Thursday, 25 February 2021

Introduction - Hello from janglepophub !!!

Hello all

Thanks for visiting the janglepophub blog. It is out pleasure to provide you our take on all things janglepop.

The blog is used for lengthier articles regarding anything we recommend or at the very least find interesting in and around the fringes of janglepop. If you have anything you feel our readers may enjoy please do not hesitate to contact us at

We also have further social media presence at the following which are used for more abbreviated comment and include our #dailyjanglepop series which gives daily janglepop tracks from what we have recently been listening to. So whatever your preferred source of social media is we have something for you.

Janglepophub on FACEBOOK

Janglepophub on TWITTER (@janglepophub)

Janglepophub on TUMBLR

If you have any recommendations for the #dailyjanglepop series please e-mail the link to me on or put it in the comments of this section and I will give it considerations for inclusion.

All tracks referenced in our articles and the various #dailyjanglepop series are published in the monthly jangle jukebox playlists at the end of each month (commencing January 2018) and full accreditation will be given for any referrals.

Once again thanks for visiting the site and we hope you enjoy your stay.

Regards...Darrin (Editor)

Friday, 25 May 2018

EP Review - Four Stories by The Soft City (2012) (Calico Cat)

Love the Pale Lights? Wish you could find more music or a similar nature? Have searched high and low with fruitless fervour for something that will satisfy your lust for their inimitable salacious jangle? Well look no further ladies and gentlemen, for your search may well have ended with this band, which is PL founder Phil Sutton's (ex Comet Gain, Kicker, Cinema Red and Blue and Velocette) previous band, where the similarities in aesthetic are striking on both the self titled album (2010) and even more so on this superb four track EP (2012).

Album Review: The Astonishing Rise of Charlie Tipper by Arrest! Charlie Tipper (2018) (Breaking Down Recordings)

Arrest! Charlie Tipper could be considered as something of jangle/indie-pop 'super group', having been formed from ex-members of notable bands such as The Flatmates, Groove Farm, Forest Giants and Beatnik Allstars. It is perhaps because of their past achievements that the band have had a bit of fun with the music industry and changed their name three times since 2015 using various different 'Charlie Tipper' variants. As it states it their bio, they did so because 'they can'.

Tuesday, 22 May 2018

EP Review - Town Runner by Make Sure (2017) (Self Released)

I came to Make Sure in a somewhat perverse way. Seduced by the laconic hazy jangle-pop of the Summerooms 2 album, When the Summer is Over (2017), I searched the internet for more of the same from the same singer-songwriter, Joshua Aubrey Jackson. As such it came as something of a surprise to find that his work under this Make Sure moniker (he has also released work under the name Fiery Crash which I have yet to hear) is considered his primary project and all else secondary.

Monday, 21 May 2018

Album Review - Up on the Sun by Meat Puppets (1985) (SST Records)

Despite a vast back catalogue encompassing 14 albums over the 35 years+ since their self-titled debut in 1982 (which still remains an essential listen after all these years) it is only really the Meat Puppets II album that has ever really solicited the sort of widespread critical acclaim the band deserves. However, in my 'humble' but ultimately correct opinion, it is this, their next album, that truly deserves the most widespread plaudits.

Friday, 18 May 2018

Album Review - Broken Biscuits by Corin Ashley (2017) (Murray Hill Records)

In the late 1980’s / early 1990’s I had a bit of a crush. Not a crush in the way that teenage kids get all besotted about similar spotty youths and plaster their bedroom walls with all manner of memorabilia, but a crush that was a tad more subtle and merely involved ensuring I watched as much Dawson Creek and the goregeous Katie Holmes as possible, before she was eventually whisked away on the wings of a scientology space ship by a man who was old enough to be ...well me actually.

Other than my appreciation of the sheer unadulterated svelte, teeny-tiny cuteness of Miss Holmes, the other notable thing about Dawson’s Creek was that the cloying teenage angst story-lines were accentuated by a surprisingly eclectic soundtrack of largely left-field music within each episode. As such one particular episode (I think someone had been bullied, dumped or had got sick on alcopops for the umpteenth squillionth time) led me to all things Corin Ashley as  I hunted down a 2001 track played in an episode called Spork by an early 2000’s power-pop band called The Pills, in which he performed lead guitar, vocalst and song writing duties for.

This in turn has led me to become something of a devotee of Ashley’s solo projects and in my opinion this album is his strongest work yet. Initially the album opens with a very The Pills like track in Little Crumbles, although it has far more layers of melodies in the back ground that successfully fight their way through the organised mayhem that typifies the best of power-pop. However with the exception of my favourite track, the erudite but massive Broken Biscuit #6 – The Cookie Crumbles (see below), this is a raucous exception to an album which has far more concentrated melodic sensibilities than his previous solo releases.

As such the fulcrum of this album revolves around that The Beatles off centre, skew pop essence. It is a sound that can make you sound silly if it is not done with enough hap-hazard attention to ramshackle detail so that it is does not sound at all processed. 

As is usually the case with this consummate professional a number of tracks, especially the sublime Eleanor Rigby-esque Edison’s Medicine (see below) and the Strawberry Fields essence of Broken Biscuits #9: Plaster and Pins somehow manage to get the ratio between the muted under production that Martin Newell / The Cleaners From Venus excel in, whilst at the same time letting the clarity of the mid-tempo Beatles-esque melodies be omnipotent.

The brilliance of the album is all the more startling considering the fact that Ashley, despite only being in his late 40’s, was unfortunate enough to suffer a stroke in 2015 which left him paralysed down the left hand side and unable to sing. The fact that the remaining half of this album was completed after he has spent a year recuperating and learning how to use his left arm and sing again, is testament to the strength of the man and his genuine love for music. A love that is felt coursing through every note of every track on this album.

Artist Links

Album Review - 2 Steps from the Middles Ages by Game Theory (1988) (Enigma Records)

In the post-The Smiths final few years of the late 1980's, there was a uniformity to jangle-pop. Many American bands were joining the R.E.M / Miracle Legion / Pylon college rock party just  too late and swathes of British/Irish bands such as The Mighty Lemon Drops, The Frank and Walters, The Chesterfields, The Mock Turtles, 1000 Yard Stare and the The Corn Dollies were enjoying the new post Morrissey / Post-Punk licence to provide non-suicide jangle. Even Half Man Biscuit Half Biscuit were augmenting the total irreverent irrelevance of their pop-culture diatribes with the sounds of the era's jangle-pop.

Tuesday, 15 May 2018

Album Review - It Ain't Me Babe by The Turtles (1965) (White Whale Records)

In the mid 60's there were three prevailing trends:

1.  Early hit single? Yes? Release an album out as soon as humanly possible Earning potential was the most important consideration.

2.  Not enough album ready songs to release the above album? Worry not...Call 1960's super-hero Bob Dylan to save the day with a plethora of his 'cover ready' folk tracks. He was effectively 'CoversMan'.

3.  Be a bit jangly like The Byrds.

Saturday, 12 May 2018

Album Review - The Catherines by The Catherines (2018) (Mondo Canape Records)

A band with the name The Catherines whose chosen album art is a black and white 1960's photograph of a quintessentially British looking lady, appearing to look a tad resigned and wistful  (it is generally the same aesthetic for much their album art and videos) really should mean the band is a) a bit British b) does all things pretty and c) is female fronted. They should really sound like The Sundays. Then all would be well in the musical universe as all rules would be observed.

Thursday, 10 May 2018

Album Review - Out of Time by R.E.M (1991) (Warner Bros)

Out of Time was the most commercially successful of all the R.E.M albums, despite being the one phase one album (i.e. their best years prior to the Up album in 1998) that certain music journalists, whose reviews include in depth analysis of guitar tabs and ‘time signatures’ (whatever they may be?), denigrated with the sort of frenzied passion usually only reserved for other multi-million sellers such as Aqua’s Barbie Girl or the Crazy Frog tune.