I’m really excited about new ‘classic twee’ bands, such as The Cords, forming and old bands in the genre, such as Heavenly, re-forming. But I’m also excited about the ‘laptop twee’ trend of bands that interpret the genre of cute, playful pop songs with a serious undertone in a new, more electronic (and heavily influenced by electroclash) way. With this dreamy electronic Going Home (“I’m gonna walk when I want, gonna walk when I have to”) London duo Bassvictim fits seamlessly into the box I had previously put Worldpeace DMT and The Femcels in. It’s a very precious box.

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My favourite US power pop song for this month is Bug, by Philadelphia’s Remember Sports. Power pop not a very innovative genre and it’s not even a genre I find myself listening to a lot, but all the way back to Magnapop’s Merry (a personal all-time favourite), it’s a genre that once every while produces songs where everything falls into the right place. And Bug is one of those songs. “There’s more to life than cleaning up my room” after all.

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Portland, Oregon’s The Autocollants are one of so many 1990s indiepop bands who have re-formed to make new music. In this case, an upcoming split 7” with The Cat’s Miaow. That’s also the main musical reference, as both bands make fragile, sweet but sad indiepop songs, with the lo-fi recording making the songs feel very intimate. I’m too impatient to wait for that 7” to be released in May so here’s a three-decades old song (that also recalls Galaxie 500) from an outtakes compilation that I’ve been playing on repeat for weeks. “You are perfect just the way you are”.

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Sonic Youth was, more than three decades ago, a brief but important stop in my journey discovering music. I rarely listen to the band these days, but still enjoy some of their early music, which mixes punk, noise and experimentation with a lot of feedback. The musicians from Land Whales are clearly Sonic Youth fans and this short, edgy song wouldn’t stand out on, say, Daydream Nation (I wrote this before discovering they used to be named after a song from that album). Extra cool: they are from Havana, Cuba and released their debut album on Peru’s Buh Records.

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Last year, at a music festival in Athens, Greece I saw Tim (ex-Razorcuts) and Vanessa (ex-Melons) play some old and new songs. What I didn’t pick up on – and that’s on me; I chatted with both after the show – is that they actually have a full band, called Silver Biplanes, and that’s where those new songs were from. Having properly discovered them, I really like Silver Biplanes and Coming Up For Air (from a 2025 EP) in particular as it hides a dark theme behind a lovely sweet melody, which of course it shares with so many 1980s indiepop songs.

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Ghanaian Ebo Taylor died last month. In his long life (he lived to 90), he played an important role in the development of highlife and afrobeat, two musical genres that are only slowly being discovered outside Africa. Indeed, not until 2010 did Taylor release an album that was distributed internationally. Thankfully, with his death his music hasn’t died and I really enjoyed digging into his music, with this jazzy Atwer Abroba my favourite: despite my impatient brain and the song lasting more than 8 minutes, it never gets even a tiny bit boring.

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For years, Melbourne’s The Cat’s Miaow were this band from a distant past (the 1990s) whose songs indiepop fans shared on mixtapes or played on repeat as they went through breakups. But now, the band is playing shows again and releasing new music too. And not only that, the new songs sound very much like the old ones, which are among the finest bedroom indiepop songs that I know. Don’t Want To Know If You Are Lonely is actually a Hüsker Dü cover and – no disrespect to the Hüskers – even better than the original in a very Cat’s Miaow way.

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According to Wikipedia, Hong Kong’s My Little Airport started “writing politically themed songs” in 2009, which is why I guess it is appropriate they mostly sing in Cantonese now. Those songs are really good (I checked), even if I miss all the political references (so it might be a good moment to learn about Hong Kong’s Umbrellla Movement, which My Little Airport is actively involved in). But this cute early sad love song remains my favourite of theirs. By far actually.

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“Breakfast in cemetery / Boy tasting wild cherry / Touch girl, apple blossom / Just a boy playing possum”. That, from Beat Happening’s Indian Summer, is where Austin’s Touch Girl Apple Blossom got its name from. The band’s debut album will be released in May on Beat Happening’s own K Records (choose your band names wisely, kids) but I’m inpatient and I really love Sidewalk, from their 2023 debut EP, so that’s what I’m sharing now. Indiepop that would suit an Indian summer well. It somehow reminds me of Canada’s B’ehl, but if you think Beat Happening, you’re not many miles off either.

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More than four decades after she and her Dolly Mixture bandmates sang about a popular classmate, Rachel Love still makes music. In Railcard and on also her second solo album, Lyra (from 2024, but re-released next month by Slumberland), where she is accompanied by her sons as they process the passing of Rachel’s husband Steve. That’s a beautiful story. It is also a beautiful album of quiet, reflective indiepop of which I could have picked any song. Opening Without You, given the subject, seems the most appropriate choice.

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The Guardian published an article about Tinariwen, a Tuareg collective from the Sahara who are one of the pioneers of desert blues. The article focuses on how the collective is dealing with the (geo)political changes in the region, but it is also a good introduction to desert blues, which I had written about before. Tinariwen are probably better known than Etran de L’Aïr (they won a Grammy in 2011) and sound slightly more melancholic. Sastanàqqàm (“I question you”) is about the lessons learned from living in the desert and is a good introduction to both Tinariwen and the Tuareg.

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A ‘femcel’ is a voluntary celibate woman and listening to the lyrics on London’s The Femcels’ debut album I Have to Get Hotter, either that name or those lyrics are not to be taken literally. They make music not dissimilar to that of Worldpeace DMT, with whom half of this duo, Rowan Please, just released an album. Laptop twee the genre appears to be called, but then ‘twee’ as in jumping on a trampoline, rather than sitting in the park. If songs like Not ur Fiend is what the 2020s reincarnation of twee sounds like, then I’m all for it.

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Oh hey, Club 8 is still around. It appears the Swedish duo has been making music all this time while I wasn’t paying attention, with their most recent album (Seasonal Echoes) released in 2025 (on Darla). They still make clear and quiet, subtly electronic indiepop, like a perfect living room from an IKEA catalog. That’s a compliment, by the way, though on this short, edgy Lazy, probably my favourite song of the album, the room sounds a little bit more lived in. Which is also nice for a change.

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There is a small part of my brain that for the past 30 years has remembered the song Freemason Love Triangle by Portland, Oregon’s New Bad Things. In fairness, it is a really great song title. It is also a really great song – think a more post-punk and more energetic version of Beat Happening – by a pretty unique band. They’ve long stopped being a band – and unlike many of their contemporaries I haven’t heard any reunion plans – but they continue to live a meaningful life in my brain. And now on this blog too.

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“Mr. Watson, come here, I want to see you” said Alexander Graham Bell to Thomas A. Watson over the telephone, exactly 150 years ago today. Telephone numbers wouldn’t come into use until 1879, but the telephone’s anniversary is a good moment to post the theme song (from 2025’s Scarecrow II, on Slumberland) of San Francisco’s The Telephone Numbers. “Pure pop for sad people” they describe their own music. Which I guess applies to a lot of American indiepop, but hey, I like it, and The Telephone Numbers (who share a member and a sound with The Umbrellas) are particularly pure.

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I only recently learned that Washington D.C.’s Unrest started out as a hardcore punk band in the 1980s, with a sound more befitting the band’s name, which I had always assumed to be meant ironically given the uniquely clear pop sound of their later and better known albums. It’s still a fun name. The sweet love song I Do Believe You Are Blushing, from their 1992 album Imperial f.f.r.r., is one of the best examples of that sound and with its catchy guitar line, probably my favourite song of theirs. 

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Three-quarters of Railcard were Born in ‘62, which makes them old even for me, so here we have people in their sixties who just started an indiepop band. Of course, with age comes a lot of experience, in the case of Railcard’s members in British indiepop bands such as Dolly Mixture (Rachel Love), Heavenly and Would-Be-Goods (Peter Momtchiloff, both), with the baroque pop their new band makes closest to the latter. This song is my favourite from their recently released self-titled debut album which, cheap ageism aside, I did really enjoy listening to.

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It doesn’t get more legendary indiepop than releasing albums on Sarah Records and Reading’s Blueboy released two albums there – and one at Sarah-successor Shinkansen. Then the band broke up in 1998 but, like so many bands from that era, recently reformed. With a new line-up (co-founder Keith Girdler passed in 2007) the band put out a new album, A Life In Numbers, last year. Which is noisier and more shoegaze than their previous work (if you’re unfamiliar, check out So Catch Him) which took some getting used to, but I really enjoyed this Black Tambourine-like Figure of Eight in particular.

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I seem to fall in love with one power pop band every month. This month it is Sweet Reaper, a three-piece from Ventura, California, who sound like early Superchunk with some garage punk blended in. Or sometimes really just like early Superchunk, as in this Sick n Tired, from their latest album Still Nothing (the band’s fourth if I correctly counted releases on Bandcamp). Early Superchunk makes me very happy and so does Sick n Tired.

One downside of modern recording technologies is that there are so few bands that sound truly lo-fi, like The Mountain Goats, Refrigerator, Tall Dwarfs and so many others did in the mid 1990s, when young me in my bedroom found the barely produced two- or four-track recordings made the bands somehow more relatable. So I was glad to discover Healing & Peace (Alex Mussawir from Columbus, Ohio) who sounds old-fashionedly lo-fi like the aforementioned bands and, because there is a small dose of blues in his songs, a bit like Railroad Jerk, too. Which is fun.

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