Ticking Haze, the debut album from Shapes Like People, is reviewed and Kat and Carl Mann answer the Pure Pop Phive

By Henry Lipput

Ticking Haze (Jangleshop Records), the debut album from Shapes Like People, is rich with melodies, full of yearnings for love and a better life, and the offerings of a hand of support to lovers and friends.

It’s appropriate that Ticking Haze begins with the song “Ambition Is Your Friend” with the lines “Don’t punish me for trying/Ambition is your friend” because Carl Mann, one half of the husband-and-wife duo that makes up Shapes Like People, is one of the most ambitious people I know of in the indie music industry. He began work on Ticking Haze after two years of work on last year’s Daysdream, a two LP, 16 song collection (and one of the best albums of 2024) from his other band The Shop Window (he sang lead vocals and played lead guitar, keyboard, and percussion and he also produced the whole thing).

Carl began writing song to pitch to other singers and asked his wife Kat, who works in the film industry, to provide female vocals so he could hear what it sounded like (Kat is no stranger to singing as she provided backing vocals to three of Carl’s songs on Daysdream). He decided to keep her vocals and went to work writing more songs for what would eventually become Ticking Haze.

With jangle-meister Carl at the helm and Kat’s double-tracked vocals on songs like the new pop classic “When The Radio Plays” Shapes Like People have a tendency to sound like Kirsty Maccoll covering a Smiths song.

Although “When The Radio Plays” and “A New Crown” are not set along side each other on the album’s track listing they are two sides of the same look at life in a city. In “When The Radio Plays” a woman watches the missed buses go by in the same way she has missed opportunities to find love. In the gentle “A New Crown” this woman has also dealt with buses but in a different way: “I’ve done time in the city smoke/Had to leave before I choked” and decides to leave for a life in the country with its “shade from an old chestnut tree’ and “blissful scenes with natural stone.”

Other highlights on Ticking Haze include the beautiful, hopeful “Weathering” with lyrics that work as life lessons and conjure up “weathering the storm” and “taking the breaks off.” And on the upbeat, alt-Country tune “The Ship Has Sailed” I wouldn’t be at all surprised if Kat and Carl were wearing Stetsons during the recording.

Kat and Carl answer the Pure Pop Phive

How would you describe your music?

Carl: It has elements of all the music we love - Janglepop, Dreampop, Shoegaze, Indiepop, and some have described it as having Folky vibes here and there. 

Kat: When we make music we’re not really thinking about genre, we’re just trying to create something we love the sound of. 

What/who are your major influences?

Carl: When we first started recording demos we’d sit and listen to all the albums and artists we both loved. We mainly focused on female-fronted acts to think about where we might want to take it.  

Kat: Here are some that we both love and may have inspired us - Alvvays, Sol Seppy, Agnes Obel, Weyes Blood, Lee & Nancy, Johnny & June, Isobel & Mark, Eurythmics, Carpenters, Jenny Lewis, Mazzy Star, The Sundays, Cocteau Twins. 

Do you perform live? Do you have any upcoming gigs?

Kat: At the moment we don’t have any plans to play live, but we’ll never say never.

Carl: Life doesn't provide us with much space for gigging, but it would be a joy to perform these songs. If we ever get around to it hopefully The Shop Window gents would step up and provide us with the band. 

How do you support yourself so you can continue to make music?

Kat: I work full time in the film industry, while Carl is focused on music and running the label. 

Carl: We’re about to start offering production, mixing, mastering, writing/collaborations and session guitar services through Jangleshop Records, so we’re in a little period of development before opening the books up. 

What’s your favorite album of all time (that's not one of yours)?

Carl: There are so many, but if we had to pick one album that is really special to both of us it would be It’s a Wonderful Life by Sparklehorse. 

Kat: Carl introduced me to this record when we first met, and all these years later we still listen to it. We instantly get transported back to that time. Plus, it’s just an incredibly beautiful album.

 

A Second Look, A Second Listen

By Henry Lipput

Certain Memories (Subjangle) by the UK band Assistant is their first album since The World Could Be So Much Fun in 2022 (there were three albums before that one all of which are also available from Subjangle).

The band for Certain Memories is made up of three members who have been onboard for all four albums: Jonathan Shipley (vocals and guitars), Peter Simmons (vocals and guitars), and Anne Sophie-Marsh (keyboards and vocals). Together this threesome makes a lovely, delicate, jangly sound that belies the darkness of some of the lyrics. It’s best described as a small group of friends recording in a small room making sure they don’t bother the elderly couple in the bedsit next door (except for the burst of fuzz guitar at the end of “My Phone Began To Ring”).

Certain Memories isn’t really a concept album but the major themes are the illness and death of a parent (Shipley’s mother) and how one gets through it. The album begins with “My Phone Began To Ring” with the lyrics relating a diagnosis no one wants to hear: “They said you couldn’t treat it with anything/That’s just life, that’s just death.”

“Song For Jill” fits in between “My Phone Began To Ring” and the following song “Jill Is Fading.” After a stint in the hospital, Shipley tells his mother “Mum, I know you’re on the mend/I hope you’re feeling better.” But on “Jill Is Fading” the joy of Shipley's recent nuptials knocks heads with the death of his mother: “This was supposed to be our year/And she’s fading, there’s no explaining/it’s amazing, Jill is fading/And the pain is appalling/No amount of warning/Can prepare.” Helen McCookerybook, a friend of the band, provides vocals and plays melodica to, as the album notes say, “lend warmth and joy to a devastating topic.” (The mix on the Certain Memories is by McCookerybook and another mix of the song by Tom O’Leary, another friend of the band, is available on the Assistant Bandcamp page.)

Sophie-Marsh takes the lead on three songs that are dotted throughout the album: “Overwhelming,” “Before And After You,” and “Tread.” “Before And After You” has an acoustic guitar, a treated French vocal, and a beat that recalls Massive Attack. “Tread” may be about someone missing in her life, another tenant in her building, or a ghostly visitor who leaves “A print in the dust/At the edge of my mirror.”

But it’s “Overwhelming” that provides a connection to the rest of the album as it’s a different take on a partner’s loss and their attempt to get through the day, day by day. Sophie-Marsh sings most of the lyrics but Shipley joins in for “I don’t know what I’m going to do/But I’m glad I have you.”

Simmons sings “Raking Leaves” about the joys (and perhaps boredom and frustration) of gardening and seasonal duties. “I’ve been raking leaves/Ever since November/Just raking leaves/Goes on forever.” But when he sings “I don’t know what I’m doing it for/Is it just a metaphor/Or just a chore” it’s hard not to think of the line from “My Phone Began To Ring:” “You get so sick of tests and trials/When no one says anything good.”

“I’m So Much Better” is in the middle of the album but might have fit better to close it as the song provides a positive look at where Shipley might be as time goes on. Dreaming of an earlier time in his life, “at the edge of waking up/I felt the earth beneath/I had to smile and stick around a while.” Throughout the song he repeats the line “Won’t you come and hang around with me?” which can be seen as an invitation to his family but also to the listener.

Why is this post called A Second Look, A Second Listen? A few days after Certain Memories was announced back in December with a release date of January  (and as with most Subjangle releases the entire track listing was available) I wrote a short appreciation of the album (called Sadly Beautiful after the Replacements song) and said it was “an early entry for one of the best albums of 2025.” Well here it is April 2025 and as far as I’m concerned it is officially one of the best albums of 2025.