s to keep tabs on as these singles sneak out.



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Melenas

Pair a new release Friday with the madness of these Bandcamp waiver days and things wind up getting lost among the flurry of tweets and shouted recommendations across the wires. In amongst the clamor Spain’s Melenas released their latest for Trouble in Mind and its worth sinking your teeth into now that some of the dust has settled. The Pamplona quartet picks up shades and shards of indie pop along the twisted trail from kiwi-pop (The Bats and Look Blue Go Purple) to UK favorites, digging into the prim charms of The Pastels, The Primitives, and The Clouds. They shake out all the sounds on the table and reassemble them primed for hooks, but somehow completely unfussed by the idea of pop. The record sounds so lived in and natural, like the band rolled out of bed each day and laid down a rumpled and ripped pop track then popped off for day shifts as if its no big deal.

Blending a mixed bag of jangles with the buzzing bliss of synths, they dip their toes on both sides of the indie pop line finding friends with the Sarah twee-tones and the Creation haze merchants alike. With hushed harmonies that don’t overplay their hand, the group turns pensive pining into a delicate artform. They catch more than a few ears with pastel-dipped hooks, yet the album’s sublimely balanced by songs that hang in the air buoyed by a soft grey fog. The group knows the value of not always being ‘on,’ and when they pull back into an ethereal slouch it ties the album’s more ecstatic tracks together into a patchwork pattern that’s pleasing as hell. If Melenas had dropped into the jangle jungle in the mid-80s there’d have definitely been some tug-o-war to get them into the ranks of Sha La La, Postcard, and 53rd & 3rd – if not one of the aforementioned outposts of pop. No reason not to be that excited now. Dias Raros feels like the kind of future collector’s fodder that you’d want to nab before everyone wakes up to it.



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The Stroppies

The Stroppies pulled themselves out of the home recording hunker and into the studio for their debut album, a shambolic yet homespun record that had hooks to spare. They wrote the follow-up with a less measured approach — forged on the road and then recorded quickly at home. Though unlike their pre-album EP, this one has hallmarks of the musicianship that developed throughout Whoosh!. With a melancholy streak threaded through the songwriting they trade pianos and jangles in tandem to create a record that’s built to close down the bar in your basement any night of the week. There’s an intimacy to their songs. The hours spent curled in the backseat of the van come gushing out, but there’s a comforting melodicism that can’t help but turn these indie snippets into eagworms that tug at the brain in an uncommon fashion.

The whole EP is built on a tug-o-war between the down and out dourness of much of their contemporaries and a giddy hook cavalcade that looks to The Clean for inspiration and comes out succeeding nicely. Look to standout track “Holes in Everything” and its easy to see how the band has picked up the same seasick sway that their predecessors hooked into and they seem comfortable in the buoyant bobble through pop’s unsteady waters. The band’s been building steam for some time, and last year’s full-length solidified them on the watchlist for good, but Look Alive! proves that the album was no fluke. This is a nice hinge piece, a transition that’s refined and rambunctious, bittersweet and blustery. Aussie fans get in on this now, it feels like they’ll only soar from here on out.




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