Thanks once again to everyone for joining us for Beat the Delete #0216, bringing you all the very best in submissions that we have received in the last couple of weeks. As always, we hope you find a new favorite or become re-acquainted with an old one

Juxtaposing the incessant muscularity of a hundred early 90s Britpop acts with the jangly melodies of Car Button Cloth era The Lemonheads this Better Than Nothing single by  Din NYC (the solo recording project of Mubashir Mohi-ud-Din) fills every musical gap between Tom Petty and Power-pop!

Having received a cheerful submission that merely cited “fancy some classic jangle-pop,” I thought to myself, “Here we go again” as I prepared myself for yet more commercial indie-pop featuring a lad with a quirky haircut and programmed beats that simply screamed, ‘Come find me commercial radio’.

However, this The Gilded Cage single from the gloriously named Duncan Reid and The Big Heads’ “…and It’s Goodbye From Him’ delivered on every perfect promise that the term traditional jangle-pop suggests!

This Alone single from Patrick J. Smiths’ A Beacon School project’s upcoming Yoyo album (out on Grind Select on October 13, 2023) never strays too far from the most beautiful of sonic palettes, drifting along on an Atmos Bloom-style sense of jangly dream-pop and mixing it with the more subtle caresses of the shoegaze genre.

The digital single releases of Where The Sun Always Shines by The Cuddly Strum and My Life Is Better With Indiepop by Anselmus were the first releases from the brand-new Indonesian label Chaotic Pop Records. Similar to other Southeast Asian acts like The Lousy Pop Group, both songs are tiny, glorious blasts of jangly indie-pop or twee-pop.

Spencer Segelov & Great Paintings’ Under The Lights b-side for the Disco In Your Heart single claims the sonic hinterland between the ringing, jangly chords of The Byrds and the contemporary smooth, psychedelic jangle of Scott Robinson / Kevin Robertson. A 7″ lathe-cut vinyl single can be purchased at Country Mile Records.

Australian twang-heavy jangle-pop that jangles around on the crest of catchy melodies that stick with you long after the song is over. The Blankettes’ Wide Brown Land single is incredibly “moreish” and comes from the increasingly essential Little Lunch Records label.

Reminiscent of all things The Sea Urchins in its 80s and 90s jangly indie-pop propensities, this Getting There single from the Hardwood Floors And A Hand To Hold album by Maine quintet Sullen Eyes (out on Sunday Records on 29th September 2023) shows the band’s potential to become the label’s flagship act.

Taken from Lightheaded’s forthcoming Good Good Great EP, which sees behemoth label Slumberland Records continue to move into the cassette market with several fledgling acts, this Mercury Girl single sees the New Jersey quartet swirl jangly dreamy-like textures around gloriously cutesy girl-pop textures.

This (What) I’ll Be To You release is the second superb jangly indie-pop single from the union of Paul Gordon and Liam James Marsh (Fine, Kid Chameleon) and offers a perfect mix of introspection and jangled riffs that tumble over each other in perfect melodic mayhem. Porcelain are perhaps just a more substantial release away from being our favourite indie-pop secret.

Adoorfly’s Childhood (Remake) single merges subtle Spanish tontopop persuasions with driven guitar pop to offer the perfect sense of sweet and sour / twee and jangly indie rock.

Slapping back The Fall style faux melodic eccentricities with chiming riffs that drizzle out from the ether of superb no-production fuzz-pop, this Nice to See You Single from the EP of the same name (out of World of Birds Records), sees Fizzed offer the world of fuzz-pop some much needed spit and snarl.

A Mt. Misery-style, slacker-rock core is crushed within a sense of raucousness that creeps towards the crunchy end of the power-pop genre in this excellent Hi-Elixir single from Curling’s No Guitar album, their first in five years since their superb Definitely Band debut in 2018.

Wills Van Doorn has been hard at work writing, playing on, recording, and producing his debut full-length solo record, set to drop this fall. Entitled “Rosedale Speedway,” the singer, songwriter, and multi-instrumentalist calls it “a nod to McCartney’s Red Rose Speedway and Rosedale (Kansas) as a whole.” Today, we’ve got the exclusive premiere of the album’s lead single, “The Lawnmower Collector.”…from Bridge909.0rg

Justin Levinson’s sound always seems to float through the airwaves with a graceful ease that grabs the melodic tendencies of 70s pop-rock yesteryear. This Tin Foil Hat Parade track from his recently released Collamer Circle album is yet another that sends you straight to earworm central without passing go.

You never really know where the latest track from Sam Wrangle will end up and I am not really sure he does. All we know is that whatever musical nuance this Brisbane-based act turns his hand to this time or indeed next time, it will ordinarily be held together to some extent by gloriously jangly riffs. Just Living Really courses pop-rock through slight whiffs of traditional jangle and commercial pop inflections. Everything works in the hands of Sam Wrangle!

Dream-pop, vintage pop, and vocal harmonies that seamlessly merge into each other offer an omnipotent sense of beauty and preciousness against the background of hard and soft that surrounds them. This Places single by Los Angeles-based duo Livingmore has power and beauty in abundance.

This I Won’t Go To Florida single by Hypocrite in a Hippy Crypyt is typical of the superb mix of Trademark Issues style pop playfulness and C86, The Photocopies mannerisms that course directly through the core of their New Planet EP that was released on Already Dead Tapes on 15.09.23.

The Toronto band Quirks’ new single, “Good Terms,” is their first new material in nearly five years and serves as a timely reminder of their excellent fusion of indie-folk and jangle-pop that simply exudes an element of wistful nostalgia. We can only hope that this indicates that they are engaged in more important tasks.

“New Light” is the next single from the upcoming Half Stack album “Sitting Pretty”, releasing October 6th. The song was written by singer/guitarist Marley Lix-Jones and was engineered and mixed by Mac DeMarco collaborator Joe Santarpia. (From their promo submission)

All manner of College Rock, early 90s jangle-pop, and Triple J Aussie roughshod ooze to surface in this Chiming In single, which is the first new music by Launceston, Australia’s The Namesakes, in nearly two years. Old-school jangle heaven!

More Australian jangle, this time from Melbourne’s Soft Covers. This excellent Every Week single is the second from the upcoming Soft Serve album, which is scheduled to be released on October 6 via Little Lunch Records and Hidden Bay Records.

This Canadian all-girl quartet, Shoulder Season, from Halifax, Nova Scotia, add the right amount of grunt to driven melodies in this rowdy garage-pop song in the vein of The Beths.

Adapted from The Craytes promo submission: The song captures the essence of the everyday—from honey-drenched beaches to the intrigue of bank vaults—portraying scenes of stillness and observation through kaleidoscope lenses. Oftentimes, at the observer’s detriment, intense reflection and self-doubt take hold. The single “A Very Good Dancer” from the Galaxy Down album (out on Flagless Records 13.10.23) serves as a prime example, as time itself seemingly reverses.

Those who like their The Beatles sound wrapped in Super 8 or Blake modernity may well have found a new darling if this Good Day (When The Shines) single by Chicago’s Torrum is any indication.

Now circling more consistently around a more fuzz-laden indie folk/anti folk aesthetic, this Clearly single from his new Country Emo album seems to be the place where Christchurch, New Zealand-based Ryan Fisherman has found his natural home.

The back catalog of The Blue Herons is teeming with tracks that unify the brilliant talents of Gretchen De Vault and Andy Jossi to maximum effect. However, Echoes in the Dust is arguably their most beautiful yet, as much of the dreamy textures are now replaced with crystalline jangle-pop that merely augments the stunning De Vault vocal delivery.

Imagine the strange and yet ridiculously beguiling mixture of Dan Sartain’s skew vocals and Pavement-style dulcet riffs all dancing within the indietronica of the Phoenix sound, and you have just about stumbled across the unlikely musical ballpark of this Understand Driving single from Philadelphia’s Public Health.