Shapes Like People is Carl from England and Kat from New Zealand, now living married life and making music in Wiltshire. And for a change I won’t mention that New Zealand pop label. The jangly indiepop songs sound somewhere between the early indiepop from Glasgow 1984 and the sixties pop from San Francisco 1968. I like it, just as much as I like their description of their “utterly quaint British country home topped with traditional thatched roof”. That sounds like the right kind of middle-aged life. “Don’t change the view, grow gracefully older”.

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I think I’ve said this before, but when indie folk hits things right, it is really good. Angelo De Augustine is from Southern California, is “has his own Wikipedia page” big, and though I just discovered him has released no fewer than six albums; Goodbye Baby Blue is from his latest album Angel In Plainclothes. He has performed with Sufjan Stevens, whom I somehow never got into, but for me in this beautifully quiet song it is comparisons with Elliot Smith, Kings of Convenience or, much further back, Nick Drake that I use as rational explanations for really loving it.

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The six members of The Kind Hills met while studying in Perth, Australia. They now live on four different continents, but that hasn’t stopped them from being a band with what looks like already a pretty impressive collection of releases. Their latest album Little Epiphanies is my first introduction to them and I have become a fan. It’s simple, cute indiepop, a bit dreamy here and a bit electronic there and surprisingly varied. I Need A Holiday is the song that keeps popping up in my head and it seems fitting given the season. “Not quite soon but right away”!

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My friend told me the other day he had dreamt of Beulah. Then a few days later, I found their 1999 album When Your Heartstrings Break in a record store. I don’t know how often I would have thought of the San Francisco band otherwise, but I am glad I did. Elephant 6 pop in its purest form (so that’s the triple-B influence of Beach Boys, Beatles and Byrds), more smooth than other E6 bands and with this awesomely titled We Can Land a Man on the Moon, Surely I Can Win Your Heart as a perfect album finisher.

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Kids these days don’t know this but early Mountain Goats releases (some of which on cassette only) included some lo-fi casio music. It’s those songs that The Chop’s The Auditor reminds me of, and guess what it is also from a cassette-only release, on Vancouver’s Lost Sound Tapes label. Musically, this husband and wife duo is probably closer to Casiotone for the Painfully Alone: lo-fi bedroom indie dance music, with Gemma’s prominent vocals, despite the duo residing in Glasgow, Scotland, sounding very English. I like it.

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A loud punk band? On my blog? Yes, I am not someone to join the mosh pit, but instead prefer to stay quietly on the outside, with the other indiepop kids. But this song by Minneapolis’s Dillinger Four, their first in many years apparently, is loud but also so… catchy. As if Mac Superchunk got himself a skateboard. And it keeps popping up in my head, which makes it deserve its place on the blog.  

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I’ve had Prism Shores’ I Didn’t Mean To Change Your Mind on my playlist since it first appeared as a single in February but never got round to writing about it. Now a full album (Softest Attack, their second) has come out and while it contains some fine jangly pop, this remains my favourite song by far. The band is one quarter New Zealander (and three quarters Canadian) and that makes the Flying Nun comparison an easy one to make, but the song could easily have been released on that label, two or three decades ago.

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Two albums in (Love You Hate You is from their 2025 debut), there is so little to find about The Parker Posies (from Oak Bay, BC, Canada, apparently) that someone suggested they may have been AI generated. It would be truly sad if it were. This sounds very human: very “awkward high school kids with an appropriately lo-fi production singing about love” that is the core of indiepop. Let’s hope they’re just too shy to do anything but sing cute songs. “Sitting on my bed / Feeling so alone / Dreaming of your smile / Wishing you would phone”. 

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More than this blog would suggest, I am really into electronic music. My neurodivergent nature however means I am really not a club person. Which is why my ideal kind of electronic music is somewhat introverted, music that I can dance to, but quietly in the safety of my living room. Zoumer really fits that bill. It is the alter ego of Yasmina Derradj, living in Copenhagen and from Algerian descent, something reflected in the title e.a.l. (euro arab lovergirl) on her recently released second album (from which this is taken), as well as her North-African influences.

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Sometimes it takes me months of brooding to find something to write about a song I like. And sometimes I get inspired to write on the first listen. That is what happened to Fall Breaks, self-described as “the recording project of a 16-year-old music nerd” to which I add that he is from Uberlândia, Brazil. I’ve been in love with his Unmarked EP (his fifth, according to Bandcamp) since yesterday. Laid back, synth-driven indiepop that occupies the space somewhere between Sarah Records and Jesus & Mary Chain. Of which there is quite a lot these days. But this is really good.

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Oakland’s Dandy Boy Records describes Above Me as “the main songwriting vehicle for San Francisco based artist Rick Altieri”. As part of Blue Ocean, Rick released two albums on another Oakland label, Slumberland. The dreamy shoegaze of that band (and many other bands on that label) is a good reference for Above Me, though here the synths and drums play a more prominent role, making me almost write ‘soundscapes’. I say almost, as underneath the electronics this Water Drops, like most of Above Me’s debut album Soften The Blows, is a really fine pop song.

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I started a new job last week and went to a conference right away. That was great. It was also mentally exhausting and that is when I fall back to ‘safe bands’. The Softies are a very safe band. There is a lot to say about all the bands Jen and Rose were in too, because that matters, but The Softies are also two women, two guitars, two voices and very intimate songs. This is from their 2024 comeback album, that I love to bits and is as good as their early work. I am so glad The Softies exist.

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There is a kind of synth-driven indiepop that goes all the way to British bands like the Field Mice and Another Sunny Day back in the 1980s. It was very popular in Sweden in the early 2000s, when that country was an indiepop Valhalla (and this kind of music was particularly popular) and now lives on in bands like Vain Pursuit, who I discovered recently through the JanglePopHub blog. Vain Pursuit appears to be the solo project of Vinny Ball from New York and ten (digital) singles in, Fears (from 2023) is my favourite song.

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More laptop twee! Josephine’s Next Million Miles (cool band name, BTW) are a four-piece from New York City. They share with bands like London’s Worldpeace DMT and The Femcels a playful enthusiasm and a childish seriousness (or serious childishness) that goes all the way back to the original twee pop from the 1980s. I would gladly recommend any song from their recently released debut album Buckle Up (out on dawk26). I’m choosing this Summer Song because it reminds me of Architecture in Helsinki who, come to think about it, were kind of proto-laptop twee.

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This week, a friend scanned the first band interview I ever did, in 1996, with Peter Hughes of DiskothiQ. I didn’t know what to ask a band – I still don’t – and most questions were about the European tour Hughes had just done with the Mountain Goats, whom he would later join as a full-time bass player. DiskothiQ ceased to exist around the turn of the century, but not before they had planted this very catchy (that bass line!) simple 3-minute pop song (a lo-fi pop variant of college rock, if you need a description before you listen) in my brain.

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Chicago’s Sunday Records was active in the 1990s and early 2000s, releasing 7” singles and CDs by legendary indiepop bands such as Fat Tulips, The Cat’s Miaow and Aberdeen. They returned in 2018 to release some great music from all over the world, all musically going back to 1980s Britain, the golden age of indiepop. Sheffield’s The Suncharms are not only British themselves, they also go back to the 1980s; like the label they reformed some years ago. The songwriting and vocals here remind me a lot of Razocuts, if perhaps slightly more shoegaze-y. Great stuff for any day.

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Someone wrote a book about The Clean. And though it may never reach the top of my To Read pile, it was a good reason to listen to some of the songs of the legendary and influential New Zealand band. Thankfully, The Guardian compiled a list of ten essential songs. Of which this 1994 song Secret Place is my favourite. Less Velvet Underground than a lot of their other music and more jangly organ-led pop like, say, The Bats. Which I guess is hardly surprising as the song is written and sung by Robert Scott, who is in both bands.

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The thing with reading announcements of upcoming releases is that I get impatient and end up falling in love with previous work and then write about that. So with apologies to Love, Burns (Phil Sutton of Brooklyn, NY; previously of Comet Gain, Kicker and others): their new album Pavement Drawings will be out in a month, but I currently really love its 2024 predecessor Blue and this Hard To Fall in particular. For fans of 1980s British new wave (say Aztec Camera, but less Scottish). And, well, with more to come in a month.

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I saw a video of Loren Vanderbilt performing with Heavenly and that reminded me that I had never posted anything by Humdrum, of which Loren is the main member. And that despite this There And Back Again being one of my favourite songs of the past few years, one that even made it to my very selective playlist with favourite songs I put on when I am sad and need grounding. It is happy, it is pure indiepop, British at heart but Chicago by location, obviously released on Slumberland but also reminding me a lot of mid 2000s Matinée records. 

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In what feels like last week but was actually the beginning of the century, I traveled to Sweden for a tiny indiepop festival. One of the bands that performed was Dorotea, a then very young trio from Gothenburg who played very energetic, punky indiepop, as if the Ramones were decent people and into indiepop. Speaking of decent, Decent is my favourite song (at 84 seconds far from their shortest) by the band, who were still going a dozen years later when they played the song at Indietracks and had not lost any bit of their youthful energy.

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Does anyone remember Kindercore Records, the Athens, GA label that around the turn of the century released a lot of soft, gentle indiepop (Kincaid, Masters of the Hemisphere)? It is those bands that Research Vessel’s Where You Are reminds me of. (Their own bandcamp says it evokes the melancholy of The June Brides, if you want an officially endorsed comparison. I don’t disagree.) I loved those bands and I love this song, from the five-song debut EP Research Vessel (the alter ego of Danny Rowland of Seattle, WA, who also plays guitar in Seapony), just released on Sunday Records.

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I got all excited when I read on Slumberland Records’ website “Kids On A Crime Spree are set to release a new record”, only to realise this actually refers to the band’s 2022 second album Fall In Love Not In Line. That won’t stop me from writing about this song — the album’s opener — of the band with members who were in #Poundsign# and From Bubblegum To Sky. I’m also adding Pains of Being Pure at Heart as a musical reference, especially on this shoegaze-y dreampop song. And hey, maybe that third album will come one day.

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Early 1990s Superchunk (the albums On The Mouth and No Pocky For Kitty in particular) is among the best powerpop ever made. According to me anyway, but this is my blog. Their later work never did it for me, but I like Superchunk as an idea so much I don’t feel like complaining about that. And hey, here is a recent song (the B-side of a 2025 single; a Look Blue Go Purple cover in fact) that has some of that same early energy that shows the kind people from Chapel Hill, North Carolina still have it in them.  

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The Long Secret on Harriet Records is one of only two or three compilation records that I have kept during various international moves. My Favourite Jumper by Australia’s The Ampersands is probably my favourite song of the album. The Ampersands never released much (there’s an interview Roque from Cloudberry did in 2012 that serves as a good biography) but I love everything they put out. Small though they might have been, they were well connected within the Australian indiepop community, even sharing a band member with The Cat’s Miaow, which is probably the best reference for this perfect indiepop song.

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I fell in love with The Wulongs after 20 seconds of listening to this Text, the opening song (on some streaming platforms anyway) of the Japanese three piece’s second album FACH (just released on Sunday Records). It’s a classic punky indiepop song from the same mold that gave us, say, The Shop Assistants. The rest of the album is a bit more quiet – though still punk in spirit – and also very good, but first love never dies and Text remains my favourite.

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On this blog, I have several times compared bands to All Girl Summer Fun Band, which I guess makes sense as their name implies a concept as much as a sound. Croutons (“a female power trio from West Seattle”, according to their label Lost Sounds Tapes) certainly follows the same concept, but also fits very tightly in the musical box that has AGSFB written on it: cute, dreamy tweepop songs with girl-group harmonies. Mountains of Blue is the opener of their recently released self-titled debut album (cassette!) and my favourite song, but it is well representative of the whole album.

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Never too old to learn something new, I only very recently figured out that Ladytron is from London, not New York. In my defence, I associate Ladytron with the early 2000s blogosphere when London and New York (and Paris and Munich) seemed to be one thing. I also learned the band is still making music, its eighth album Paradises released last month. I like it, not in part because it’s not very different from early Ladytron, where “a clubby version of Saint Etienne” is the best description I came up with. It certainly applies to this catchy I See Red.

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Some time in the late 1990s, I saw US band Fuck play a show in front of a few dozen people. They had put wind-up toys between them and the public that moved around during the show. Now that’s how you create an intimate atmosphere. It matched the band’s quiet 90s indierock really well: listening to Swinger almost three decades later – someone mentioned the band on instagram and I dug up my favourite songs – I can still picture all those toys doing their thing while the band was playing behind them. Calling this music ‘Fuck’ is the real punk.

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Several albums in, on Tidal, my music streaming platform of choice, Miscellaneous Owl has one fan: me. That’s the true bedroom-indiepop spirit. Miscellaneous Owl is the solo project of Huan-Hua Chye of Madison, Wisconsin, who also sings in the Allo Darlin’-esque Gentle Brontosaurus. In her very prolific solo project she sounds more like a bedroom version of the Magnetic Fields. I really loved her latest album The Wanting Chemical, with this Aspect, Tense probably my favourite. I get Tidal’s message that it’s not everyone’s thing but if you’re into this kind of music, like I am, it is really good.

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I only really like one type of pop music (the simple pop song), but then I hear that in a lot of different kinds of music. Such as in this Falling by Xylitol, the alter ego of British DJ and producer Catherine Backhouse. It’s the final track on an album (Blumenfantasie) filled with jungle and drum & bass (or, as she herself describes it, ‘mitteleuropean melancholy’) that works well for me as background music but my pop-sensitive ears get only really excited for this song, that resembles early 1990s eurohouse. But really, it’s just pop music. 

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I am of the opinion that Yo La Tengo, a pretty fine band in general, would be better if they had Georgia Hubley sing more songs. It’s those more laid back indie songs with female vocals that Yea-Ming and the Rumours reminds me of. The Oakland quartet around singer Yea-Ming Chen (she also sings in Ryli) will release its next album, Residue, in June on local Dandy Boy Records; this lovely Paper Doll, with a subtle country twang, has been released digitally as a teaser to keep us busy and patient.

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I once saw British singer-songwriter Vashti Bunyan play at a music festival curated by Belle & Sebastian. It was a reminder of the influence folk singers like Bunyan had on contemporary indiepop. But there are also more direct heirs to the likes of Vashti Bunyan. Such as New York singer Dagmar Zuniga, who just released an album (with the appropriately poetic title in filth your mystery is kingdom / far smile peasant in yellow music) of quiet folk songs (think candle in the bedroom, not people around the campfire), of which I find this Plenty For All The Masses particularly beautiful.

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My experience living in France was, at best, mixed, but I do really like the language, which seems made for romantic pop songs. Doggy, from the central French town of Limoges, describes itself as a “un groupe d’indiejanglepop” and though influenced by British and American indiepop, thankfully resisted singing in English. I particularly like this Pristine Creusée, with its keyboards and trumpets, but all of their new Un jour parfait album makes for some really pleasant listening. Oh, it is a love song about a garden pool, but in French you can get away with that sort of thing.

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“Bard rap”. Thus describes Hen Ogledd singer Dawn Bothwell her approach to making music. It certainly describes this Scales WIll Fall (from their recent DISCOMBOBULATED album): an 8-minute folk song that refers to many protest movements past and present. Towards the end of the song – not even the longest on the album – It’s hard not to end up singing along to the polyphonic chorus. And you’ll probably have joined them on the barricades too.

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The inspiration for Neutrals’ Steven Proctor, Bus Conductor is an old newspaper article about a Scottish bus driver who gambled away the day’s collections. The song is quintessential Neutrals: Bay Area postpunk-indiepop that recalls Television Personalities or – if anyone remembers them – Milky Wimpshake, with the vocals very prominent in a storytelling way and the songs’ subjects often Scottish/British (their singer is unmistakably Scottish). It is also a really good song: my favourite from their 2024 album New Town Dreams (released, obviously, on Slumberland), which itself remains one of my favourite albums of the post-Covid era. 

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I am currently in a part of the world where it is pretty much impossible to buy or even order new music, making me grateful for places like Bandcamp and Tidal. Those weren’t around two decades ago and I remember searching for years for records by Small Factory of whom I knew some songs from mixtapes. When I finally found their records I wasn’t disappointed: all three albums are good and represent early 1990s US indiepop well, with this Friends still my favourite. Not on Bandcamp (yet?) but it is on Tidal and Spotify for us to enjoy.

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More than three decades after bands like My Bloody Valentine and Ride discovered their own footwear, there is a lot of shoegaze being released. I am not complaining and I am certainly a fan of the dreampop variant that I feel I refer to in every third song I write about. Philadelphia, PA’s Nothing is more noisy than that. On their album they sound at times like Radiohead – that’s nightmare material for me – but this Cannibal World, where the noisy shoegaze is accompanied by a breakbeat rhythm, is welcome to visit me in my dreams.

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I’ve been really into Slippers lately, a Los Angeles band around singer-drummer Madeleine BB. That singer-drummer combination isn’t very common: there’s Genesis, of course, and in indiepop the legendary Lucksmiths. Those are not many miles off, musically, from Slippers: catchy and slightly edgy indiepop with a lo-fi feel to it. For its second album, out in June, Slippers has signed with what feels like its natural home, K Records. Until then, here is the addictive Guess I Started a Band, a non-album single that was released a year ago and could easily serve as the band’s theme song.

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The Pains of Being Pure at Heart recently played in Jakarta, Indonesia and not even for the first time. It makes sense: the country has long had an active indiepop scene. Meraung, from the Jakarta suburb of Bogor, is one band from this scene and their dreampop suggests they have listened to POPBAH more than once. Smile Like The Sun, from the recently released five-song Change EP, is a sweet love song that shows the band sounds as good (and perhaps a bit more confident) as on earlier work, where they sang in Bahasa. “Together, forever, your hand in mine”.

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I was young and eager in the mid 1990s and really into indie rock coming out of the US at the time, but the name Korea Girl (San Jose, California; active 1996-1999) didn’t ring a bell. And I probably would never have discovered them if one of their songs, this Reunion, hadn’t become very popular on TikTok, which helped Tidal recommend it to me. I love the TikTok generation (they did the same to Heavenly, for example) and I really love this sad, reflective indie rock song about an upcoming school reunion.

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Of the Spanish bands in the very international catalog of Madrid’s Elefant Records, La Casa Azul is probably the most popular. It’s not hard to see why, given their happy disco synthpop (that Wikipedia, rightly I think, compares with Japanese Shibuya-kei) is really catchy and sounds many miles more confident than most other indiepop bands. They also do (or did, when I saw them) exciting live shows. It’s never a punishment to listen to their songs. This one, perhaps thanks to the lyrics “Y entrar pletórica a lo Barry White / Una auténtica superstar”, is my favourite.

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I wouldn’t think that “indierock with a country twang” is something that would get me excited but here you go: I absolutely love the 99 seconds of (Crying In The) Sportsbook by Chapel Hill, NC’s Entrez Vous. True, it helps that there is a bit of punk here and even a hint of indiepop, but most of all it is just a very catchy short song. Come in!

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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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