The Platers - The Second Between Spark and Flame ep (Indiemp3 Records)

Tom from Indiemp3 seems quite excited about The Platers, a London-based band who namecheck most of the indiepop/C86 staples on their myspace page.

Indeed, there's an innate 80s miserabilism about this band. The title track of this ep is downbeat enough to appeal to the long coat brigade (is there still a long coat brigade?), whilst 'Unwise' doesn't do much to up the fun factor. But hang on, there's a hint of optimism in 'Let's Take the World Tonight, Jonny', which sounds like those other '80s heroes The Housemartins a little bit. Naturally, it's the best track here. 'Another Day' rattles along at a fair pace, too, but it's a bit too tricksy for its own good, whilst the stylish 'Down the Works' ends the record on a stubbornly downbeat note.

Here's something I've noticed over the last couple of weeks: the guitar album seems to be back in fashion. Okay, maybe it's a coincidence, but along with the impressive Hillfields album (which will get a review soon - promise) The Platers' ep emphasises some pretty nifty guitar shapes. And that's something I've not noticed for a while. Maybe indiepop is going through one its periodical serious phases. Maybe the next Hibbett album will be a concept album about early 90s Leicester.

Maybe not.

You can listen to 'Let's Take the World Tonight, Jonny' here.

Nottingham indiepop all-dayer flyer

The venue is booked. The soundman is hired. The line-up is full. The Swedish are coming. 15 November might just prove to be the busiest gig I've ever put on, if you believe Facebook attendees. But then you really shouldn't believe Facebook for things like this. This much I've learned to my cost plenty of times.

T'other promoter, Andy, has whisked up this scampish poster, probably featuring him when he was in the first incarnation of the Bay City Rollers, some time back in pre-war Germany.

I'm talking rubbish, because the birth of my son has kept me awake for most of the week. Sorry. Hope to see some of you on Sunday 15 November at Bunkers Hill in Nottingham.

Very Cheap Red

Cheap Red (y'know, those ex-Boyracer types) are streaming their new album completely free of charge. But you might as well give them some money whilst you're there, of course.

My favourite is 'The Hurt on Her'. What's yours?

Horowitz hit the north (of Europe)

Every time I see Pete or Ian from Horowitz they're always going on about Sweden this, Denmark that - I DON'T KNOW WHY THEY DON'T BLOODY JUST MOVE THERE.

Anyway, Scandinavians amongst you will no doubt be thrilled to learn that Horowitz have a whole tour of Sweden (and maybe a date in Denmark) booked. Expect fuzzy pop thrills on:

Saturday 24th October - Göteborg - On Our Honeymoon club at Stars n'Bars (venue tbc) http://www.myspace.com/onourhoneymoon

Monday 26th October - Copenhagen (tbc)

Tuesday 27th October - Malmö - Don't Die On My Doorstep at På Besök (venue tbc)http://www.myspace.com/dontdieonmydoorstepclub

Wednesday 28th October - Jönköping - Don't Tell Me That!

http://www.myspace.com/donttellmethat3

Thursday 29th October - Stockholm - Cosy Den at Landet http://www.myspace.com/cosyrecordings

Friday 30th October - Linköping (kf brun), skylten

Can you bring me back some of that round crispbread stuff they sell in Ikea please, lads?

Tender Trap - Fireworks (Fortuna Pop!)

You know you're an indiepop legend when the likes of Kip Berman start namechecking you, and of course Amelia Fletcher and her Tender Trap fit into that category nicely.

Why? Because of singles like this, that's why. 'Fireworks' belongs in that cult teen drama that never seems to make its way onto telly these days. If they ever remake Grange Hill as a film, then Tender Trap should write the soundtrack, because they make me feel like I'm 17 again. Indeed, if Tender Trap had been around when I was 17 it might have saved a lot of embarrassment. Anyway, it's a fizzy little number alright.

I recognise the second song from Indietracks, but for the life of me I can't see it mentioned anywhere on the press release or cd case, so you'll have to trust me when I say it's a feisty piece of stop-start pop, with a woozy chorus that mentions roulette wheels. Answers on a postcard, please. Hang on! It's on their myspace page, and it's called 'Grand National'. SOLVED.

'Fireworks' is available as a download only. I think you'll be able to find where from at the Fortuna Pop! website.

Apple Orchard - Leafy Lanes (Haymarket Recordings)

Yeah, indiepop, right - it's all fey pricks with Sarah Records badges and Hello Kitty slides, innit? Yeah. Twee fuckers.

Nonsense, says I! It's a massive, fat fact that not many of the current crop of indiepop darlings sound anything like the stuff that Sarah Records used to put out (I'm ready to be shot down on this one, of course). But Apple Orchard do, and they do it ever so nicely.

On 'Hit or Miss' they sound like Brighter, and there's no-one around at the moment who can sound like Brighter quite as nicely. On 'Fall Fast' they sound like Trembling Blue Stars, with added synth. Tick those boxes.

But don't worry - Apple Orchard aren't some kind of tribute act. 'That Sleepy Side of Town' is upbeat, perky, and almost groovy. And sort of indiepopdance song that you could only just shimmy along to, of course, but it top-tapping all the same.

We revert to type with 'Near Perfect', but that's okay, because in the absence of Harper Lee, I need some lush introspection every now and again.

That Apple Orchard carry on letting go of these little pop gems after the best part of a decade is a wonderful thing, and if you'd like to share this particular one, you best hurry up, because there are only 100 of them to order.

Strawberry Whiplash - Picture Perfect ep (Matinee)

Remember those Lush songs that Emma used to sing that all the dopey indieboys (myself included) didn't think were as good as the ones Miki used to sing, because - dur - she was Miki. They were all wrong. I was wrong. But it's good to see that Strawberry Whiplash has seen the value in a good Emma Anderson song, because the 'Perfect Picture' ep transports this listener right back to 1991, when he had considerably more hair and, therefore, a better fringe.

The title track is all chiming guitars, hazy, swooping verses and vocals that are always quite cute enough to make themselves heard above it all. It's a bit like Clare Grogan fronting Teenage Fanclub for a few joyous minutes.

'Celestial' is altogether more understated, but is all the better for it. All resignation and daydreams, with an outro that might be amongst my favourites of the year. And yes, I keep a list. What of it?

'Falling Through' ends the ep on a suitable ethereal, fuzzy, but resolutely poppy note. This is what I thought music was going to be like forever in 1991, and then it all disapeared as soon as it had arrived. Strawberry Whiplash have brought it back with all the venom perfect pop can muster.