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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“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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Silk Daisys is a band (or ‘project’) from Atlanta, GA which helpfully list a lot of British 1980s musical references on its website (including Lush, Cocteau Twins and The Primitives), as if the music itself didn’t make it very easy to find that box to put them in. Even the design of their self-titled debut album, released late last year, looks like it comes out of the 4AD catalog. To those references I add Ride (whose Mark Gardener mastered the album) and, especially on this song, Razorcuts. If that’s your box, you’re going to enjoy this too.

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I have previously written about ‘shatta’, the dancehall variant that originates in the French-speaking Caribbean, and the island of Martinique in particular. Meryl (née Cindy Elismar) is also from Martinique and also fits that box to some extent, though feels a bit more hit parade-catchy. I can’t claim to know the subtle differences between all the reggae-linked musical genres of the African diaspora, but facts are: 1) Meryl is pretty popular, especially in the French speaking world (and too big for Bandcamp, apparently) and 2) I really like this Paparazzi, sung together with Swiss-Congolese Theodora.

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Maria Somerville released her latest album Luster on 4AD last year and I think that is a label that in both senses of the word is fitting: Somerville’s music matches a lot of the 4AD back catalog. Dreamy, shoegaze-y, sometimes folk-y with a bit of post-punk thrown in. To accompany that album (which I can recommend you listen to), there is now an EP with six remixes of the album. All six are worth listening to, but I particularly like this slightly darker electronic remix of Corrib by oscar18 and Asa Nisi Masa.

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Today is Burns Night, where people, especially in Scotland, celebrate the life and work of Scottish poet Robert Burns, born 267 years ago. So why not post one of my favourite songs by one of my favourite Scottish bands, which happens to be a Burns poem. Camera Obscura doesn’t need an introduction, I assume. It is, incidentally, the first band I ever interviewed in person, when I spoke to then new keyboard player Carey Lander in London in 2002. It was also, I believe, her first interview. Carey sadly passed away in 2015. This song is also for her.

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One possible reason behind the current wave of shoegaze/dream pop bands – that I’m certainly not complaining about – is that with modern technology you don’t need a full band to create a full dreamy sound. Melbourne, Australia’s Rocket Rules is yet another example of this. With one singer (Rachael) and one multi-instrumentalist (Baxter) they released a debut album (Dearden’s Number on Shore Dive Records) filled with great fuzzy pop songs that occupy the space between early Lush (but less dark) and Trembling Blue Stars (but noisier). There are many good songs among them, but Chapel St is my current favourite.

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