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LP
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TR 586LP
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$26.00
PREORDER
RELEASE DATE: 1/17/2025
LP version. Ex-Vöid -- featuring Lan McArdle (Joanna Gruesome, Lanny) and Owen Williams (The Tubs) -- return with their second LP: In Love Again. Joined by Laurie Foster (bass) and George Rothman (drums), the record sees the band flourish from a chaotic power punk group into a fully-fledged pop behemoth. Taking in elements of shoegaze ("Pinhead"), country ("Outline"), '90s indie rock ("In Love Again") and pretty much the entire history of guitar music, In Love Again reveals McArdle and Williams to be true students of perfect pop. The pair have been collaborating for a decade now, having played in Joanna Gruesome as teenagers, and In Love Again sees them both building on the sound they've honed together and embracing a new, unapologetic attitude towards songcraft. Backed by the tight-yet-raucous rhythm section of Foster and Rothman, In Love Again delivers as a huge pop album without sacrificing any of the hardcore propulsion that characterized the band's first album. Perhaps the most striking aspect of the Ex-Vöid sound is the sublime blend of McArdle and Williams' vocals: close, folk-indebted harmonies which guide the listener through an onslaught of hooks. And while this is utilized to full effect on In Love Again, the album also sees McArdle make full use of their vocal range. In keeping with their new sound, McArdle and Williams have taken a more autobiographical, nuanced approach to lyric writing this time around, a move influenced by touring with Waxahatchee. The hints of folk and country embedded in the tunes also stretch to this new lyrical approach -- storytelling and heartbreak abound. The band's first LP, Bigger Than Before, received positive coverage in Pitchfork, SPIN, Stereogum, and others. It received airtime on BBC Radio 6, and saw the band support/tour with acts such as Waxahatchee, Speedy Ortiz and Alvvays. Williams also fronts The Tubs -- whose 2023 debut saw them touring internationally and receiving plaudits from Pitchfork, The Guardian and Iggy Pop.
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CD
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TR 586CD
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$16.50
PREORDER
RELEASE DATE: 1/17/2025
Ex-Vöid -- featuring Lan McArdle (Joanna Gruesome, Lanny) and Owen Williams (The Tubs) -- return with their second LP: In Love Again. Joined by Laurie Foster (bass) and George Rothman (drums), the record sees the band flourish from a chaotic power punk group into a fully-fledged pop behemoth. Taking in elements of shoegaze ("Pinhead"), country ("Outline"), '90s indie rock ("In Love Again") and pretty much the entire history of guitar music, In Love Again reveals McArdle and Williams to be true students of perfect pop. The pair have been collaborating for a decade now, having played in Joanna Gruesome as teenagers, and In Love Again sees them both building on the sound they've honed together and embracing a new, unapologetic attitude towards songcraft. Backed by the tight-yet-raucous rhythm section of Foster and Rothman, In Love Again delivers as a huge pop album without sacrificing any of the hardcore propulsion that characterized the band's first album. Perhaps the most striking aspect of the Ex-Vöid sound is the sublime blend of McArdle and Williams' vocals: close, folk-indebted harmonies which guide the listener through an onslaught of hooks. And while this is utilized to full effect on In Love Again, the album also sees McArdle make full use of their vocal range. In keeping with their new sound, McArdle and Williams have taken a more autobiographical, nuanced approach to lyric writing this time around, a move influenced by touring with Waxahatchee. The hints of folk and country embedded in the tunes also stretch to this new lyrical approach -- storytelling and heartbreak abound. The band's first LP, Bigger Than Before, received positive coverage in Pitchfork, SPIN, Stereogum, and others. It received airtime on BBC Radio 6, and saw the band support/tour with acts such as Waxahatchee, Speedy Ortiz and Alvvays. Williams also fronts The Tubs -- whose 2023 debut saw them touring internationally and receiving plaudits from Pitchfork, The Guardian and Iggy Pop.
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LP
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TR 573LP
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$26.00
PREORDER
RELEASE DATE: 12/13/2024
LP version. Als die Welt noch unterging ("When the world was still ending") is a chronicle of the emergence and development of punk and new wave in German-speaking countries from 1979 - 1984. The apocalyptic sentiment around 1980 gave punk and new wave the necessary push. It led to an incredible outburst of activity and creativity. Against the backdrop of the nuclear armament, nobody believed that this world would have a great future anymore -- so suddenly everything was allowed, regardless of the consequences. This is the subject of a book by German author Frank Apunkt Schneider, in which he unfolds the history of the New German Wave and the German punk underground right through to the regional, cassette and fanzine scenes. To mark the 20th-anniversary of this book, a compilation curated by the author brings this period back to life. Featuring Autofick, Carambolage, Siluetes 61, Hans-A-Plast, Kosmonautentraum, Holger Hiller, Die Zwei, Family 5 Tagein, Rassemenschen helfen armen Menschen, Lustige Mutanten, Freiwillige Selbstkontrolle, Neues Deutschland, Die Egozentrischen 2, Male, Bärchen und die Milchbubis, Die Zimmermänner, The Wirtschaftswunder, Palais Schaumburg, Cretins, and Konstantin.
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LP
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TR 566LP
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LP version. "It all started in 2004 when we started to fiddle around with some old metal favorite tracks of ours. We rehearsed three songs and had great fun. Since it felt good, we decided to try them out live and a few weeks later they were premiered at a birthday party, in a barn outside of Göteborg. Little did we know what that first show would lead to. What do Motörhead, Refused, Rage Against the Machine, AC/DC, and Green Day all have in common? Probably much to your surprise, they all have written lyrics that all work pretty well in a discourse of resistance against an era characterized more and more by heartless nationalism, racism/fascism and egoism? For every day that goes by now, there is a new idiotic idea presented. They are way too often aimed at kicking down on the ones already on the ground, which seem to be like TNT for regular Joe's who feel betrayed by society. The latter feeling might sometimes be understandable, but since when did spreading fear, building walls and trashing educational systems have become a great solution to anything? Since when is a human being less worth because of his/her ethnicity, gender, sexual preferences or religious believing? Well, our response is concise -- whenever someone will try get us standing in that line -- well, fuck you, we won't do what you tell us. So, what to do? Are we the only ones feeling like total basket cases in a world spiraling downwards? Hopefully not, and if there is one thing that we have learned through the years, it would be that the thing called making/playing/listening to music is a truly potent magic. There are few things that glue us together as efficiently. Thus, we are more than proud and excited to once again present a new Hellsongs album. We like to see it as a beacon of light in very dark ages. We added four original tracks with more or less on the same topic as the cover versions. You will hear more vocals, more drums, more instruments in general -- played by a bigger and angrier gang than ever before. Hopefully you will like it. We do! Now, let's end these seasons in the abyss and instead try to walk together in equality? We know at least, that we would much rather be dead, than not having tried at all. See you on the road!" --Hellsongs, 2024
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LP
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TR 577LP
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LP version. The Telescopes are an all-embracing concern that began in 1987, the only constant being sole composer/instigator, Northumbrian born Stephen Lawrie. The band's line-up is in constant flux, there can be anywhere between one and twenty members on a recording. The Telescopes were initially signed to Cheree Records then moved on to What Goes On Records where they became regulars at the top of the indie charts before gaining more mainstream success on signing to Creation Records. The Telescopes music has constantly pushed at its own boundaries; it overlaps many genres following its own course, inspiration led. Time has shown The Telescopes music not only withstands repeated listening but also reveals something new with each listen, a thread consistent throughout a highly influential body of work spanning over 30 years. The Telescopes have been cited as an influence on many artists across genres, around the world. Halo Moon is The Telescopes 17th studio album, the sixth for Tapete Records. It came from the sky. A herald of new beginnings. A tranquil glow in the boundless universe.
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LP
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TR 581LP
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LP version. Trust Fund, the musical project of singer-songwriter Ellis Jones, returns with a fifth album, Has It Been A While?, recorded in Sheffield by producer and close friend Joe Mackenzie Todd. Fans of Jones' delicate, funny, relatable songwriting will know that yes, it has been a while. The 2018 LP Bringing the Backline -- which received praise from Pitchfork, Rolling Stone, The Guardian, and more -- coincided with Jones calling time on Trust Fund, as band members began their own families, and he moved to Norway (and then on to Canada) to begin a career in academia. His return reflects a realization that his music-making days continue to stretch out before him, and marks the development of a mature style that offers both continuity and change. While previous Trust Fund albums have foregrounded a fuzzy, indie-rock aesthetic, on Has It Been A While? Jones strips his songs down to classical guitar and vocals, supported by captivating string quartet arrangements provided by Maria Grig. Fans of seventies singer-songwriters, and in particular Nick Drake's first two Joe Boyd-produced albums, will find much to recommend here, while Belle and Sebastian's early folk-inflected material is another obvious touchstone. Elsewhere on the record, the title track itself evokes both the spirit and simplicity of Chet Baker's "I Get Along Without You Very Well." Has It Been A While? marks the culmination of Trust Fund's return to activity, following the low-key release of five single tracks across 2022 and 2023.
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CD
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TR 573CD
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Als die Welt noch unterging ("When the world was still ending") is a chronicle of the emergence and development of punk and new wave in German-speaking countries from 1979 - 1984. The apocalyptic sentiment around 1980 gave punk and new wave the necessary push. It led to an incredible outburst of activity and creativity. Against the backdrop of the nuclear armament, nobody believed that this world would have a great future anymore -- so suddenly everything was allowed, regardless of the consequences. This is the subject of a book by German author Frank Apunkt Schneider, in which he unfolds the history of the New German Wave and the German punk underground right through to the regional, cassette and fanzine scenes. To mark the 20th-anniversary of this book, a compilation curated by the author brings this period back to life. Featuring Autofick, Carambolage, Siluetes 61, Hans-A-Plast, Kosmonautentraum, Holger Hiller, Die Zwei, Family 5 Tagein, Rassemenschen helfen armen Menschen, Lustige Mutanten, Freiwillige Selbstkontrolle, Neues Deutschland, Die Egozentrischen 2, Male, Bärchen und die Milchbubis, Die Zimmermänner, The Wirtschaftswunder, Palais Schaumburg, Cretins, and Konstantin.
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CD
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TR 566CD
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"It all started in 2004 when we started to fiddle around with some old metal favorite tracks of ours. We rehearsed three songs and had great fun. Since it felt good, we decided to try them out live and a few weeks later they were premiered at a birthday party, in a barn outside of Göteborg. Little did we know what that first show would lead to. What do Motörhead, Refused, Rage Against the Machine, AC/DC, and Green Day all have in common? Probably much to your surprise, they all have written lyrics that all work pretty well in a discourse of resistance against an era characterized more and more by heartless nationalism, racism/fascism and egoism? For every day that goes by now, there is a new idiotic idea presented. They are way too often aimed at kicking down on the ones already on the ground, which seem to be like TNT for regular Joe's who feel betrayed by society. The latter feeling might sometimes be understandable, but since when did spreading fear, building walls and trashing educational systems have become a great solution to anything? Since when is a human being less worth because of his/her ethnicity, gender, sexual preferences or religious believing? Well, our response is concise -- whenever someone will try get us standing in that line -- well, fuck you, we won't do what you tell us. So, what to do? Are we the only ones feeling like total basket cases in a world spiraling downwards? Hopefully not, and if there is one thing that we have learned through the years, it would be that the thing called making/playing/listening to music is a truly potent magic. There are few things that glue us together as efficiently. Thus, we are more than proud and excited to once again present a new Hellsongs album. We like to see it as a beacon of light in very dark ages. We added four original tracks with more or less on the same topic as the cover versions. You will hear more vocals, more drums, more instruments in general -- played by a bigger and angrier gang than ever before. Hopefully you will like it. We do! Now, let's end these seasons in the abyss and instead try to walk together in equality? We know at least, that we would much rather be dead, than not having tried at all. See you on the road!" --Hellsongs, 2024
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CD
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TR 576CD
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Comet Gain had actually disbanded in 1997, but David Christian didn't want to let the dream die and carried on. Old name, new band. And a new album! Tigertown Pictures was first released in 1999 by Fortuna Pop/Where It's At Is Where You Are in the UK/EU and Kill Rock Stars in the USA and is now being reissued worldwide by Tapete Records. Tigertown Pictures is a wild ride through all things post-punk, DIY, Indie POP, international pop underground, lo fi, garagebeat and folk and rock. Boy/girl vocals, scratchy guitars, sweet noise and rough melodies, enthusiasm and pain, even some unidentified electronic stuff. It´s all there.
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LP
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TR 576LP
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LP version. Comet Gain had actually disbanded in 1997, but David Christian didn't want to let the dream die and carried on. Old name, new band. And a new album! Tigertown Pictures was first released in 1999 by Fortuna Pop/Where It's At Is Where You Are in the UK/EU and Kill Rock Stars in the USA and is now being reissued worldwide by Tapete Records. Tigertown Pictures is a wild ride through all things post-punk, DIY, Indie POP, international pop underground, lo fi, garagebeat and folk and rock. Boy/girl vocals, scratchy guitars, sweet noise and rough melodies, enthusiasm and pain, even some unidentified electronic stuff. It´s all there.
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Artist |
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Format |
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Catalog # |
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CD
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TR 581CD
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Trust Fund, the musical project of singer-songwriter Ellis Jones, returns with a fifth album, Has It Been A While?, recorded in Sheffield by producer and close friend Joe Mackenzie Todd. Fans of Jones' delicate, funny, relatable songwriting will know that yes, it has been a while. The 2018 LP Bringing the Backline -- which received praise from Pitchfork, Rolling Stone, The Guardian, and more -- coincided with Jones calling time on Trust Fund, as band members began their own families, and he moved to Norway (and then on to Canada) to begin a career in academia. His return reflects a realization that his music-making days continue to stretch out before him, and marks the development of a mature style that offers both continuity and change. While previous Trust Fund albums have foregrounded a fuzzy, indie-rock aesthetic, on Has It Been A While? Jones strips his songs down to classical guitar and vocals, supported by captivating string quartet arrangements provided by Maria Grig. Fans of seventies singer-songwriters, and in particular Nick Drake's first two Joe Boyd-produced albums, will find much to recommend here, while Belle and Sebastian's early folk-inflected material is another obvious touchstone. Elsewhere on the record, the title track itself evokes both the spirit and simplicity of Chet Baker's "I Get Along Without You Very Well." Has It Been A While? marks the culmination of Trust Fund's return to activity, following the low-key release of five single tracks across 2022 and 2023.
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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TR 577CD
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The Telescopes are an all-embracing concern that began in 1987, the only constant being sole composer/instigator, Northumbrian born Stephen Lawrie. The band's line-up is in constant flux, there can be anywhere between one and twenty members on a recording. The Telescopes were initially signed to Cheree Records then moved on to What Goes On Records where they became regulars at the top of the indie charts before gaining more mainstream success on signing to Creation Records. The Telescopes music has constantly pushed at its own boundaries; it overlaps many genres following its own course, inspiration led. Time has shown The Telescopes music not only withstands repeated listening but also reveals something new with each listen, a thread consistent throughout a highly influential body of work spanning over 30 years. The Telescopes have been cited as an influence on many artists across genres, around the world. Halo Moon is The Telescopes 17th studio album, the sixth for Tapete Records. It came from the sky. A herald of new beginnings. A tranquil glow in the boundless universe.
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CD
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TR 579CD
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US singer-songwriter legend Amy Rigby presents her new album Hang In There With Me through Tapete Records. Eleven up-to-the minute songs written by Amy and recorded by Wreckless Eric at the couples' home in upstate NY, Hang In There With Me is a bracing look at life inside the vortex of the last few years. Rigby's distinctive voice bluntly traverses love, loss and DIY projects gone wrong over guitars cranked or shimmering, indelible bass lines, a raft of synthesizers, keyboards, beat boxes and the occasional drummer allowed into Amy and Erics rustic mid-century echo chamber. Like some people turn to the moon and stars for inspiration, Amy Rigby looks to creative heroes like Bob Dylan and Mike Leigh. She finds poetry in haircuts, live chat boxes; bartending and bookselling. Her music is the sound of everyday people getting by, just like the country artists she loved and learned to write songs from. The recording of Hang In There With Me was bookended by Amy performing in the round alongside Nashville compadre David Olney when he died onstage in January 2020, and the demise of Amy's dad. Along with Eric's near-fatal heart attack, it could have all made for heavy going in the studio, but Amy says: "There was nothing to hide in the few years when no one could see each other. And with my dad losing his mind and passing away, there's not much left to prove anymore. Watching key figures in our lives die just makes it clear that getting older is a gift and brings a new kind of freedom. Writing songs, making records and touring has been my life and I'm lucky I have the energy and will to keep at it. I still just want to share stories and rock out on guitar. The world is such a mess she says. Writing songs and working in the studio is a small way to make order out of the chaos. It keeps on giving me hope. Hang In There With Me looks at the impossibility of life and living it anyway, with abandon." Amy Rigby has established herself one of Americas enduring underground/cult/indie artists, combining the insight and humor of country and folk songwriting with classic rock craftsmanship and punk DIY spirit. She formed pre-Americana country band Last Roundup (Rounder) and Richard Hells' favorite girl group the Shams (Matador) in downtown NYC before launching a solo career with '90s classic album Diary Of A Mod Housewife.
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LP
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TR 539LP
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LP version. The Telescopes Radio Sessions collects together the essence of three live session recordings in three different countries over a three-year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain.
"Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here's a little reminder and a keepsake. Infinite suns." --Stephen Lawrie, February 2024
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LP
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TR 579LP
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Restocked; LP version. US singer-songwriter legend Amy Rigby presents her new album Hang In There With Me through Tapete Records. Eleven up-to-the minute songs written by Amy and recorded by Wreckless Eric at the couples' home in upstate NY, Hang In There With Me is a bracing look at life inside the vortex of the last few years. Rigby's distinctive voice bluntly traverses love, loss and DIY projects gone wrong over guitars cranked or shimmering, indelible bass lines, a raft of synthesizers, keyboards, beat boxes and the occasional drummer allowed into Amy and Erics rustic mid-century echo chamber. Like some people turn to the moon and stars for inspiration, Amy Rigby looks to creative heroes like Bob Dylan and Mike Leigh. She finds poetry in haircuts, live chat boxes; bartending and bookselling. Her music is the sound of everyday people getting by, just like the country artists she loved and learned to write songs from. The recording of Hang In There With Me was bookended by Amy performing in the round alongside Nashville compadre David Olney when he died onstage in January 2020, and the demise of Amy's dad. Along with Eric's near-fatal heart attack, it could have all made for heavy going in the studio, but Amy says: "There was nothing to hide in the few years when no one could see each other. And with my dad losing his mind and passing away, there's not much left to prove anymore. Watching key figures in our lives die just makes it clear that getting older is a gift and brings a new kind of freedom. Writing songs, making records and touring has been my life and I'm lucky I have the energy and will to keep at it. I still just want to share stories and rock out on guitar. The world is such a mess she says. Writing songs and working in the studio is a small way to make order out of the chaos. It keeps on giving me hope. Hang In There With Me looks at the impossibility of life and living it anyway, with abandon." Amy Rigby has established herself one of Americas enduring underground/cult/indie artists, combining the insight and humor of country and folk songwriting with classic rock craftsmanship and punk DIY spirit. She formed pre-Americana country band Last Roundup (Rounder) and Richard Hells' favorite girl group the Shams (Matador) in downtown NYC before launching a solo career with '90s classic album Diary Of A Mod Housewife.
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CD
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TR 539CD
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The Telescopes Radio Sessions collects together the essence of three live session recordings in three different countries over a three-year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain.
"Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here's a little reminder and a keepsake. Infinite suns." --Stephen Lawrie, February 2024
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CD
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TR 558CD
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Hailing from a place of ancient mariners' secret coves and vast moors beaten by the wind and rain, Backwater Collage is James Hoare's first solo album under the name of Penny Arcade. Despite leaving London for the West country he grew up in, the Englishman is no stranger to the scene. He has been wandering around as if awakened from a long, not-so-peaceful sleep for some time now. You have most probably come across his washed-out blue eyes several times, in projects including Veronica Falls, The Proper Ornaments, and Ultimate Painting. For this dreamy, hand-stitched record, Hoare has taken his time. Maybe because he had to rescue his songs from various recording sessions tinged with a number of mishaps he amusedly admits he is accustomed to: broken multitracks, failing tape machines, rarely available drummers living in the capital. The eleven intimate and solitary songs which make up the album, delivered in the greatest home recording tradition, are nonetheless cautiously produced. James unfurls pure, uncluttered melodies in which his gentle, melancholic voice mingles with smooth, warm vocals by Nathalia Bruno. Barely saturated guitar solos sometimes disrupt the clear, unpolished musical line. Hopping onboard, longtime friend Max Claps has added keyboard parts which manage to embrace the minimal nostalgia of the tracks while preventing any teary pathos. Similar to Jack Name or Syd Barrett -- only less psychedelic -- in terms of songwriting and stripped back atmosphere, Hoare is sitting on the Velvet Underground's black-and-white sofa and gives his album a subterranean feel. At times restless but light-footed, deprived of any unnecessary effects, the record follows in the steps of a less noisy but just as raw and unadorned Jesus and Mary Chain. With Backwater Collage, alone at the helm under a stormy sky, James Hoare invites his listeners to settle in the sheltered comfort of a cup of tea.
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LP
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TR 558LP
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LP version. Hailing from a place of ancient mariners' secret coves and vast moors beaten by the wind and rain, Backwater Collage is James Hoare's first solo album under the name of Penny Arcade. Despite leaving London for the West country he grew up in, the Englishman is no stranger to the scene. He has been wandering around as if awakened from a long, not-so-peaceful sleep for some time now. You have most probably come across his washed-out blue eyes several times, in projects including Veronica Falls, The Proper Ornaments, and Ultimate Painting. For this dreamy, hand-stitched record, Hoare has taken his time. Maybe because he had to rescue his songs from various recording sessions tinged with a number of mishaps he amusedly admits he is accustomed to: broken multitracks, failing tape machines, rarely available drummers living in the capital. The eleven intimate and solitary songs which make up the album, delivered in the greatest home recording tradition, are nonetheless cautiously produced. James unfurls pure, uncluttered melodies in which his gentle, melancholic voice mingles with smooth, warm vocals by Nathalia Bruno. Barely saturated guitar solos sometimes disrupt the clear, unpolished musical line. Hopping onboard, longtime friend Max Claps has added keyboard parts which manage to embrace the minimal nostalgia of the tracks while preventing any teary pathos. Similar to Jack Name or Syd Barrett -- only less psychedelic -- in terms of songwriting and stripped back atmosphere, Hoare is sitting on the Velvet Underground's black-and-white sofa and gives his album a subterranean feel. At times restless but light-footed, deprived of any unnecessary effects, the record follows in the steps of a less noisy but just as raw and unadorned Jesus and Mary Chain. With Backwater Collage, alone at the helm under a stormy sky, James Hoare invites his listeners to settle in the sheltered comfort of a cup of tea.
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CD
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TR 513CD
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BMX Bandits are back with their twelfth studio album, their most musically ambitious so far -- Dreamers On The Run. An album dedicated to all the outsiders out there. BMX Bandits were formed in the Scottish ex industrial town of Bellshill in 1985 by Duglas T Stewart and Sean Dickson. When Sean left to concentrate on his other band The Soup Dragons so began BMX Bandits, not as a conventional band of the same four or five faces but as an ever-growing extended musical family which has included members of The Vaselines, The Pastels, The Pearlfishers, and Teenage Fanclub over the years. In 2014 Duglas formulated the idea for a new BMX Bandits album that would be called Dreamers on the Run, about living in two worlds; the world of dreams and of music while trying to survive the real world. The album was mastered by Duglas' original partner in crime Sean Dickson, now known as Hifi Sean and features guest appearances by giants of the International Pop Underground Jowe Head and Calvin Johnson. Musically there are nods to Womack and Womack, classic Motown vocal groups and Todd Rundgren. It features a classic soul-tinged pop string arrangement and a killer guitar solo. For "The Things You Threw Away" Duglas worked with New York based musician and arranger Jay Jay Lozano who leads the group Adventures in Rhythm. Duglas knew Jay Jay was a fellow fan of classic American musicals of the past and old romantic songs from the 1930s by writers like Hoagy Carmichael, Ray Noble, and Frank Churchill.
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LP + 7"
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TR 513X-LP
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LP version. Includes 7". BMX Bandits are back with their twelfth studio album, their most musically ambitious so far -- Dreamers On The Run. An album dedicated to all the outsiders out there. BMX Bandits were formed in the Scottish ex industrial town of Bellshill in 1985 by Duglas T Stewart and Sean Dickson. When Sean left to concentrate on his other band The Soup Dragons so began BMX Bandits, not as a conventional band of the same four or five faces but as an ever-growing extended musical family which has included members of The Vaselines, The Pastels, The Pearlfishers, and Teenage Fanclub over the years. In 2014 Duglas formulated the idea for a new BMX Bandits album that would be called Dreamers on the Run, about living in two worlds; the world of dreams and of music while trying to survive the real world. The album was mastered by Duglas' original partner in crime Sean Dickson, now known as Hifi Sean and features guest appearances by giants of the International Pop Underground Jowe Head and Calvin Johnson. Musically there are nods to Womack and Womack, classic Motown vocal groups and Todd Rundgren. It features a classic soul-tinged pop string arrangement and a killer guitar solo. For "The Things You Threw Away" Duglas worked with New York based musician and arranger Jay Jay Lozano who leads the group Adventures in Rhythm. Duglas knew Jay Jay was a fellow fan of classic American musicals of the past and old romantic songs from the 1930s by writers like Hoagy Carmichael, Ray Noble, and Frank Churchill.
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TR 513LP
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LP version. BMX Bandits are back with their twelfth studio album, their most musically ambitious so far -- Dreamers On The Run. An album dedicated to all the outsiders out there. BMX Bandits were formed in the Scottish ex industrial town of Bellshill in 1985 by Duglas T Stewart and Sean Dickson. When Sean left to concentrate on his other band The Soup Dragons so began BMX Bandits, not as a conventional band of the same four or five faces but as an ever-growing extended musical family which has included members of The Vaselines, The Pastels, The Pearlfishers, and Teenage Fanclub over the years. In 2014 Duglas formulated the idea for a new BMX Bandits album that would be called Dreamers on the Run, about living in two worlds; the world of dreams and of music while trying to survive the real world. The album was mastered by Duglas' original partner in crime Sean Dickson, now known as Hifi Sean and features guest appearances by giants of the International Pop Underground Jowe Head and Calvin Johnson. Musically there are nods to Womack and Womack, classic Motown vocal groups and Todd Rundgren. It features a classic soul-tinged pop string arrangement and a killer guitar solo. For "The Things You Threw Away" Duglas worked with New York based musician and arranger Jay Jay Lozano who leads the group Adventures in Rhythm. Duglas knew Jay Jay was a fellow fan of classic American musicals of the past and old romantic songs from the 1930s by writers like Hoagy Carmichael, Ray Noble, and Frank Churchill.
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TR 537CD
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The second release in Tapete's great series of radio sessions are the collected BBC recordings of Comet Gain, the rough diamond of the international pop underground, the indie punk Monkees, the noise pop collective Numero Uno! Radio Sessions BBC 1996 - 2011 contains three John Peel sessions from 1996 and 1997 as well as a Marc Riley session from 2011. One thing is for sure: a world in which such a great, anarchic, idiosyncratic band, simply perfect in its imperfection, is invited to Abbey Road Studios for radio sessions by the country's biggest broadcaster, among others, can't be that bad. All those who are already fans of Comet Gain should have this album, and everyone else too.
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TR 554LP
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LP version. 2024 marks 40 years of Pete Astor making records, a suitable anniversary point at which to take stock and double back on songs that first appeared on records by Astor-fronted combos such as Creation Records trailblazers The Loft and The Weather Prophets, and Matador recording artists The Wisdom of Harry, as well as selections from solo albums that appeared on labels such as Danceteria and Static Caravan. Astor's motivation for Tall Stories & New Religions, as his extensive notes make clear, is manifold. Some songs are effectively reexamined in the way one might linger over a resonant picture from a box of old photographs -- connecting with the essence of a younger self. Other songs are newly recast in wiser and more reflective hues, while others simply demanded exhumation from willfully opaque, lo-fi non-production. The songs chosen are not the obvious ones -- there's no "Up the Hill and Down the Slope" or "Almost Prayed" here -- but have been selected for more interesting, often esoteric, reasons. Astor is accompanied by an estimable band of co-conspirators, evolving out of many hours spent playing music together on records and at shows over the last decade. They are drummer Ian Button (Death in Vegas, Papernut Cambridge, Go Kart Mozart), bassist Andy Lewis (Paul Weller, Soho Radio, and Blow Up DJ), guitarist Wilson Neil Scott (Summerhill, Felt, Everything But the Girl), and keyboardist/multi-instrumentalist/producer Sean Read (Dexys, Mark Lanegan, Dave Gahan, Iggy Pop, Manic Street Preachers, Beth Orton, Chrissie Hynde). Together they've revisited these lost gems of songs in a manner that has allowed Astor to balance the way that they still make sense to him now, looking both to the future and to that big and interesting new country, the past.
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TR 545CD
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Brausepöter (Martin Lück, Bernd Hanhardt and Kemper) were founded in 1978 in East Westphalia and were originally called Nordwest Germanes Eiterlager, NWE for short. Brilliant name, but Brausepöter isn't bad either! This makes them one of the first German punk bands -- punk in the true sense of the word, or as the US fanzine Maximum Rocknroll put it: "It's indie punk in the purest John Peel sense" or, as Martin Lück put it, "We always wanted to take all the rock out of our music." Brausepöter released their last regular album Nerven geschädigt in 2019. The punk magazine FAZ titled their review "The new Brausepöter record shows what punk means today." For them, Brausepöter is "a German band that was unfortunately too good to become as famous as Trio or Die Toten Hosen." Spiegel Online also liked Nerven geschädigt: "In its radical disinterest in everything that is possible and promising, Brausepöter's music seems even more consistent today than it did back then." The lost 1979 album Keiner kann uns ab is now being released. Originally the record, recorded with a cassette recorder in '79, was supposed to be released by ZickZack, but nothing came of it. Did the tape get lost in the post? Were the recordings too good? Or too radical even for ZickZack? If Keiner kann uns ab had actually been released back then, who knows, perhaps today the album would be mentioned in the same breath as Monarchie und Alltag, Amok Koma, or Slime's debut. But maybe not, because the Brausepöter sound is too unique, too ramshackle, too DIY -- closer to the TVPs, closer to The Fall or closer to the early Mekons than to all the punk rock bands. Brausepöter are simply "indie punk in the purest John Peel sense."
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TR 545LP
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LP version. Brausepöter (Martin Lück, Bernd Hanhardt and Kemper) were founded in 1978 in East Westphalia and were originally called Nordwest Germanes Eiterlager, NWE for short. Brilliant name, but Brausepöter isn't bad either! This makes them one of the first German punk bands -- punk in the true sense of the word, or as the US fanzine Maximum Rocknroll put it: "It's indie punk in the purest John Peel sense" or, as Martin Lück put it, "We always wanted to take all the rock out of our music." Brausepöter released their last regular album Nerven geschädigt in 2019. The punk magazine FAZ titled their review "The new Brausepöter record shows what punk means today." For them, Brausepöter is "a German band that was unfortunately too good to become as famous as Trio or Die Toten Hosen." Spiegel Online also liked Nerven geschädigt: "In its radical disinterest in everything that is possible and promising, Brausepöter's music seems even more consistent today than it did back then." The lost 1979 album Keiner kann uns ab is now being released. Originally the record, recorded with a cassette recorder in '79, was supposed to be released by ZickZack, but nothing came of it. Did the tape get lost in the post? Were the recordings too good? Or too radical even for ZickZack? If Keiner kann uns ab had actually been released back then, who knows, perhaps today the album would be mentioned in the same breath as Monarchie und Alltag, Amok Koma, or Slime's debut. But maybe not, because the Brausepöter sound is too unique, too ramshackle, too DIY -- closer to the TVPs, closer to The Fall or closer to the early Mekons than to all the punk rock bands. Brausepöter are simply "indie punk in the purest John Peel sense."
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