I am a 50-something jangle-pop, indie-pop, twee pop nerd, and of course I have a “getting ready to go out to meet my mates on the one night a week (Friday is beer day) that our wives let us all out to sit around a pub table drinking an amount of lcohol that our aging bodies always regret in the morning as we talk, what can only be described as ‘absolute nonsense’ playlist…well who doesn’t? The abovementioned playlist is one of joyous tracks containing enough energy to ensure that I walk out the door rather than take the easier option of snuggling up with the wife and kids for the night. This F ..read more

Two years after the debut Swedish Punk album presented itself as a poster child for an “all killer, no filler” saying that gives me the ick as much as ‘bangers’, Danish foursome Kindsight are back with a No Shame No Fame follow-up that once again forces me to search for more erudite terms to replace the above terms as this album simply does not have a track that ever even begins to sidle away from brilliance. Sliding between two primary, inter-linked nuances tracks best represented by Tomorrow, Killing Eye, the simply sublime standout of Terracotta Team Song, and Top 10 Things You Need in the ..read more

Heiko Schneider (aka theCatherines) have always been intensely popular with labels such as Fadeawayradiate Records / Paisley Shirt Records and their various compilations, primarily due to his propensity towards brilliance when reinterpreting the sounds  tracks and genres of yesteryear. As such, this ‘odds and sods’ compilation was never likely to be the hit-and-miss affair that similar releases from often great artists can sometimes be. In contrast, theCatherines treat us to an album that could go toe-to-toe with some of his brilliant previous releases and come out of the fight relatively ..read more

If the somewhat stark Watching the People Blur album title offers hints of Lowery-style industrial futility, then the Bandcamp release bio takes us headlong on a one- way ticket to the ‘meaningless of it all’, opining with typical humorous resignation: How many people do you see each day who you will never see again? Hollow Bodies’ sixth album finds poetry inside of a regular commute. Over the course of 9 story songs the Seattle rockers survey Sisyphean lawn-enthusiasts and powerpoint presentations gone wrong to help you survive your nine to five. Not that this  Seattle-based trio force ..read more

Thank you for joining us for Beat the Delete 0229. We bring you all the submissions that have not suffered the punitive hammering of my faded delete button as I wield my delete index figure with an impunity that only the tyrannical madmen of yore could really begin to perceive. However, the following have all tickled my jangle receptors in some way. “Leave If You Want To” — lead single off The Meeks sophomore LP People Don’t Talk — marks the band’s first foray into a professional studio. Recorded at Figure 8 with engineer Nate Mendelsohn (Frankie Cosmos, Katie Von Schleicher, M ..read more

What a wonderful surprise it was when the fruits of my labour in pressing The Umbrella Puzzles Bandcamp follow button (I knew the absolute tenacity of my protestant work ethic would pay off one day!) resulted in the receipt of an e-mail declaring that Ryan Marquez (The Umbrella Puzzles, Sodajerk, Golden Teardrops, Apple Orchard) and Teresa Daniele (Paint Your Wagon Red, Two If By Sea, Seashells) had released a career retrospective Words To Remember Me By compilation of their superb The Haircuts project. With the exception of the previously unreleased My Favorite Shadow track, this output was o ..read more

Plainly in awe of the jangly ‘miserabilisms’ of the sort of acts that create beauty out of languid melancholy and woozy slacker acts such as Alex G, Pinback, and Blue Smiley, this Now album by Detroit-based teens Aiden Bichara and Steven Leonard (aka Dualisms) takes the listener on a concerted musical journey to just about everywhere that the best of jangly slowcore has been so far. As such, the softer, most languid tracks within this perfectly underproduced release see the wonderful The Room and Brown Eyed Girl course all manner of woozy neo acoustic riffs through a back drop of beauty that h ..read more

Pumped with the sort of testosterone-fueled incessance that seems destined to add to the sort of RGV, DIIV, and Mythical Motors energy that seems determined to wrestle the jangly guitar sound out of the more effete clutches of the current persuasion for every second act to sound like a Sarah Records tribute show, this self titled The Wesley’s album puts the boy is boisterous. The jangly muscle is fired from three musical cannons. Initially, Make It My Way, lead single Great Big Smile, and Death By The Bite marry early Bdrmm post-punk brooding with the jangly indie-rock energy of the Ducks Unl ..read more

While every other review I have seen written so far about this album seems to revel in the glorious post-punk modernity of the release, the good folk at Janglepophub Towers (i.e., me in my home office) appear to be the only ones that feel the main celebration of this debut Cult Value album by Oort Clod is the sheer brilliance of their take on an alt.jangle aesthetic that appears to be becoming increasingly more important to the genre over the last 18 months. Collaborating with the Safe Suburban Home and Repeating Cloud labels, who have become synonymous with each other of late, this Mancheste ..read more

Those of you who have followed our Subjangle label for a decent length of time will know of our admiration for the beautiful jangle-pop of the Night Heron and, latterly, 3.A.M. Again (after a vastly inferior act got all ‘copyrighty’) solo recording projects of Gloucester, MA,-based Michael Telles, who has collaborated with us of on four of the of the most beautiful and original jangle-pop released since the lockdown days of 2020 (…true even if a tad biased). Now forgive me if I get a little sentimental about this release as a) it is his last one with Subjangle as he has now signed for Jodie Lo ..read more