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)

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, 17 August 2018

Album Review - Dieter Von Deurne & The Politics by Dieter Von Deurne & The Politics (2017) (Morr Music)

Some of you might remember Dieter Sermeus from his late 90's to early 2000's days with the band Orange Black, who were the sort of alternative rock band that could flirt with both hard-edged faux grunge in one track and then provide an occasional glimpse of beautiful jangle in the next (if you have never heard (We've Lost) Gravity from their 'Morning Notes' album, that is also out of Morr Music, then I feel honoured to elicit the introduction!)

Fake Compilations Series - Teenage Fanclub...Have Got The 90's Covered

Certain bands / artists inspire certain contrived imaginations within the increasingly narrow recesses of my mind. 

For instance I cannot help imagining Bono in a domestic scene which involves him sitting on a makeshift throne (with his sunglasses on) nonchalantly explaining to the recently resurrected Jesus (who is busy washing his new Lord's feet), that he is the love child of a tryst between Nelson Mandela and Mother Teresa, as he simultaneously sacks his groundsman for not being able to train a dead badger to bow to him.

Monday, 13 August 2018

General Article - And Now What? Acts of ex-The Go-Betweens Members

After their initial split in 1989 and the cessation of the band after Grant McLennan's death (2006) the various band members of The Go-Betweens went onto form various bands/acts/solo projects. This article looks at a few of my favourite acts involving ex The Go-Betweens members that have blessed my collection over the years.

Friday, 10 August 2018

EP Review: Please Don't by Sandblast My House by One Thousand Violins (1986) (Constrictor)

If your are old you may just remember a time before the internet. In these pre-mid 90's years, before Bandcamp, Soundcloud, Spotify and all manner of social media, new bands were discovered via magazines such as NME and their ridiculously flimsy multi-coloured flexi-discs, musical fanzines that were so cheaply produced your fingers were to be ink stained for the entire month until they could eagerly grab the next one, or by listening to the handful of radio shows, such as the John Peel show, that dared to see past the mainstream opinion of 'commercial quality'.

Album Review - Best Laid Plans by Lost Ships (2018) (Self Released)

Those of us who are far too indie/jangle-pop nerdy for our own good, might well remember a band called The Kites who I vaguely recall seeing in a pub somewhere near Plymouth way when I went to visit my mate who was at University there in the early 1990's. Impressed enough to still remember them in the YouTube years, I was able to dig out a recording of their gloriously jangly 1994 single Faster (link here).

Wednesday, 8 August 2018

Reader Choice Playlist (July 2018)

July 2018 saw Janglepophub feature 151 tracks on our album reviews / #dailyjanglepop series on our various social media sites. These covered a vast array of janglepop nuanced tracks from the 1960's - 2018.

The top 20 (see below) is decided purely by the 7 day engagement rates of the janglepophub readership on our Facebook, and Twitter sites and on the blog links clicks (highest to lowest). 

Monday, 6 August 2018

Album Review: For What It's Worth - West Coast Music Review (2018) (72 RPM Records)

This album acknowledges so many influences that it could be considered as a mere mosaic of mid to late 1980's and early 1990's yesteryear, if it were not for the fact that the meticulous precision with which they present their love for this era is rarely replicated by the modern bands having a stab at jangle-pop from the era. West Coast Music Club just do it that much better ...

There is a definitive quadrangle of influences on this album. Initially the casually caustic thrum and buzz saw hum of bands such as early Buffalo Tom, The Jesus and Mary Chain and especially Dinosaur Jnr is the dominant sound that keeps being returned throughout the entirety of the album, as seen in tracks such Freak Snr, Just Between Us (see below) and the true stand out of the album Indie Darlings. Imagine J.Macsis with a more controlled vocal tempo and Dinosaur Jnr with a tad less reverb and distortion and you just about nail this brilliant sound.

Just Between Us

The mid-90's indie-pop sound of the likes of The Wave Pictures and the meatier parts of the Darren Hayman catalogue, also receive homage in a track such as Until Your Mine and the addition of just that little bit of tempo/ muscle sees a track like Can't Say Goodbye reveal itself as a missing track from the Lemonheads Car, Button, Cloth album, with its laconic hint of anxiety.

The 90's Madchester / Baggy vibe also receives some attention in tracks such as the opening She and in Fall, as they deliver their vocals in that slightly contrived, distanced echoed that bands such as The Charlatans, Primal Scream and The Stone Roses sent everyone twisting their melons for nearly 30 years ago. 

However the best tracks on the album are when the band let go of 'the cool' and add just that little bit of aggression. Enter a C86 inspired track such as Yeah Sure! (see below) which adds the fibrous jangle-pop of bands such as The Dentists and especially The Brilliant Corners and juxtaposes it with the sort of half spoken vocals of The Blue Aeroplanes. It is a definite dip into the 1980's compared to the 90's inspired offerings that go before, but a similar track like Spangles proves the deviation is worth it.

I am not sure whether the homage to yesteryear's influence is going to appeal to everyone, but it certainly does for me and should for anyone else enthralled by the 80/90s jangle-pop sound.

Artist Links

Label Links


Album Review: Proto Retro by Dot Dash (2018) (The Beautiful Music)

I have several kids. I 'love' them all the same. I would die for either one of them tomorrow. However no matter how much we love them equally, any honest parent with multiple offspring, will inwardly concede that they 'like' one the best. Such a statement will never be proffered publicly and perhaps never really admitted to ourselves, but somewhere in the most hidden recesses of our brains we are aware of 'the truth'. There is always 'that one' ...

Dot Dash are probably 'the truth' / 'that one' for The Beautiful Music label owner Wally Salem. I am sure he loves all the bands his label has released music from, however Dot Dash are that perfect / best behaved kid that have repaid his loyalty with (now) six previous albums, all of immense quality.

This sixth album from the Washington DC three piece is the best since their Spark>Flame>Ember>Ash debut and can only serve to cement both their place as the favourite within Wally's mind and within anyone's who has a genuine appreciation of punk/power/jangle-pop the way the 1990's musical gods intended it to be delivered.

So what makes this album stand out from the general brilliance of the four previous albums? Initially a lack of conformity is the basic answer. The majority of the tracks on the previous albums were a swirl of enthralling power-punk. They were loud. They were in a hurry. They were generally brilliant. However they did not differ majorly, which was just as well committed fan did not really need such a template to become warped with things like change.

Change is was happens on Proto Retro though and ensures any 'one trick pony' accusations are placed firmly in what the orange man who also hangs about Washington DC would proclaim as 'fake news'. Initially this change is seen in a far more janglier  content. 

Opening track Unfair Weather, sees power-punk replaced with what superficially would appear to be a straightforward power-pop track. if it was not for the fact that the power-pop riffs seem to be suffering some sort of harassment from persistent jangled riffs that just do not want to let go. Just like that irritating little sibling who you had to eventually let play with you, everything all falls into place and everything plays nicely, or in this case wonderfully, together.

Tracks such as Sun + Moon + Disguise and Parachute Powerline also convey this jangled essence with the sort of roughshod and ramshackle jangle-pop that bands such as Olden Yolk in their angrier moments and UV Race in their less manic/quirky moments produce, whereas the beautiful introductory The Byrds like riff of Gray Blue Green (see below) eventually allows itself to be engulfed by ever increasing aggression and becomes the sort of gloriously incidental backing riff that a band like Zebra Hunt do so much with.

The other primary way in which Dot Dash relinquish a reliance on power-punk in this album is in their homage to the overtly melodic sensibilities of all things Teenage Fanclub. This album encompasses virtually the entire spectrum of the TFC experience whilst always managing to keep that inimitable extra bit of aggression that typifies Dot Dash even in this, their least frenetic album.

At one end of this spectrum tracks such as the 60's pop inspired Dead Letter Rays, Fast Parade and  the softer more controlled vocals of Tamed A Wild Beast (see below), whereas at the other end a track such as Green on Red stops just short of toppling over the brink of  of the Dinosaur Jr precipice, such is its level of aggression.

Dot Dash may well go back to their traditional punk-pop in their next album and I will probably love it just as much. However they have set the bar very high with this album and with the changes to style and musical context in a strange way their next album could well be a belated equivalent of that 'difficult sophomore album'.

I would not back against them producing one just as good though, Would You !?

Artist Links

Label Links

Website (buy artist releases here), 

Friday, 3 August 2018

Fickle Finger Playlist #0004 (Female Vocalists)

This time around the Fickle Finger has been pointing at a whole plethora of female vocalists. However, after doing a similar 'Ladies Wot Jangle' playlist on YouTube a couple of months ago a couple of my Twitter followers complained that under no circumstances should women be considered a topic.

With this in mind I add the following disclaimer to this playlist:

a)  The Fickle Finger has recently been pointing at female vocalists not in a 'pervy' manner that highlights any particular physical attributes of the aforesaid females. It has just done so because it likes the bands they front.

b) The usage of the word 'front' in point a (above) is not designed to draw any attention to the female chest.

c) The separation of female vocalists from male vocalists in no way conveys any belief by this author that females are in anyway inferior to men. In fact to the contrary my wife, mother, daughter and I suspect, one of my sons, are all female and are among the people I adore the most. I also adored my Dad before he died...but not any more than my mother (phew!). 

d) No females were hurt in the making of this play list.

Enjoy the playlist !

1.   The Stroppies  -  Courtesy Call (2017) (00:00)

Too aggressive for Sarah Records type indie-pop and not aggressive/quirky enough for Flying Nun and/or Triple J comparisons, Melbourne based The Stroppies, are gloriously owning the gap between the two. 

Tracks such as this one from their eponymous debut EP (originally released on cassette by Hobbies Galore before Tough Love Records gave it the full treatment) showcases Stephanie Hughes 'made for the Melbourne vocals' perfectly.

Find them: Facebook / Bandcamp

2.   Proud Parents  -  2 Fast 2 Serious (2018) (02:46)

Image may contain: 4 people, people smiling, people standing, tree and outdoorEx-Hussy drummer and vocalist Heather Sawyer's new band is the Madison, Wisconsin four piece Proud Parents

This track from their 2018 self-titled debut reveals Sawyers slightly manic and off key deadpan delivery to be the perfect accompaniment to a sound that marries roughshod insistent punk-pop to the sort of genuinely ingenious jangle-pop moments that typify the present Brooklyn, NY scene.

Find them: Bandcamp / Facebook

3.   The Organ  -  Brother (2004) (06:10)

The Organ received critical denigration when their debut album Grab That Gun (2004) came out, as allegedly they were supposed to be something of a 'post-punk by numbers' band who had no actual affinity or knowledge of the music they were playing.

I was firmly in the 'who cares' camp as this track was and still remains an absolute jangly post-punk classic and allows us see the best of the front-woman Katie Sketch's vocal abilities. It was such a shame that their debut album was their last and band politics caused an implosion soon after.

Find them:  FacebookMySpace

4.   Aberdeen  -  Byron (1994) (10:13)

This title track from Aberdeen's 1994 EP, showcases all things that are breathless, breezy and laconic about vocalist Beth Arzy and justifies her status as indie-pop 'royalty' after stints in bands such as The Trembling Blue Stars, The Fireworks and more recently The Luxembourg Signal and Jetstream Pony.

Apart from the fact she is an indie-pop goddess, this blog has also broken stories about her love for strawberry ice-cream, ignorance of Coronation Street and disdain for heard it here first !!! 

Find them:  BandcampFacebook

5.   LIPS  -  Apartment (2018) (13:57)

Falmouth, UK based 4 piece LIPS, made in-roads within the sceptred isle's jangly sadcore scene in January 2018 when their Never Makes Sense EP hit multiple hard-drives.

This track, the second post EP single to be released, shows the band at their beautiful dreamy best and allows the Ranchel Anstis vocals to reach repeated layered crescendo's of genuine beauty. Think Portishead with jangle and you will be in the right ball-park.

Find Them: Bandcamp

6.   Sales  -  Chinese New Year (2014) (18:33)

Image may contain: 3 people, people smiling, closeup and outdoorSales is basically the project of Orlando based duo, Lauren Morgan on vocals/guitars and Jordan Shih, who programs all sort of percussive noises and slippery string work from behind his laptop. 

Whether you are one of these peoples who cares about whether 'real' music is being played or just care about the final sound, there is no denying that Morgan's sweetly, smooth vocals can cajole any listener into her confidence.

This track is the best from their self-released 2014 eponymous EP and one that has frequented my 'ultimate' playlist for nearly half a decade now.

Find Them:  BandcampFacebookTwitter

7.   Jetstream Pony  -  Zipwire (2018) (21:14)

The Fickle Finger is never far away from pointing at anything that Beth Arzy lends her beautiful vocals to and as such a track from her latest band off their recent Self Destruct Reality (Kleine Untergrund Schallplatten) release was always going to get the capricious digit attention...especially when all things Arzy is teamed up with ex- Wedding Present, The Fireworks and The Popguns guitarist, Shaun Charman to produce some glorious fuzz-pop.

This is basically Beth Arzy getting her 'rock' on and I am completely enthralled with the entire EP.

Find Them: TwitterFacebookBandcamp

8.   Would-Be-Goods  -  Cecil Beaton's Scrapbook (1988) (23:27)

The Camera Loves Me album coverThis track and indeed the entire album should come with an aural diabetic warning as it is so delightfully 'twee sweet' that only those with the sweetest of teeth can stomach the joint vocals / backing vocals of Jessica Griffin and Debbie Griffin.

No matter how (or if) you like your twee-pop served, you would have to be dead from the waist down not to feel some compunction to move some body part to this track from their The Camera Loves Me debut out of EL Records.

Find Them: Official

9.   Allo Darlin'  -  Darren (2011) (26:20)

Allo, Darlin' on DiscogsAllo Darlin' started out as the solo project of vocalist and indie-pop legend Elizabeth Morris (Tender Trap, The Darlings etc) who recruited three band members in 2009.

This track was self-released on vinyl as a split single with another legendary indie-pop band Wu Tang Clan and is a tribute to Darren Hayman. Without doubt, over the course of three albums with the Fortuna Pop! label, Morris has shown herself to be one of the most versatile vocalists on the scene.

Find Them: allodarlin.comBandcampFacebook

10.   Diet Cig  -  Harvard (2015) (30:07)

Diet Cig on DiscogsPaltz, NY based duo Diet Cig first garnered widespread attention after their brilliantly deranged live NPR tiny desk performance went viral courtesy of vocalist Alex Luciano climbing all over the furniture and kicking her legs about whilst singing this track from their debut Over Easy EP out of Father/Daughter Records.

Live or studio, it does not matter, Luciano's voice has that quality that puts her firmly in the female Violent Femmes bracket.

Find Them:  FacebookTwitterBandcamp,

11.   The Armoires  -  Fort Ashby (2016) (32:35)

After the mania of Diet Cig, Christina Bulbenko of The Armoires brings the genuine beauty back with her brilliant vocal performance on this track from the superb Incidental Lightshow album out of Big Stir Records.

This track is possibly the best example on the album of the way in which the backing vocals of Rex Broome and lead vocals combine to provide that special feeling of total seamless union...An absolute must for those who like their traditional power-pop served with a wholesome side plate of jangle.

Find Them:  TwitterBandcamp

12.   The Shellye Valauskas Experience  -  Gravity (2018) (36:48)

After 10 years this band have finally released a follow up to their critically acclaimed 2008 Box It Up EP, with their quite brilliant History of Panic debut full length.

Whilst much has been made of a famous collaborators on the album such as The Posies Jon Auer and Fairport Convention drummer Dave Mattacks, it is the beautiful voice of the lesser known biology teacher Shellye Valauskas that steals the show. Especially on this track.

Find Them:  Twitter / Official 

13.   The Sundays  -  Here's Where The Story Ends (1990) (41:10)

Harriett Wheeler's beautiful voice and The Sundays will probably need no real introduction such is the impact they had on the 90's jangle-pop scene in the UK.. 

Whilst every other band of the 90s were going the totally guitar dominated route such as The Mighty Lemondrops, The Frank and Walters, The Milltown Brothers etc, just The Sundays and The Railway Children were waving the flag for the jangle-pop being played with fluttering guitars and vocal beauty as muscal nature intended.

Genuine jangle-pop gentry !

Find Them: Discogs

14.   The Perfect English Weather - Hit Town (A.T.H.E.N.S) (2016) (45:06) 

The Perfect English Weather on DiscogsThis track is from ex-The Popguns vocalist Wendy Morgan / Pickles (depending how old you are) latest 'other' band The Perfect English Weather and their brilliant 2016 album Isobar Blues out of the Matinee Recordings label.

This track is somewhat atypical for the album, which is one of laconic beauty. However the vocal tempo and intensity is stepped up on this track to magnificent effect.

Find Them: Facebook / Bandcamp

15.   The Pains of Being Pure At Heart -  Laid (2015) (48:51) 

Hell album coverThis James cover track sees Jen Goma (also of ex-Sarah Records band Another Sunny Day) surprise us with a completely atypical vocal delivery. 

Usually more inclined towards Beth Arzy indie-pop fluttering vocal stylistics, this version of Laid sees her add a healthy dosage of grit to her vocal mix.

I absolutely adore this version of a truly great track.

Find Them:  Twitter / Facebook

16.   The Aislers Set -  London Madrid (1998) (51:43)

Fittingly another beautiful voiced jangle-pop chanteuse follows Harriet Wheeler in the form of Amy Linton of San Francisco's The Aislers Set, with this track from their 1998 Terrible Things Happen debut album out of Slumberland Records being among the finest examples of her smooth vocal delivery.

Linton also did a lot of work with Stewart Anderson and a band pre-The Aislers Set called Go Sailor which are also well worth getting hold of.

Find Them: Official 

17.   Voice of the Beehive -  I Say Nothing (1988) (55:21)

Voice of the Beehive primarily consists of the vocal sharing sisters Tracy Bryn and Melissa Brooke Belland, who teamed up with a couple of ex- Madness members to produce a sort of jangly power-pop that hints at the joy of the B-52's and the jangle-pop of The Bangles.

I saw this band so many times in the 80's and 90's and on every occasion the sheer bouncy fun that this track, from their 1988 Let It Bee album encapsulates always shine through. 

Find Them:  Facebook / Twitter

18.   Camera Obscura -  Keep It Clean (2004) (58:50)

This is the title track to a much cherished 2004 EP released out of Elefant Records. At the time I vividly remember some bright music journo describing Tracyanne Campbell's vocals and the aesthetic of the band in general, as being 'breezily winsome'.

Since then each album has remained steadfastly breezily winsome. However with  Tracyanne Campbell being the queen of such an aesthetic it never becomes tiresome...just increasingly cool and beautiful. 

Find Them:  Facebook / Twitter

19.   The Orielles -  Sliders (2016) (01:02:02)

This three piece from Halifax UK, became immediate jangle-pop royalty after the Heavenly Records release of the 2018 debut album Silver Dollar Moment had music writers reaching for their thesaurus' to find more exotic words for 'very good'.

This track is from their 2016 Jobin EP (out of Art is Hard Records) and sees Esme Hand Halford assume vocal duties to superb effect.

Find Them: Facebook / Twitter

20.   Her Name in Lights -  Wicked Girl (2004) (01:05:15)

Into The Light Again (CD, Album) album coverArguably the most technically perfect vocalist among the various Sarah Records bands was Mary Wyver of Even As We Speak. The majority of this 2004 debut (and only) Into the Light Again album (released via Laughing Outlaw Records) is ridiculously beautiful and accentuates Wyver's voice superbly.

However her versatility is fully displayed with her vocals of this buzzsaw track which takes her back to her early Laughing Bush days.

Find Them:  Facebook