What to do when you have some extra time in your hands? Work on what I love the most, music. That, for me, means the label and the blog as I have no skills whatsoever in making music.

This week I received two albums so I could listen before they are released, those of A Certain Smile and The BV’s. I’ve listened both a few times and I have enjoyed them. I must say I enjoyed The BV’s a bit better as their sound is closer to my heart, that of C86 sounding bands. A Certain Smile has different influences, pretty ones still, mostly from the 90s I would say. Their album also seem to have a much more polished production, much more quality in that sense. At many points I thought it sounded like the Fireflies. That was sweet. The BV’s are a bit rougher on the edges, there’s a bit more grit in their production. Also in the album they include many of the songs I’ve been listening for many months now like “Always” or “Ray”, modern indiepop hits in my book. In conclusion, even though it’s been a while since I review albums, both The BV’s “Speaking From a Distance” and the one that seems to be untitled of A Certain Smile are good albums. Now, people in A Certain Smile should be cautious supporting silly ideas that indiepop is misogynist, racist or full of  “faux tweeishness” on Facebook walls. That’s just plain stupid and I won’t support it. I can see the merits of the album, but I can’t support wrong political views about indiepop. Be smart.

Yesterday I also saw that on a Facebook group people were listing indiepop labels. At first I didn’t know that the intention was for bands to find a place where to send their demos. I thought it was just a way of refreshing the memory of which labels still support our beloved music. I say that because at some point I started seeing labels that have nothing to do with indiepop, or maybe they released one indiepop record in their 20 plus catalog. For me that doesn’t count as an indiepop label. I wonder if it does for you? When I pointed this out, mentioning that a London label that calls themselves a DIY label is definitely not an indiepop one, I got the classic answer, the most boring answer. That one that goes like “so what is indiepop anyways?”. It gets on my nerve. If my mum would ask me that I wouldn’t mind, she honestly wouldn’t have a clue. But someone involved in music definitely knows what indiepop is. But at the same time they know that  what fits in the borders of indiepop, in the margins, can be blurry, so they ask they ask this question to prove their point. Stating of course that indiepop can encompass a wide variety of music. Which of course it can. But not everything that one likes.

I can’t see a garage band as indiepop for example. The sound doesn’t fit. The politics are different and so on. But somehow labels that release garage bands are indiepop these days according to the view of many. How can that be?

I know a lot of people are getting bored by all these labeling of things. I understand. It gets in the way of music. You probably just want to listen to your favourite songs not caring what they are. I can respect that. But to create beautiful thing like Popfests for example, you do need this labeling. Without it, it wouldn’t exist. And that’s the thing about indiepop, its grassroots politics, the egalitarianism between fans, bands, fanzine writers, labels and so on, that could create a healthy scene (and then destroy it as well). Other genres don’t often achieve this sense of community. I remember having a long conversation with a friend organizing a post-punk festival. He would be jealous of the way indiepop could work and organize itself. Whereas in post-punk there’s careerism and competition, in indiepop there was a solidarity that would make easy to create important things, things that matter. That’s why I hold this music dear.

I know the situation now is a bit different. There was an article in the Guardian saying that indiepop is dead now that Fortuna Pop is gone. I find that ridiculous. Indiepop has been dying for a long time (to resuscitate in a few years from now according to my friend Matthew) and the only thing it has to do with Fortuna Pop is that the London label many times supported many things that didn’t help indiepop being alive. By supporting these things the lines got blurrier, no wonder mainstream music and DJs started appearing at indiepop festivals. As a friend said, what’s the point of that if we could just go to a pub to listen to this music? Would the pub punters be happy if we played them indiepop? No. And by all means I’m not saying Fortuna Pop is bad, they released so many amazing records, supported bands, did it all in a professional level that few labels could. Bands shined with Fortuna Pop. They also organized festivals and so on that were true successes. I celebrate that. But now that they are gone doesn’t mean the end of indiepop. There are still many bands and labels, struggling surely, that carry the flag until  perhaps there is a new coming of indiepop. Even if I’m not a fan of how they do their business, Elefant in Spain has been more consistent and have been around much longer, that you can’t really forget their importance in indiepop. England is not the center of the universe.

Well, that’s a bit of my ramble, I’ve been thinking about these things for days now. I find annoying the simplicity how many are dismissing indiepop as political. Calling it safe and conservative. It is hard to believe. People forget their McCarthys, their Wolfhounds, their Easter and the Totems, their Sarah manifestos, and more recently bands that carry their politics on their sleeve like The Felt Tips, Cats on Fire, Dorotea, Liechtenstein and so on.

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Today a band I would really like to get in touch with. I think maybe they could be a good release as part of the Cloudberry Cake Kitchen series. What do you think? I’m talking of Baby Lemonade out of Scotland.

I’m pretty sure most of you know them from the third Sha La La flexi (catalog Ba Ba Ba Ba 003) released in 1987. On it they appeared alongside The Bachelor Pad (who I already interviewed in the blog) and contributed the classic song “Jiffy Neckwear Creation”. This flexi came along the fanzines “Are You Scared to Get Happy? #4” and “Simply Thrilled #3”. Baby Lemonade’s song would be Single of the Week.

When I interviewed The Bachelor Pad many years ago they told me that their first gig, thanks to Jim Honey of Simply Thrilled was with Baby Lemonade and Jessie Garon and The Desperadoes. I wonder if that was also Baby Lemonade’s first gig?

The band would then sign to Narodnik Records. This was a label based in Edinburgh that was set up by Eddie Connelly from Meat Whiplash and the fabulous The Motorcycle Boy. On Narodnik he would release just quality music, Jesse Garon & the Desperadoes, The Fizzbombs, Baby Lemonade and The Vultures (also interviewed in the blog!).

They would release just one single with Narodnik in 1987. The catalog was NRK 004. The songs on it are two classic indiepop songs, on the A side “A Secret Goldfish” and on the B side “Real World”. Douglas Hart from the Jesus and Mary Chain would produce the record. The record was published by Cubic and engineered by Fergus.

An interesting bit is that the songs from the flexi and this 7″ would be re-released in 2003 by Egg Records as part of their Egg Restoration series. On a CD-R titled “45RPM” (catalog Eggrest 005) that for some reason I failed to get back in the day (I think this and The Hardy Boys one are the only Egg release I’m missing), the songs “Jiffy Neckwear Creation”, “Secret Goldfish” and “The Real World” were included plus two demos, “Secret Goldfish (demo)” and “The Real World (demo)”.

In 1988 the band was to release an album. Titled “One Thousand Secrets”, the album is a sublime indiepop record. Truly beautiful. It was released on DDT Records (catalog DISPLP 22) from Edinburgh. Only 8 songs appear on this album, on the A side “World of Mine”, “All Down To You”, “Summerhouse”, “Secret Goldfish” and on the B side “In My Head (At Night)”, “116 Days Adrift”, “Much Too Late”, “Ultimate Lie”.

Happily I do own this record. There is some information on the back sleeve. I find some credits there:
Joan – vocals, clarinet & cover design
Graham – bass & tambourine
Gary – guitars
Mark – guitars
Martin – drums, vocals

Tim Kane – all keyboards (also acoustic rhythm guitar on “Summerhouse”)
Ron McKinnon – flute on “World of Mine”

Produced and engineered by Jamie Watson
Recorded at Chamber Studio, Edinburgh

There is also an inner sleeve with lyrics for the songs and another black & white photo of the band.

My next stop is Twee.net. There is small biography there that is pretty interesting, sadly it is not signed by anyone.

I was a former band member i played the drums on the first single releases . started out in 85 Based in Kirkintilloch, Cumbernauld + Glasgow where we were low key in my front room of my parents house or in the house of the lead guitarist bedroom. soon we approached the studios in Charing Cross Glasgow city centre. In 1986 we made some copies of our music sent some samples to radio stations and from there we were slowly getting recognised. Such as John Peel whom loved it. Jiffy NeckWear Creation Feb 1987 on a flexi disc. Secret Goldfish, Real world. were our second release June 1987 with a double A side Band broke away in the later in the summer 1987 then reformed a few months later but i had gone traveling so i was no longer a member, a few more months after a Lp was released in 1988 which i have never heard. 

I wonder who this is. I’m assuming Martin replaced him.

I had been in Glasgow a few times. But never heard of Kirkintilloch or Cumbernauld. What about these places?

Kirkintilloch is a town and former royal burgh in East Dunbartonshire, Scotland. It lies on the Forth and Clyde Canal, about 8 miles (13 km) northeast of central Glasgow. Historically part of Dunbartonshire, the town is the administrative centre of the East Dunbartonshire council area, and its population in 2009 was estimated at 19,700.

Cumbernauld is a town in North Lanarkshire, Scotland. It is the ninth most populous locality in Scotland, despite only being designated as the site for a New Town on 9 December 1955. The area allocated was 4,150 acres lying between and incorporating the existing villages of Condorrat and Cumbernauld. The first new housing became available in 1958. An additional 3,638 acres (1,472 ha) was added to the designated town area on 19 March 1973 to accommodate a revised target population of 70,000. As of the UK census in 2011, the population of Cumbernauld was approximately 52,000.

On the compilation front it doesn’t seem they participated in any back in the day. Only in the past decades they would appear on “Souvenirs from Egg Records” (Egg Records 015) with the songs “Jiffy Neckwear Creation” and “Secret Goldfish” and on the C87 Boxset on Cherry Red with the song “Secret Goldfish”.

On Discogs there is another Baby Lemonade release listed, but it is clear that it is not the same band. This other one hails from California. The released I mentioned are the only ones that the band released. Though maybe, they had made demo tapes and sold them at gigs and so on?

It is a shame that the back sleeve doesn’t include the last names of the band members. It would be easier to track them. I can’t really find anything else from this fantastic Scottish band. I wonder if anyone out there remembers them? whereabouts in the UK they played gigs? If they recorded more songs?

I would really like to get in touch! Love this band!

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Listen
Baby Lemonade – World Of Mine

Halfway through March now. I’m going to be 33 in a few days. I find it funny that during March I see so many friends’ birthdays on my Facebook. It must be that Pisces is the most “indiepop” zodiac sign in the horoscope. Or not?

Some Other Day releases arrived and started shipping. Some mailorders will have them pretty soon. I know Jigsaw already does as well as Blue Very Disques in Japan. I believe Rough Trade and Disk Union should have them as well. As I speak about Some Other Day I remember that I’m already working on the next release in the Cloudberry Cake Kitchen series: The Potting Sheds! I’m very excited about it and will tell you more about it in the coming weeks.

On the 7″ front it is just a matter of patience. The Pale Spectres 7″ has been in the pressing plant for a month already so I hope I will have some news on it soon. It is definitely the release that took the longest in the Cloudberry catalog but I’m sure the wait will be worth for all of you! As soon as this is released I’ll be announcing the next 7″! Yes, Cloudberry is a bit slower compared to our early years but we still have a surprise or two.

On the indiepop news front, what is coming up? I’ve heard some rumours about a Popfest. I hope it happens. I hope I can attend. But for now I can’t say more.

When it comes to news it seems Firestation Records doesn’t disappoint. They’ll be releasing a retrospective for the band Keen on both CD and LP format on April 7th. The compilation is titled “Waiting” and don’t know the tracklist yet. I did interview Keen some time ago in the blog if you want to find out more about this awesome band.

Also Indiefjord, the cool festival in Norway that I’ve never been have booked two fantastic indiepop bands, Tinsel Heart and Pale Lights. To those two you have to add The Electric Pop Group and it looks like a nice time to be there. The festival is already selling early bird tickets on their website. The festival will be happening on the 15th and 16th of July in Bjørke, a little village by the Hjørundfjord, western Norway.

Oh! And I did see the Radio Dept. last Thursday at the Music Hall of Williamsburg. They were really great, fantastic. There was a bit of a shitty crowd in front of me sadly, people that were friends and were part of the opening band called Germans. They were obnoxious. A shame. That would be my only disappointment on the show, so I hope Radio Dept. didn’t have anything to do in choosing their opening band. That aside, the evening was precious, the band played almost all their new album, which I’m really liking a lot, and a few classics. It was dreamy and dancey. Such a good time. I even got the setlist at the end of the gig, lucky me, and bought me a $25 dollar t-shirt (not cheap at all, but well… I liked the message on it).

And last but not least don’t forget that we are currently having an offer on our website for 10 random 7″s for a very cheap price! This offer is only through March.

The Three Little Pigs is a fable/fairy tale featuring anthropomorphic pigs who build three houses of different materials. A big bad wolf blows down the first two pigs’ houses, made of straw and sticks respectively, but is unable to destroy the third pig’s house, made of bricks. Printed versions date back to the 1840s, but the story itself is thought to be much older. The phrases used in the story, and the various morals drawn from it, have become embedded in Western culture.

There are many 7″s I want. So many really. But there is one that I feel during the past few years that I want the most, I don’t know why. That is the 7″ Three Little Piggies put out in 1989.

I have had no luck tracking it. I haven’t been able to find it. For years I thought it didn’t even exist. Of course then Discogs was born and I found a little more information about it. I only knew that the A side was titled “Clark’s Commandos”. I had seen on Myspace a video of the band performing it. I would learn then that there were two more songs on the B side, “Ain’t He Happy” and “Uncle Chris”.

The record was released by Mrs Slocombe Discs (catalog MSD2). This must have been a record label set up by the band. The first release in the catalog was the “Frivolous Frolics” 12″ also by Three Little Piggies (catalog SRT8KL 1409). It came out the year before, in 1988. The songs on it were, “Press Eject” and “What Happened to Eric” on the A side and “Borgia Gintz”, “The Strangest of Men” and “Ain’t He Happy” on the B side. Discogs mentions that the record was recorded live at Portsmouth Art College on the 17th of December 1987. I feel only the last song was recorded live. there must be a mistake, though don’t take my word, I’ve never listened to any of the songs on this record.

Back to “Clarks Commandos”, these were a popular type for shoes for children in the 1970s & 1980s by the brand Clarks. It seems you can still find some of them on eBay listings.

For this 7″, we could find some images of the back cover and learn that it was produced at Recluse Studios by Rob Aubrey. “Ain’t He Happy”, the third song on the record was produced at DAN by Chris Sutton. there is also a contact address in Fareham. Did they come from there?

Fareham is a market town at the north-west tip of Portsmouth Harbour, between the cities of Portsmouth and Southampton in the south east of Hampshire, England. It gives its name to the borough that comprises the town and its surrounding area. It was historically an important manufacturer of bricks (notably used to build the Royal Albert Hall, London) and a grower of strawberries. 

I went looking again for the Three Little Piggies “Clarks Commandos” video I saw once on Myspace. Sadly it seems it doesn’t stream anymore. It is credited to a Vivian Gregson. I remember it being lots of fun.

I keep looking. I find a very old looking website for the Battle of the Bands 1989 in Portsmouth. Organiser Barry Hedges had released details of the 64 bands from almost 400 entries – that have been selected to compete for a share in the £18,000 worth of prizes during the next six months. One of those bands is Three Little Piggies. They seem to have won the Fifteenth Heat, the Semifinal, then another time on 16th October 1989, but not being able to win the whole competition, the winners were a band called Yellow Cab Company.

And I play “Clark’s Commandos” once again, and I have so much fun with the trumpets and that contagious chorus. So catchy! I wish I wore Clarks Commandos when I was a kid haha! So good. A true indiepop classic in my book!

That was all the information I could find. I was once in Portsmouth, but never to Fareham. I hear there is a castle there. Maybe I could visit one day. But who knows anything else about the Three Little Piggies? Did they play in your town? Did they have more releases? Any compilation appearances? Do you happen to have a spare copy of their releases? Would love to listen to the songs on the 12″. Anyways, I would love to know more about them!

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Listen
Three Little Piggies – Clark’s Commandos

The most important news last week was that of the first announcements for the Indietracks festival. I was crossing my fingers for a dreamlike lineup, but that didn’t happen. I won’t be going then to the UK around those days in the summer, and that is a shame, would have loved to be surrounded by indiepop and friends BUT there might be a slight chance then that I could visit London during the first weekend of September. We’ll see.

On Facebook there was an interesting discussion on my personal page about the news of Indietracks. First off we all agreed that it is a good, honest thing, to say that they are a DIY festival. If you remember it always said on the logo “Indiepop Festival”. As things have been changing for the festival, catering probably to a different crowd, the taste of the new organizers being different, I think it is fair not to promote the festival as an indiepop one as it isn’t anymore. That’s clear.

There are still a few indiepop bands in the announced lineup. All of them seem to be repeats though and that is kind of sad, defeats the purpose a bit. Not that enticing for regular festival goers I think. We have among the few indiepop bands left The Wedding Present, The Orchids, Cola Jet Set, Milky Wimpshake, The Perfect English Weather, Evripidis and his Tragedies, Joanna Gruesome and Chorusgirl.

The rest of the lineup, sadly for me and for the rest of popkids, is mostly dominated for folkie, punk, garage and even some rock n’ roll sounding bands. Nothing really interesting. I went through the whole list of bands playing, checking their Bandcamps or Soundclouds and found no new important discoveries.

In the end it seems the festival will be losing its international crowd. Fewer non-UK people seem excited to spend much money to get to the festival. The bands seem to be catered to the local taste. And maybe that’s understandable, not taking risks.

This change towards a festival that is more diverse seem to be championed by UK goers. I don’t agree with this, I think that within indiepop you can be very varied.

Now that Fortuna Pop is no more, there is no leading indiepop label in the UK. Indietracks the past few years gravitated and seemed to have been influenced by this label to book bands. Today things seem different. Who will Indietracks gravitate too? It all seems to point to Oddbox Records and its mixed bag of all sort of genres in its catalogue.

I’m disappointed, I won’t lie. Every year one hoped things will get better. I think by now all hope is gone. I don’t think I will attend Indietracks again until a new generation of organizers take it over. There is still Madrid Popfest which seem to have been a success this past weekend. Maybe smaller festivals will spring out of nowhere all around the world. And I will make an effort to go. I remember the days when in the UK that there was Indietracks AND London Popfest. There  was excitement then. The people behind these festivals curated such beautiful lineups. Those days are gone. It is difficult to understand how people can say that NOW is better.

I know people in the UK reading this might feel uncomfortable. From experience a lot of British people don’t like criticism and opinions different to theirs. They take it personal. But this is just what a popkid feels, that’s all. I had the best times ever and I feel sad to see such a fantastic indiepop festival crumble before my eyes.

Maybe for you these are the best bands ever. That you know by heart the songs of Gracie petrie or The Hearing. Well, have fun. Just bear in mind that there are many festivals and opportunities for these sort of bands. Indiepop though have no space anywhere and these changes will definitely continue to affect our tiny scene.

Remember the days when the organizers would ask Elefant or Slumberland to help curate the festival? Or when classic bands would reform just to play the festival? There was an intention to support and celebrate indiepop. That’s gone, so gone. Now it is anything but an indiepop festival.

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Finally tracked The Felicitys /The Family split flexi. I know it is not that rare but I never got around buying it.

I don’t know much about the bands on it. I do remember listening to The Felicitys on classic tape compilations and liking their Shop Assistants influenced songs. So I had to have it. And now that I do I want to know more about this band. Who were they? Where are they? Let’s see if I can find anything about them in the world wide web.

The Felicitys at least released one demo tape according to Discogs. There are four songs on it, “Half a Man”, “Queen of Art”, “Mrs Smith” and “Paul”. I have listened to the four songs and they are fantastic. They remind me a lot of another favourite band of mine, The Wilderness Children. Such great pop songs!! How come they didn’t release many more singles, an album? Life can be so unfair.

In 1990 they released the flexi, shared with the band The Family. The Felicitys have the first on on the flexi and it is the perfectly poppy “Irresistible”. And it is of course irresistible, what’s not to like? The flexi was released by Fabulous Records (catalog FAB002). This label had already released in 1989 a 7″ by the band The Becketts. The Family appear on the flexi with the song “Polanskis Dream”.

We know some stuff about The Felicitys from the back cover of the flexi. The song was written and performed by The Felicitys in 1990. There was going to be a 12″ to be released in November 1990 by Fabulous Records. Whatever happened to that record? I guess it never was released. Maybe the band split before, or the label went bust.

There is contact information for a Jon Mates in Somerset. If you wanted to book a gig with The Felicitys he was your man. With this name in hand I could start digging a bit more. First stop, my blog (!). Yes to the Tony Head Experience post. This is what I got:
The Tony Head Experience were formed in Street, Somerset in early 1991 by Elisa Young. Within days she had roped in her ex-Felicitys band mates Nik Dalgarno, James Merry and Rob Buckley to record a four song demo at Nik’s Giant Recording Studios in Compton Dundon. Along for the ride and to produce this meisterwork came Jon Mates (Basinger/ex-Felicitys) and Nick Osbourne (The Becketts) who also helped out on guitar and tambourine respectively. Recorded in a day and featuring the songs ‘Lighthouse’, ‘Sleeper’, ‘Let Her Drive’ and ‘Go’ the recording was deemed a triumph in low-fi barn recording and hi-fi lager drinking.

Now I wonder why I didn’t get to do an interview with The Tony Head Experience. I see Jon Mates commented on my blog post. He says that the band was going to start playing again. Did they? He also mentioned that they were going to release an anthology. I think that never happened, no? I should try to contact him, learn about his two bands now, not only The Tony Head Experience but about The Felicitys!

There’s on that post of mine a trove of information about what happened after The Tony Head Experience. Sadly there’s not much about their time before they were involved with that band, the time when they were in The Felicitys!

Somerset is a county in South West England which borders Gloucestershire and Bristol to the north, Wiltshire to the east, Dorset to the south-east and Devon to the south-west. It is bounded to the north and west by the Severn Estuary and the Bristol Channel, its coastline facing southeastern Wales. Its traditional border with Gloucestershire is the River Avon. Somerset’s county town is Taunton. Somerset is a rural county of rolling hills such as the Blackdown Hills, Mendip Hills, Quantock Hills and Exmoor National Park, and large flat expanses of land including the Somerset Levels. There is evidence of human occupation from Paleolithic times, and of subsequent settlement in the Roman and Anglo-Saxon periods. The county played a significant part in the consolidation of power and rise of King Alfred the Great, and later in the English Civil War and the Monmouth Rebellion. The city of Bath is famous for its substantial Georgian architecture and is a UNESCO World Heritage Site.

Also, where in Somerset where they based?

I do know though that they appeared on at least two tape compilations in that golden age of indiepop. On the legendary “Corrupt Postman” released by Windmill Records in 1988 they contributed “Irresistible (live)” and then in 1990, on Dolphin Records’ classic “Positively Teenage” they contributed the song “Why Don’t You Come Round”.

That was it. All in all 3 songs released, one of them them a live version of the other. Then 4 songs on the demo tape. And that was it. I’m very sure they had more songs, if they had a 12″ planned. They must have.

I hope to find out more about them, I really like The Felicitys, they have the sort of sound that I go nuts for, girl fronted upbeat indiepop, jangly and fuzz guitars thrown in the mix, hook after hook, and a lo-fi down to earth sound. Just perfection!

EDIT: Paul from The Haywains just pointed me out some details about The Felicitys:
– Jon Mates used to put a regular club night called “The Terribly Good Club” at the Glastonbury Football Club where he would book not only local bands but also bands from the other end of the country as well.
– The Felicitys hailed from Street which is a large village and civil parish in the county of Somerset, England. The 2011 census recorded the parish as having a population of 11,805. It is situated on a dry spot in the Somerset Levels, at the end of the Polden Hills, 3.2 km south-west of Glastonbury. There is evidence of Roman occupation. Much of the history of the village is dominated by Glastonbury Abbey until the Dissolution of the Monasteries, and indeed its name comes from a 12th-century causeway from Glastonbury which was built to transport local Blue Lias stone from what is now Street to rebuild the Abbey, although it had previously been known as Lantokay and Lega.

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Listen
The Felicitys – Half a Man

So I got the UPS tracking number for the Some Other Day CDs. They are arriving this Wednesday and will start shipping on Thursday! Very very excited to have this release out. A release that actually happened thanks to the blog. It was through a post I wrote years ago that I could get in touch with the band, interview them and eventually release this album as part of the Cake Kitchen series. This is the 8th release and don’t worry, as I’m writing these lines I am already working on the 9th release. It is very exciting times and can’t wait to receive all the boxes, open them and find the beautiful CDs. I’ll take a photo for you all (on the Facebook page) as soon as I can! So don’t forget to order the CD if you want to have a listen to some gorgeous songs that you probably have never heard before!

On indiepop news around the world my friends of Linda Guilala, from Vigo, Spain, have a new video for the song “Abstinencia.” This song appeared on their last album, “Psiconáutica”, and it is a cracker! I haven’t seen Iván and Eva for some years now, but it makes me very happy to at least see them on video! How I wish to visit them someday soon!

Shelflife’s favourites The Holiday Crowd have a new video out as well. The song comes from their self-titled album, “Cheer Up“. Another album that no one should have missed. I’ve played it lots but on the turntable. Shame there is no CD version for it, it doesn’t get recorded on my Last.fm plays.  But well, I’m probably the only one making that complaint! haha. Such a fab band; I saw them once at NYC Popfest, I can only hope for them to come back someday… Toronto being not that far away!

I’m not much of a fan of The Proper Ornaments (I do own some of their stuff, they haven’t won me over) but they have a split 7″ with a French band named Beat Mark. I’m listening to the song by them titled “Flowers” and it is really good!  It seems there are only 50 copies remaining of this record on the Bandcamp page for the label Requiem Pour Un Twister. Beat Mark seems like a very cool new discovery and followed them to their Soundcloud were I could find more songs. In all honesty only the two latest songs on Soundcloud, “Flowers” and “Neverending Fun” sound as if they have a better quality. The rest seem to be badly recorded or something.

Firestation Records also has news. “Pep Sounds” by Peppermint Parlour will be released in March. I wrote about this band time ago and mentioned that “Pep Sounds” was listed in places as a CD with 19 songs. I don’t know if this release will be exactly the same as that CD. You can read a bit more about Peppermint Parlour on that post. We’ll just wait for more news about it.

The other release Firestation seems to be working on is a retrospective by the band Asia Fields. We do know that this one will be available on both vinyl and CD. The album is titled “Goodbye Frank” and it will contain the bands two singles plus a bunch of unreleased songs. This one will be released on April 7th.

And last but not least, one of the most amazing surprises so far this year is that Pretty Olivia Records, Javi’s label, is reissuing the “Swimming in the Heart of Jane” 12″ EP by Treebound Story! Oh dear! This is one of the most beautiful records ever released. I can’t wait to get my hands on this record!! Pure pop bliss indeed!

That’s what I’ve seen going on this past week. Am I missing anything?

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Some months ago a reader of the blog, Jasper, asked me about a band that is as obscure as it gets: Storm House. I didn’t know anything about them, and I haven’t heard any of their songs either. The only clue there is was a song, “Inside”, that appeared on a compilation titled “I Might Walk Home Alone”, released by Wilde Club Records in 1992.

I’ve been meaning to get this compilation for a long time. It is not too expensive but not cheap either, so I have kind of been leaving this purchase for a later day. You have to understand that on this compilation, two Cloudberry related bands appear, Shine! and The Suncharms. So how come I haven’t got round to buying it?

The catalog for this CD release was WILDE 10. The girl who appears on the black and white photo of the artwork is Madge Kennedy from the movie “The Service Star” (1918).  Storm House contributes the penultimate song on the tracklist. It is the 14th song on the CD.

This is pretty shoegaze, not that far away from The Suncharms. And from the booklet of the CD we know that there were plans for the band to release a 12″ EP. Don’t know if on Wilde Club or on some other label. The song “Inside” was recorded at Purple Rain Studios in Great Yarmouth. A lot of the songs on this compilation seem to have been recorded in this place. It also seems that this place doesn’t exist anymore.

I keep googling. I try different combinations of keywords but I have no luck. I don’t know any of the bands members names. I would guess they hailed from Norwich or somewhere in Norfolk, but I can’t be 100% sure. Most of the Wilde Club bands were from that area.

There seems to be different well known Storm Houses in the world. I could find one in Copenhagen which is listed as a historical house in Denmark, and another one in Oklahoma in the US which is also listed as historical. Maybe their name also came from one of these houses.

Do you know what happened to Storm House? Did they ever release that 12″? What happened to their members? Would be interesting to know more about this very obscure band!

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Listen
Storm House – Inside

Whereas indiepop is agonizing in the US we get news that in China there will be a brand new indiepop festival soon. During two days, May 20th and 21st, the festival “Up a Tree” will be happening in Shanghai of all places. A city I visited just a few years ago and couldn’t see any indications that indiepop was going to be a thing there at all!

It came as a total surprise when late last week I saw this news. There are bands from China and Japan participating as well as DJs. They will also have a flea market, they will sell fanzines and they seem very excited about having a lot of booze as well.

The organizers are Puppy Fat Records. I don’t know who they are and could only find a Tumblr with little information.  Maybe it is just a name for the occasion.

The announced DJs are:
陳振超 ( The White Tulips)
小吉 (Die! ChiwawaDie!)
Shiyu (植物園zine)
一盒 (Fish Tank Radio)

I’m definitely familiar with Shiyu who makes the very cool Botanic Garden fanzine. The rest, I don’t know. Will they play proper indiepop? I’ve always questioned DJs at indiepop fests. I hope they do.

On the other hand I wanted to discover some of the bands playing. The lineup for the festival has:
Pictured Resort (Japan)
Gatsby in A Daze
Wallflower (Japan)
Atta Girl
The Cheers Cheers
Chimo 赤莓 (ex. 蘑菇紅）

There is no venue announced yet it seems or any schedule for the bands. It is still early, but looks promising. Let’s check the bands that I haven’t talked yet on the blog, which means everyone of them but the superb Wallflower who I’ve been a fan for like forever and I covered them when they came to play NYC Popfest.

Pictured Resort: this band I already know and I like them lots! I have their releases on Miles Apart Records but I don’t own their last release, their album! I have been living under a rock? Well, they released a new album last August and I believe is on CD and LP. It is titled “All Vacation Long” and was released by Sailyard Records in Japan. Don’t know if it is available anywhere else. The band is formed by Yuki, Mari, Yutaro, Yushi and the great Koji Takagi. Definitely a band to keep an eye.

Gatsby in a Daze: a band from Hangzhou, China. I see they have 6 songs on their Bandcamp and they are described as a lo-fi jangly psych rock band that hits the sweet spot. Sadly for me it didn’t hit the spot, I’m not much of a fan of their music.

Atta Girl: I’m familiar with this band thanks to the great labour of love of the Chinese label Boring Productions that I’ve covered before in the blog. The band has a new release that I still haven’t got it (what’s happening with me?). It is titled “Everyone Loves You When You Were Still a Kid” and is available on CD and cassette. There are 10 songs on this album and they sound great (even though on a small blurb on the Bandcamp it says they are lame on stage). I should write to Jovi about getting this release! So good!

The Cheers Cheers: I think I’m missing this band’s sole release, “Carinae”  as well. Also on Boring Productions it was released on CD/Cassette with 6 songs. Very nice introspective indiepop solo project by WangXiaoYu from Shenzhen, China.

Chimo: from Shanghai, the local band for the festival. I find two “releases” on Bandcamp. In reality they are just two songs that feel more like sketches. These two bedroom recordings have no vocals. And you know, instrumental songs and me we don’t get along. I wasn’t hooked here.

All in all pretty promising, at least 4 bands I would definitely want to see. And I think the dance parties should be pretty good too, don’t know Chinese indiepop fans but I’m assuming, as this will be the first time for the festival, that people will go with all the energy, in the perfect mood for having fun! Wish I could be there!

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So I expected to find at least some proper information about The Magic Shop when I started digging the web. I thought that if they had been on Sha La La, at least the band members names will be available somewhere. But no. Even though their one and only release might be thought as a classic one, the band has left nothing behind it seems.

As most of you know Sha La La was the precursor label to Sarah Records. It was run by Matt Haynes and it released a string of flexi discs, most of them shared by two bands. That was the case of The Magic Shop who were to share a flexi with The Visitors. It also happens that this was the last release, the last flexi, on Sha La La. This was 1987 and Sarah was about to be born.

The flexi came along many fanzines. It was common at the time that sort of system. You were to release a flexi and a good way to sell it was through other people’s fanzines. This flexi in particular (catalog Ba Ba Ba 008) accompanied the following fanzines, “Make it In Ongar”, “Simply Thrilled (#4)”, “Hedgehogs and Porcupines (#8)” and “5,000 miles from George Square (#2)”.

The Magic Shop contributed one song, “It’s True”, and The Visitors contributed their classic “Goldmining”. I tried long ago interviewing The Visitors, sent the questions and all, but never heard back. Maybe they could have shed some light about the band they shared the flexi with.

4 60s girls dancing on the cover of The Magic Shop side of the sleeve. No information whatsoever. The Visitors instead have a photo and a contact name and names of  towns, I’m assuming where they were from. Why the difference? Why didn’t The Magic Shop wanted to be contacted or leave any information? Why such a secret?

I have no clue where to look. Whereabouts in the UK they came from? Were they involved in any other bands? Did they play any gigs? I can’t recall seeing their name on fanzines, I have really no idea where to find anything else about them. That’s why I’m asking you, maybe you remember them from the time. Did they record any other songs? “It’s True” is a gem, but there must have been more from where that came from, no? Maybe the one and only demo tape they released? Who knows?

Edit: Sam on Facebook pointed me that the three girls from the cover come from another record: Bill Haley And His Comets’ “Bill Haley’s Greatest Hits!”.

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Listen
The Magic Shop – It’s True

This week, as it is quiet in indiepopnews, I have a long review of many bands I’ve heard for the first time in the past weeks. Hope you like some of them.

Astragal: they released a tape (yet another release I won’t get because of the format, shame) on Banana Tapes out of Nashville, TN, last September. I arrived to their Bandcamp thanks to the CD16 compilation. For that comp the band had contributed probably the best song out of the 3 on their tape EP, “Notations”. A lovely jangly and dreamy song. My second favourite song being the closing one, “Scenery”. The band is formed by Sam, David and Jimmy and they hail from Houston.

Traveling with Monika: yet another band I discovered thanks to the CD16 compilation. Now this one is quite a surprise as they hail from Bangkok! I haven’t heard of Thai indiepop bands in ages, in more than a decade. I was in Bangkok just some months ago, if only I had known, maybe I could have seen them live. They have 3 songs out and they are really nice. The band is formed by Nisarat, Thanapat and Samart. I think my favourite thing about the band are the vocals especially on the song “Traveling With Me”. Really cool!

The Whistling Possum: Only one song on their Bandcamp, the same as the one that they contributed to CD16: “Some Popkids are Even Worse”. In any case this is a very cool song coming all the way from Jakarta, Indonesia. The band is formed by Adi, Kaneko, Tio and Yenezkiel and they also seem to have a blog but I can’t understand a thing!

The Newsletters: from Melbourne comes this cool band that had a 7″ single out in 2015 and a three track digital single in March last year. I’m really enjoying the songs from this last digital effort. On CD16 the A side from the 7″ single, “Lucky Country”, was the one that was included. This 7″ was released by Butter Cup Records and seems to be still available.

Horsebeach: they have now “Beauty & Sadness”, the song that gives title to their new album streaming on Bandcamp. Sounds fantastic as everything they have put out. You can now pre-order the digipak album.

The Cottons: I think Kaneko and Yenezkiel from The Whistling Possum are involved in this band. I found two of their songs, “Yesterday’s Gone” and “It’s Only a Day” on the Dismantled label Bandcamp. They sound really promising! Lots of superb-sounding bands still coming from Indonesia!

Her’s: two digital singles for this band that will be debuting in Madrid Popfest very soon. The band is based in Liverpool and it is just a duo, Audun and Stephen. My favourite song being “Dorothy” out of their first single.

Pan Total: a fantastic discovery thanks to Madrid Popfest booking them. I feel very sad to have missed their limited edition CD that included 9 fab songs. I don’t know much about this band. They hail from Logroño and they seem to have been around at least since 2012! Where was I? How come I’ve only heard about them just a few days ago? It is embarrassing! Hopefully they re-release it? One can only hope.

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Was very surprised when I saw the song “Closer” opening the 4th CD in the “Still in a Dream: A Story of Shoegaze: 1988-1985” released by Cherry Red last year. I don’t know how obscure the band was back in the day, but these days it is not a band that I feel everyone remembers. There is very little on the internet about them. I wonder if the label got in touch with the band, the small bio on the booklet says very little, almost uninteresting information:
“This Tynemouth band were initially touted as Newcastle’s answer to the Stone Roses. Their first release “Bubble Bus”. shared a Whoosh flexi free with fanzine Two Pint Take Home. Further singles followed on Sympathy For the Record Industry (“Teenage Death”) and Tea Time (“Daydream”) before they settled in 1991 on Clawfist for “It’s Only Everything” and “Closer”, an anthemic, swirling guitar-fest produced by That Petrol Emotion’s Steve Mack. Their final release was a split single that coupled up The Sunflowers version of Smashing Orange’s “Collide” with Smashing Orange’s rendition of The Sunflowers “Something You Said.”

Nothing new there. Of course it gets a bit on my nerve the misspelling of Woosh Records.

But yes, they did release their first song “Bubble Bus” on Woosh’s eight release (catalog WOOSH 008), a flexi they shared with St. James Infirmary (a band I’ve written about here before and waiting now for their interview to be completed). The Sunflowers song was the second song on this fold-over paper picture sleeve, with a photo of two eyes printed in green and blue. The flexi was not only available with the Two Pint Take Home (vol. 4 by the way) but also with the Waterbomb vol. 4 fanzine.

Their second single, from 1990, came out on Sympathy For The Record Industry (catalog SFTRI 64). This is quite interesting for me as this label was based in Olympia, Washington in the US. It wasn’t that common for these sort of British bands to end up on American labels. It seems the label had high hopes for the band, releasing the 7″ in a variety of different colour vinyl records: yellow, tangerine, orange transparent, dark blue and turquoise. The songs included were “Teenage Death” (a favourite of mine) on the A side, and “Twenty Fifteen (live)” on the B side. The A side was recorded in Chamber Studios in Edinburgh on February 1990. The B side was recorded live at Newcastle Riverside on January 31, 1990.  The photography on this record is credited to J.R. Hughes. He is also credited for recording the B side.

Their third single was to come out that same year, 1990, on the very well-regarded indiepop label Tea Time Records. “Daydream” (catalog TEA 08) was actually the B side even though it was the song giving the single its name. “Twenty Fifteen” was the A side. Artwork for this record is credited to P. Mann. Photography to  J.R. Hughes again. The producer for this record was Jamie Watson who was the one that set up Chamber Studios in Edinburgh in 1986. It is no surprise then that the band recorded this single there.

Then they were to move to Clawfist Records. It was 1991 and they released the “Closer” 7″. On the B side we got “Day Into Day”. This was the fifth Clawfist release (HUNKA 005). This label was set up by the Vinyl Solution record shop on Portobello Road in London. The record was mastered at The Exchange, a Camden based mastering studio. Other credits on the sleeve include Design by Jocky, Mastered by Mike, Photography by J.R. Hughes and Produced by Steve Mack.

The same label was to release another single the same year. On Clawfist’s 7th release (catalog HUNKA 007) The Sunflowers put out “It’s Only Everything” on the A side and “Too Far to Fall” on the B side. Credits are similar as the previous record, Design by Jocky, Photography by J.R. Hughes and Steve Mack as producer.

Their last release was part of the Clawfist Singles Club (this was number 18). As mentioned before The Sunflowers covered “Collide”, original by Smashing Orange, whereas “Smashing Orange was to cover “Something You Said”, a Sunflowers original. I wonder if The Sunflowers released anywhere “Something You Said”.

They were to appear on a legendary compilation in 1990. On the Positively Teenage tape they contributed two songs, “Sunflower Babies” and “Sunflowers Mum”. About this tape I believe I’ve covered many bands that appeared on it on the blog like The Lavender Faction, Love Parade, The Penny Candles or The Mayfields.

“Bubble Bus” also appeared two years ago, 2014, on the “Ten Little Records: The Woosh Collection” that Jigsaw Records put out that included most of the Woosh flexis.

Time to leave Discogs and 45cat. Time to dig online for more information. I reach the Cud website. The Sunflowers are mentioned on their gig diary, for October 6th 1992:
Newcastle University.Pals, the Sunflowers turn up to quaff all our rider. The gig’s a sell-out but we’re put in the smaller hall with a precarious stage where we fear the lights may topple onto Steve. The Dunphy clan turn up and we put on our best show so far.

Perhaps the best find on the web is this one, live footage of The Sunflowers. Here I could find them performing “Closer” at Newcastle’s The Broken Doll sometime in 1990. From this video’s small description we know The Sunflowers played high-profile supports with acts like That Petrol Emotion, Pale Saints and Slowdive. This is truly amazing! Wish I had been there! The music soars!

I read the video comments, maybe someone remembers anything about them. Someone named Mark Wilson says that the band fell out with their bassist and they never got over it. Was that the reason the band split?

From the Feral interview I did many months ago, there is a Sunflowers mention from Arlo:
Not long after the Feral single we became a 3 piece briefly. We then recruited Ian Nagel from The Acrylic Tones on guitar. He was a real 60s aficionado and Feral took on a more psych / jangly sound for a year or so. We then disbanded for a few weeks, Ian continued with the Acrylic Tones, and we recruited Paul Schofield from The Sunflowers on vocals and renamed the band Camp Freddie. Camp Freddie was a good little band. We holed-up in a barn in Felix’s auntie’s house near Morpeth in Northumberland.

This is the first name associated to The Sunflowers I can find, Paul Schofield!

Another mention of The Sunflowers on the blog comes from The Lavender Faction interview. When I ask about Stephen from Woosh, I’m told:
I think he said he was living with his partner, the girl from out of the Sunflowers and they have a child or children, and he works as a full time guitar tech, touring, ect, with major acts although I know he used to roady for My Bloody Valentine. I don’t know if he toured with them when they recently reformed.

I couldn’t find more information about the band.

It seems that during the last few weeks I’ve covered a lot of bands of the Newcastle area, I hope someone there remembers The Sunflowers, what happened with them? Why they never released an album? Why did they split? If they continued making music? If they were involved in any other bands? If they had more recordings?

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Listen
The Sunflowers – Closer

NYC under a snowstorm. Perhaps the best moment to write blog posts even though I have little to say. I already posted this week and it is not too often that I make two blog posts a week (excepting the times when I post an interview). But I feel like researching some more indiepop. Digging deeper. Finding new records to buy, new songs to listen, new bands to add to my pantheon.

Detective novels and long rides on the subway now that I work  in the Financial District. Days go fast. A week of vacations might open for me the first week of September. Might go back to London. Or to The Netherlands. Or Iceland? Those seem to be the best choices. Was doing a little research of what new to see around London, a city I’ve visited so many times. Shamefully I still haven’t been into the Tower of London or Westminster Abbey, so those I’d visit for sure. But then I noticed this place, Royston Cave, in Herfordshire, that I can reach on the train, and I think I would love to visit that place. And then I’d need to add at least a castle visit. I’ve always wanted to go to Bodiam castle, but seems complicated to reach. Warwick then? Anyways, I’m only dreaming at the moment. I might not even go!

I should instead focus on my Finland trip the last week of May. I already have the plane tickets. What would my route look like? It all depends. There’s a chance we end up renting a car. If that was the case there’s the intention of driving all the way north to Rovaniemi and then crossing to Sweden, to Luleå. That’d be something! The only other extra places we’d visit if we rent a car would be Vaasa and maybe Oulu. Without the car the plan is to definitely go to Helsinki (obviously), Turku (there’s a castle!), Hämeenlinna (another castle!), Tampere (for Moomin museum), Savonlinna (probably the nicest castle in Finland, at least from the photos), and then Rovaniemi to get inside the Arctic circle. We’d probably do this in a mix of buses and trains. We still can’t book either anyways, so probably by March we could have a better idea. Very excited.

At the end of the year, for holidays, it seems the plan is to head to Mexico, but this time to Yucatan and the Riviera Maya. Checking out mostly pre-columbian sites as well as beautiful beaches. Escape the winter and have great food (cochinita pibil, yum!).

What scares me a bit about all this traveling is that there is absolutely no indiepop involved in it. Maybe if I go to London that would change, maybe there’s a gig or two. Or at least I could meet with indiepop friends. But then, this just may not happen.

I should try to go to more of the small gigs within NYC, those that are really not indiepop gigs but a mixed bag of bands where 1 happens to play nice indiepop and the rest crap. Tough. Paying to see 4 bands but only caring for 1. Hate that. But that’s how it usually is. Promoters usually don’t care.

Anyways, turning the page… here are some bands that I’ve discovered lately (thanks to CD16) and I think you should check them out:

Toilettes: I heard “Observatorio” on the CD16 and thought, where does this beautiful lo-fi racket comes from? They hail from Barcelona and they are two girls, Joana Mallol and Julieta Caprara. They have a tape out (I don’t know if it is still available) on Discos Walden/Discos Populares and it includes 8 songs, all which you can stream on their Soundcloud. This is really, really great. Pop that reminds of flexi girl-fronted indiepop bands like The Felicitys, The Definite Article, or even Talulah Gosh!

Lillet Blanc: quite the surprise. Their song “Foul Play” is gorgeous, but more surprising is that they hail from NYC! Damn. So close and I had no clue. Joel all the way in Peru could find them first. This means I should try to go see them whenever they play. They have three songs out on Bandcamp and it seems these songs were also released on tape. They seem to be formed by Sean Camargo, Andre Bellido and Emily Rawlings. A three-piece. That’s always a good number. And they seem to have some connection to Latin America because of their last names, so that makes me even happier. My only problem, as you know I hate tapes, is that I’m really sad these songs, and also the Toilettes ones are available in that format. Bring back CDR!

I Saw You Yesterday: the song they included was “Girlfriend” and has a great shoegazy sound. I look for them on the web. Surprise, surprise, they are Japanese and on the Ano(t)racks net label. I’ve checked this label before and it’s bands. But somehow I must have missed them. They have for download the “Malibu EP”. 4 songs that you can also stream. The band is formed by Hidemasa Shimoda, Kai Murakami, Kazushige Suzuki and Reiji Shibata. Not sure where from Japan they are from. I wish this label, with so many great releases, would put out some stuff in physical format. CDR?

Memory Drawers: seems the CD16 was pretty international. Memory Drawers contribute the song “Maybe” and they hail from the Philippines. It has been a while since I listen some great pinoy pop! So this is pretty exciting. On their Soundcloud I could find two more songs, “…For Any of This” and “Hart (?)”. There’s not much info about them, but they do have a Facebook page where I hope I can find more stuff about them in the future. So far they have been featured in a filipino newspaper. Maybe they’ll be big someday?

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Honey trapping is the private investigative practice of evaluating the fidelity of partners in marital and nonmarital romantic relationships. Investigators are employed by wives, husbands, and other partners usually when an illicit romantic affair is suspected of the “target”, or subject of the investigation. Occasionally the term may be used for the practice of creating an affair for the purpose of taking incriminating photos for use in blackmail. A honey trap is primarily used to get evidence. In a typical honey trap a private investigator will approach the spouse of a client and attempt to flirt with them.

Honey Trap or Honeytrap. I’ve seen the name written in both ways. But I’m going to go with Honeytrap. One word. I own a flexi by them and it is fantastic. I’ve heard some other songs and they are pretty good as well. I notice I know nothing else about them. Time for detective work then.

“Honeytrap were formed in 1988. Basically what happened was that I was first starting to do gigs I called myself “Sonny Rancher” then as I drafted in more members we changed the name at the same time. The complete and final line up just before we broke up in 1990 was as follows:
Phil Walton – vocals, guitar
John Peel – guitar
Jon Haslam – keyboards
Dave Haytack – bass
Jon Dickson – guitar
Tony Stewart – drums

All songs were written by myself and Jon Haslam.
Phil Walton (January 2003)”

This is what it says on the booklet of the Sound of Leamington Spa Vol. 3 compilation where Honeytrap appeared contributing the song “Peace in a Picture”. There is a bit of a different story on Twee.net. That one says:
“All but John Peel and Tony Stewart worked at TRADECRAFT, a company that traded with third world countries and paid 1st world prices direct to producers, look it up . Whoosh fanzine started at around the same time, owner Steve Joyce also worked at Tradecraft. During a conversation regarding an imminent Whoosh Club which was due to be held upstairs in the Broken Doll public house featuring Jesse Garon and the Desperadoes, Phil Walton agreed to fill one of the support slots. Calling himself Sonny Ranchero, taking the name from a ditty he had recently penned he enlisted the services of John Peel. A small handful of gigs later and David Haytack joined, closely followed by Tony Stewart. At this point and still operating under the name of Sonny Ranchero, Phil Walton and Jon Haslam began discussing and exchanging song writing ideas. Jon joined the group which was promptly re-christened Honeytrap. One additional member was later added, John ‘Dicka’ Dickson (Guitar) before the band went their separate ways around 1991.”

From Twee.net we also know that Phil Walton and John Peel hailed from Washington, Tyne & Wear, David Haytack from Flint Hill near Consett, Tony Stewart from Gosforth, Newcastle and Jon Haslam from Jesmond, Newcastle.

Washington is a large town in the City of Sunderland local government district of Tyne and Wear, England, and part of historic County Durham. Washington is located geographically at an equal distance from the centres of Newcastle, Durham and Sunderland, hence it has close ties to all three cities.

The band is listed on Twee.net as hailing from Washington in England. A lot of information already and I haven’t had to do much digging.

They only had one proper release, a flexi with two songs on the Sublime label (catalog Sublime One). There are no other releases on this label so it is kind of safe to think that it was a self-release. The two sogs on this fold-over paper picture sleeved record  were “The Boy Who Wouldn’t be Beaten” and “Make Me Happy”. The flexi also included a lyrics insert and a postcard. It was released in 1989. As far as I know it is not difficult to find this record,  I see some on Discogs. If you are missing it, please get it, it is GREAT. Two classic indiepop songs of jingle jangly quality!

That same year, in 1989, the band were to contribute the song “England” to the “Turquoise Days” compilation released by Red Roses For Me. A classic compilation packed with so many great bands from the period, from The Popguns to The Penny Candles to Fat Tulips and more!!

The other only compilation appearance I could find was that on the legendary “You Can’t Be Loved Forever 2” tape. On it they appear with the song “A Slender Grip”.

A little more digging and I could find Phil Walton’s Youtube channel. It hasn’t been updated in 3 years but he has uploaded 4 out of the 5 songs I’ve mentioned before (missing “A Slender Grip”) for you to stream and listen. The cool thing is that he has included lyrics for them!

I couldn’t find much more about them. I wonder why their flexi didn’t come out on Woosh, seemed like the obvious choice. I wonder if they have more recorded and unreleased songs. What happened to them after? Were they involved with other bands? Did anyone of you reading this remember anything about them? Did you go to any of their gigs? Would be great to know more about this obscure English band!

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Listen
Honeytrap – Make Me Happy

A bunch of news worth mentioning:

When Nalda Became Punk, our good friends from Spain, are promoting a new song: “Hanging Out with Imogen.” This song sounds great and is taken from their forthcoming new mini-LP to be released on March 10th on Shelflife Records and Discos de Kirlian.

There’s a compilation LP including three classic indiepop bands: The June Brides, Aberdeen and 14 Iced Bears. Each band contributes 4 songs on this “Three Wishes: Part Time Punks Sessions.” All the songs are live recordings from 2011, when the three bands recorded live sets for Los Angeles’ KXLU radio station.

Mid-march will also se the release of The Apple Moths’ “Fred Astaire EP” as a 12″ on Firestation Records. This was originally released decades ago (and you can read more about this classic band on an interview here in the blog) as a 7″ and this re-release will have extra tracks. Looking forward to it!

Next week Eggstone, the fantastic band from Malmö who were around mainly in the 90s, will play Hamburg. I’m so very jealous of this event. So if you are in that beautiful city, a city that I love, don’t miss out this 11th at 8pm at Nochtwache the comeback of “Swedish indie pop godfathers.”

And the last interesting news comes from Elefant who are reissuing the “Teenager” and “Keep it Clean” CD-singles as 7″s.

That’s it. That’s all I’ve seen on social media this past week. I’m trying to keep tabs. I’m probably forgetting stuff. As always if you have any suggestions please let me know through the comment section.

On my end there is little news as well. It is time for waiting for the pressing plants. It takes time, two months usually. So this February is just a month of waiting. March might bring surprises. In the meantime I have started planning which should be the next band to be featured in the Cloudberry Cake Kitchen series. I’ve already contacted a band that I really like and they seem interested. I hope it works out. If you have any suggestion for that too, please let me know. I’m very happy and pleased with this collection of classic recordings.

There was something else this week, something that left me with a bitter taste to be honest. I don’t want to go into it in detail, but what would you do if a much bigger label that has been unhelpful and uncaring in the past asks for help in tracking some bands?

And now onto re-discovering some obscure band from the 80s. That’s my favourite exercise.

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Crocodiles (subfamily Crocodylinae) or true crocodiles are large aquatic reptiles that live throughout the tropics in Africa, Asia, the Americas and Australia. Crocodylinae, all of whose members are considered true crocodiles, is classified as a biological subfamily. A broader sense of the term crocodile, Crocodylidae that includes Tomistoma, is not used in this article. The term crocodile here applies only to the species within the subfamily of Crocodylinae. The term is sometimes used even more loosely to include all extant members of the order Crocodilia, which includes Tomistoma, the alligators and caimans (family Alligatoridae), the gharials (family Gavialidae), and all other living and fossil Crocodylomorpha.

A ride on a crocodile. A Crocodile Ride. I wonder about their name. Maybe it has some more meaning. Discogs immediately gives me the lineup:
Marc Johnson – vocals/guitar
Chris Gates – bass
Matthew Owen – guitar
Stuart Allcock – drums

Then we see three records listed. Let’s start with the first one, released in 1987 on the Surfacer label, the “Ride” 7″ (catalog Surfacer 001). I start to feel this is a self-release. From what I see there was no proper sleeve for this record. Just a plain what sleeve, stamped with the name “Crocodile Ride” on red, and written with black marker the song belonging to each side. On the 7″ label I see a sticker for “Playroom Discs”. Maybe they were distributing this 7″? If you remember Playroom Discs was a label based in Brighton, that was run by Gordon Kaye and released some great records like Whirl, The Morrisons or The Grooveyard.

There is an insert including in this record it seems. There’s a scan on Discogs. It says that the release date for this record was on the 3rd October of 87. That they have already a hundred advanced orders based on their reputation as a live band in Brighton. That the lineup was completed three months before and that the core of the band was established in June 1987. During that time they had written over forty songs and that they have built their own rehearsal studios. Also it mentions that they won the Brigthon “Battle of the Bands” on their debut gig. They won five hundred pounds. With that they have financed this first single.

The songs on this first single were “Ride” and “Kiss and Tell.”

In spring of 1989 they were going to be part of a split flexi with Whirl. While Whirl was to cover “Bizarre Love Triangle”, Crocodile Ride was to contribute a song of their own, “Shimmer”. This flexi came out on The Sound of Spasm label (catalog 2). I couldn’t find what was the first reference on this label or any other information for this release. Maybe it came along some fanzine?

There last release was a split 7″, also in 1989. This time they were to share it with yet another Brighton band, 14 Iced Bears. In this record each band contributed 2 songs each. The A side was for 14 Iced Bears and they included “Falling Backwards” and “World I Love (Speed Mix)”. The B side, for Crocodile Ride, had “Ex-Hipster” and “Satellite”. This was released by the same Surfacer label as their first release (Surfacer 002) and there were only 1000 copies.

They participated in some compilations too. In 1988 they were to appear on the legendary “Hoopla” compilation that La-Di-Da (also from Brighton) released. For this one they contributed the song “Killers”. So when in 2000 this compilation was re-released on vinyl by Accident Records, Crocodile Ride was to appear again with the same song.

They included their first single, “Ride” , on an 1989 tape called “The Unknown Seven” that was released by Rain Tapes (catalog R12). The only other band I’m familiar on this compilation is Big Red Bus. It seems that Rain Tapes was according to Discogs a long running underground cassette label and distribution in the late 1980’s, run by Julian Smythe of Ruthin. Released a series of compilations called The Unknown, which ran at least up to Unknown 14 in Jan92. Also did a series of International compilations in early 90s.

Their last compilation appearance that is listed is that of the classic compilation “Alvin Lives (In Leeds)”. This was a charity release in aid of the Anti-Poll Tax Campaign. Crocodile Ride was to cover Donna Summer’s “I Feel Love”!

Let’s keep looking for more info about Crocodile Ride. My last stop is Matt Owen’s Soundcloud. What a find!

There is a set of Crocodile Ride recordings, many not included in the records. We find songs like “Dance With Me” or “Treasure” that weren’t released as far as I know. There is also for you to stream “Helen” (which is “Shimmer” really), “Ex-Hipster”, “I Feel Love”, “Killers 1” and “Killers 2”. All songs were uploaded 4 years ago. So I’m not sure if we can get in touch with Matt through there. Maybe I should try.

Where were these other songs from? I really love “Shimmer”, sounds like timeless indiepop, should have been a classic!! I wonder how many more songs they recorded. They did say they had written over 40 songs by the time of their first single!  Would be interesting to find out.

I know many Brighton friends read the blog, maybe you remember them? Saw them play? Would love to know more about them. What happened to them after they split? From Soundcloud at least it seems Matt Owen continued making music, solo and also with bands called Fuck You Planet Earth, The Rock and Roll Wall of Death, Law and The Malchicks.

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Listen
Crocodile Ride – Shimmer

The end of January. Time is going fast. Some bad news. Another hard drive failure. Doesn’t look good this time. Whereas my other hard drive, the first one that stopped working, seems to have been recovered, this one looks in a bad shape. I wonder what can be salvaged. If it will take a toll on Cloudberry? I wonder… a lot of back catalogue was on that backup hard drive, and I was just waiting to get the other hard drive to start transferring what needed to a fresh one or the cloud. How could I imagine two hard drives would fail within a month and a half. Tough life. Maybe it is a message? That Cloudberry has to suffer more and more obstacles? As if postage prices is not enough.

There are some good news though, I sent Some Other Day’s master to the pressing plant and it should take around a month and a half for it to be ready. So March. That’s when you should be able to get your pre-orders. I’m very very excited. Now onto getting Pale Spectres to the pressing plant. That’s the next step. I count with your support for these upcoming releases.

During the weekend I was planning how to reboot the Cloudberry Podcast. Was figuring out which sections should come back, which shouldn’t. I guess one decision would be that the interviews should be shorter. That I think will be hard as I love talking to bands/friends, but I think for the sake of the listener, a shorter interview is better. I also would love some suggestions from all of you. I would like to have a new Podcast by March. Please let me know how can I make it better. If you haven’t heard any of my previous Podcasts, you can check some of them here.

My office has moved, now I’m working in the Financial District, very close to the 911 Memorial. Today was my first day. I kind of miss Midtown, but I guess eventually I’ll like this area. It is just a matter of finding the cheap/good food places around here. It takes me 10-15 minutes longer too, to commute. That is not a terrible thing, I can read a bit longer one of the many books I want to read (I’ve set a low 45 books as a the year goal in Goodreads).

Music-wise I listened a bunch of music this weekend, but mostly old CDs that I keep buying, The Honeydrips, Cranebuilders, Young Marble Giants, Blissful and The Earthmen. I did get on the mail the Saint Etienne’ Fox Base Alpha 25 year anniversary boxset. I still have it in shrinkwrap, shame on me. They sent me an extra t-shirt. There must have been a mistake. Now I have 2. Maybe people will think it is part of my uniform, same as my collection of black jeans.

On my portable CD player I still have “C16”, the very nice compilation Joel Felipe has put out in his Impermeable label. There are a bunch of new discoveries on it, so I keep listening. Haven’t bought any other new release. What do you recommend? Is there anything new worth getting?

Indiepop seems quite. The world seems loud. Maybe when the world is quite, indiepop is loud? I wonder.

I found a nice sounding band on Bandcamp if you are curious, they hail from St. Leonards in the UK and they are called “No Middle Name”. Their album “Fondness“, released in hand-made CDs, sounds really lovely. Never heard anything from them before even though it seems they have more releases. I can only ask why bands like this don’t get invited to Indietracks? If they sound so nice and they are in the UK, why not? Why get Sweet Baboos and other crappy non-indiepop bands? The mysteries of life.

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Rediscovering some flexis I own. What about this one by The Quentins? My girlfriend doesn’t know what’s playing and she enjoys the guitars on “Take it All Back”. It sounds very lo-fi. But sounds fun, like so many indiepop songs from the period, from smaller bands that maybe their whole output was defined by appearances on compilation tapes. You know, just like the Hipflasks, The Pilgrims, The Kensingtons, The Almanacs and so on. Bands that I love.

These sort of bands of course lack presence on the internet. You can barely find any information about them.  At least the flexi, the only proper release The Quentins put out, appears on Discogs. We know that it was released in 1991 by the Sheer Joy label (catalog Joy 001), and it was the sole release on this label. Most probably then a self-release.

Two songs on the flexi, “Take it All Back” and “Let Down”. The artwork on the cover is simple, a drawing of a guitar player and his amp. On the back sleeve we see that this drawing was made by a girl named Rachel. There is also an address. The band must have hailed from Ashford, in Kent.

Ashford is a town in the county of Kent, England. It lies on the River Great Stour at the south edge of the North Downs, about 61 miles (98 km) southeast of central London and 15.3 miles (24.6 km) northwest of Folkestone by road. In the 2011 census, it had a population of 74,204. The name comes from the Old English æscet, indicating a ford near a clump of ash trees. It has been a market town since the 13th century, and a regular market continues to be held.

The band would appear on at least two tape compilations according to Discogs. In 1992 they would contribute the song “Haven’t You Heard?” to the “Teeny Poppers” tape released by Anorak Records in France (catalog SHOUBIDOUWA 01). Maybe our friends Guillaume or Fabien remembers them? They were part of the Anorak Family and I met them after they resurrected the label around 2007. Saw them at Indietracks a couple of times. Ah! I miss those days!

Anyhow, this seems to be a great compilation, would love to listen to it. You have songs by bands like The Gravy Train, Hope, Budgie Jacket, Bouquet, and more! Wow. Good selections!

Their second tape appearance is on the “Polythene Star” tape released by the Flaming Katy label (catalog FK001). I don’t know anything about this label or compilation. It was released in 1993 and The Quentins contributed “Feel so Grave”. There are some known bands in it like Mary Queen of Scots, The Kensingtons, Peru, Southville and even Boyracer. The cover artwork was credited to Anna and it was hand-coloured with crayons. The compilation was put together between 1992-1993.

Their location, Ashford, helps me find just a few more hits on the web. The first is that of a band called The Dale Coopers. It is listed that they supported The Quentins at The Monarch in Chalk Farm, London on the 4th of May of 1993.

The only other information I could find was on a zine in PDF format uploaded to Angelfire (this must be old!). The zine seems to be called “Your Mornings Will Be Brighter” and it dates of September 2000. It says it is “your indispensable free guide to life and music in South Kent”. There is a timeline for a band called Intensified who were celebrating their 10 year anniversary in 2000. We can find that in 1991 a Karl Wirrmann joins the band and it seems that he was formerly the bass player with The Quentins! That is the only name I could find associated to the band. Who were the other Quentins? Was he replaced? Or did The Quentins split in 1991?

There are so many questions. I still would love to hear the two other songs not on the flexi. But 4 songs released is very little. Did they record more? Did they release anything else? Would be interesting to find out more about them. Do you remember anything else by The Quentins?

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Listen
The Quentins – Take It All Back

Hey indiepoppers! Now back from 9 days abroad, vacations in Peru, Lima and the Amazon jungle, Iquitos and Nauta, the Pacaya-Samiria Reserve. Lots of good food, hanging out with friends and showing my girlfriend my hometown. It was really good but now back to reality, work and the US with its new government. What should one feel in this situation?

Not easy, isn’t it? But Cloudberry is very much alive with new releases around the corner. So that’s what I’m going to be doing the next few months. And I’m very excited about that! Have you heard already Some Other Day? And pre-ordered the CD? You don’t want to miss this album!

What news happened while I was away? Will have to catch up. The only news worth mentioning that I have is the release of a a compilation album on a new Peruvian label named Impermeable Records. This compilation is titled CD16 and is kind of a tribute to the C86 tape. It celebrates 20 years of the release of the mythical tape and includes 22 tracks from all over the world.

I actually got a copy already of the CD and started listening to it today. You can order it from the label Bandcamp and also stream the compilation for free.

Among the bands included we find two Cloudberry friends like Pale Spectres or Stephen’s Shore. Also there are bands I have championed in the blog like The Bv’s, Whalo, Eva & John and Yumi Yumi Hip Hop. And of course there are a bunch of bands I’ve never heard before that I need to check out.

Also would like to mention that while in Peru I had the chance to see some bands at the Paraíso Vacío festival that happened last Saturday. Sadly I had a flight very early on Sunday so couldn’t stay late and had to leave halfway through the Dan Dan Dero set. They were really good performing the three songs I had the chance to listen, as good as the last time I saw them a year or so ago. The other band I enjoyed was Serto Mercurio, who looked like very young school boys wearing shorts (not the usual look for a shoegazy bands) and who didn’t sound much as the album I raved on the blog years ago.  But in due honesty, their last song though was brilliant.

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It seems like I keep checking out what’s left on the WOOSH label that hasn’t yet been dug on the blog. Esmerelda’s Kite appeared on one of their flexis and that’s the one I own of their two proper releases.

They appeared first in a flexi on the Sunshine label in 1988. This was the only release on this label as far as I know. On this flexi they appeared along the band The Williams who I interviewed years ago. When I asked The Williams about this flexi they told me:

++ You released a split flexi with Esmerelda’s Kite that came with the Shoot The Tulips zine. I read this was the best selling of them, 800 copies. It even got airplay by John Peel! Was that the biggest highlight of The Williams? How did you end up on this flexi?

The flexi was a good thing – recorded on the strangest 4-track recorder in our bedroom – I remember that I’d met Jo in Leeds- she sold me her fanzine and introduced me to pale saints – we hit it off and discussed the possibility of doing a joint flexi together. Suffice to say my band was going on it – so in some ways it was a vanity press sort of thing. She knew a band from Leeds called Esmerelda’s Kite – of whom the singer would go on to become The Gentle Despite who released some stuff on Sarah records. I think it cost a bit – but we made it back from the sales – she sold out and so did I – it was bizarre – I’ve still got a couple left but generally that flexi is out there.

Jo hated the fact that I called the label Sunshine [in retrospect she was right] and when we got it back from the manufacturers it had three tracks as opposed to the two listed – so it was even better value for money. The John Peel thing was a highlight – Jo rang and said he was going to play the flexi – and we thought he’d play Esmerelda’s Kite – it sounded more garage etc. but we had forgotten that he had a son named William. I remember him introducing it and Paul and I just trying to tape it – it was weird to hear it on the radio. After that it got picked up by some other European stations and even ended up in some charts. Having John Peel play your record means he had to listen to it – make a decision and programme it – it was John Peel do you know what I mean – I listened to him every night. Still he never gave us a session – despite the hundred of tapes we gave him.

From that answer we get to know a couple interesting facts about Esmerelda’s Kite. They were from Leeds and they were to become Gentle Despite. We also know that Sunshine was a label run by The Williams.

The song that is credited on the flexi to Esmerelda’s Kite is “Roundabout” but there is a third song on the flexi, after The Williams’ “I Know I’m Nothing Special To You”, that is attributed to Esmerelda’s Kite and seems to be called “A Whirl.”

The next year, 1989, they were to release a red flexi with the Woosh label (WOOSH 006). This time they were to share the record with The Groove Farm. Esmerelda’s Kite contributed “Vampire Girl”. This flexi came along the fanzine Woosh No.3 that also came with another flexi by The Pooh Sticks.

“Vampire Girl” was also to appear on the “Ten Little Records” compilation that Jigsaw Records released in 2014 collecting most of the songs that Woosh put out on those classic flexis in the 80s.

Where else to dig? Well we do know the connection with Gentle Despite and so the Popkiss book written and researched masterfully by Michael White ends up being a good source of information. From it we know that it was Simon Westwood from Gentle Despite the one that was on Esmerelda’s Kite. Don’t know the rest of the band members but at least we know one now.

The book mentions Esmerelda’s Kite just twice:

Paul Gorton and Simon Westwood had been friends in their native Leeds since the age of twelve, playing together in a succession of teenage bands that followed the trajectory of 1960s rock from speed-fueled garage-punk (The Cavemen) to acid damaged psychedelia (The Emptyhearts). Westwood had been the drummer in both groups, but stepped out front to become a singer after parting company with Gorton and joining a “knockaround joke” endeavour named Esmerelda’s Kite. 

Wadd and Haynes had been encouraging Westwood about the Esmerelda’s Kite demos, so they were familiar with his name when he sent them the first trial recordings of Gentle Despite. 

Sadly early in 2015 Simon Westwood passed away.

I wonder though who else was in Esmerelda’s Kite and about those demos they used to send to Sarah. How many did they record? There’s really not much more on the web, but I wonder if anyone knows more about them?

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Listen
Esmerelda’s Kite – Roundabout