The December 2022 episode of Emmas_Housemusic brings my indiepop radio show as a regular series of monthly listeners-digest-features to an end, at least for now. I know, it’s never say never, so I won’t, but for the time being, there will be no further episodes. I’m not sure what Mixcloud is going to do with the uploaded shows if you don’t go Pro, which under the circumstances made no sense to me. The complete archive of the shows will, however, be available on this website as I do not intend to shut the site down or delete any of the existing episodes. As far as goodbyes go, I’ll let the show speak for itself and will just add my heartfelt thanks to all of you. Take care.
We suspect that writers of reviews who claimed the staggeringly beautiful debut album by Canadian four-piece Tallies for the shoegaze genre didn’t extend their listening adventure beyond the opener „Trouble“, which is indeed a bit of a moody and wall of sound affair. But the album – no it’s not. Even though we are no proven experts in the territory and do not know where Tallies themselves stand on the shoegaze matter, we find hardly a shoe being gazed at on Tallies, an album that is bound to put the Toronto-based band on the indie royalty map. Read on
The Goon Sax
What to call this: You release your first record at the age of 17/18 to widespread international acclaim and excited cries of „flawless guitar pop“ and then follow it up two years later with something that will have no critic even think about the overused phrase „difficult second album“? We call it true class, yeah. The Goon Sax have just confirmed themselves as such a class act with album no. 2, We’re Not Talking. Read on
Ok, let’s get the unimportant bit of information that everyone focuses on out of the way first: yes, Alex Naidu used to be in Pains. There. So now let’s get on with the real stuff. For us, Massage seemed to have appeared out of nowhere but actually Bandcamp reveals they released their first EP in August 2016 and a little more research tells us they’ve been a band for five years before releasing their debut. So here they are now with Oh Boy, a full 12-track debut album that jangles as though their lives depended on it. Read on
When Michael Avishay disbanded his previous band Heathers and relocated from LA to New York in 2015, it took a while before he went back to writing songs again. Heathers had caused quite a stir on the indie scene, and rightly so. They were raw, angry, loud but with an underlying sensitivity that time and again returned to the surface of their songs. They released a couple of brilliant singles in 2013–2014, appeared on a few compilations and disappeared more or less on the eve of the release of their debut album. Read on