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CD
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TR 571CD
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$16.50
PREORDER
RELEASE DATE: 4/4/2025
With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles, the band produced two more albums -- Pst and S.Y.P.H. (Album 4) -- together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities -- Punkraut 1978-1981.
"This compilation contains rare and previously unreleased recordings from the first three years of the band's history: The songs 'Blech' and 'Mondpogo,' performed live at S.Y.P.H.'s first concert in Düsseldorf's Carsch-Haus in 1978 and five recordings made in nearby Solingen between 1978 and 1979. There are also three studio recordings from the Hamburg Container Studios in December 1981 -- recordings from a time when 'the band had finally abandoned punk as a musical genre as well as the influence of interim producer Holger Czukay and had found a style all of their own." --Kurt Dahlke
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LP
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TR 570LP
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$26.00
PREORDER
RELEASE DATE: 4/4/2025
LP version. With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles, the band produced two more albums -- Pst and S.Y.P.H. (Album 4) -- together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities -- Punkraut 1978-1981.
"In the mid-seventies, Uwe Jahnke and Harry Rag had probably founded the first CAN fan club in Germany and, among other things, conducted an interview with Holger Czukay for Harry Rag's school newspaper in 1976. Four years later, fandom made way for collaboration when the band asked the legendary CAN multi-instrumentalist whether he'd be willing to produce the next S.Y.P.H. album. To their astonishment, he accepted. Thus it came about that in 1980, S.Y.P.H. was recording with Czukay in the fabled Innerspace Studio in Weilerswist, where the iconic CAN albums had been created years earlier. Czukay also performed on several tracks, for instance horn, percussion, bass and harmonica on 'Do the Fleischwurst'. These sessions resulted in the two albums Pst and the untitled 4th album. We stumbled into the 'Innerspace', a raucous and shrill punk band in CAN's private recording room. We wanted to develop our musical style, change it, discover new territory, improvise. We wanted to move away from the punk belters and towards something new. Jojo on bass, Uli on drums, Uwe on guitar -- and myself on whatever we could find. Holger would send the signals through the loudspeakers distributed around the room and recorded a lot with several room mics. Most of the recordings were therefore live, only a few overdubs were recorded separately. We probably didn't know exactly what we were doing at the time. After 5 days, the studio days were over and we went home." --Harry Rag
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Artist |
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LP
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TR 571LP
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$26.00
PREORDER
RELEASE DATE: 4/4/2025
LP version. With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles, the band produced two more albums -- Pst and S.Y.P.H. (Album 4) -- together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities -- Punkraut 1978-1981.
"This compilation contains rare and previously unreleased recordings from the first three years of the band's history: The songs 'Blech' and 'Mondpogo,' performed live at S.Y.P.H.'s first concert in Düsseldorf's Carsch-Haus in 1978 and five recordings made in nearby Solingen between 1978 and 1979. There are also three studio recordings from the Hamburg Container Studios in December 1981 -- recordings from a time when 'the band had finally abandoned punk as a musical genre as well as the influence of interim producer Holger Czukay and had found a style all of their own." --Kurt Dahlke
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CD
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TR 569CD
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$16.50
PREORDER
RELEASE DATE: 4/4/2025
With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles, the band produced two more albums -- Pst and S.Y.P.H. -- together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities -- Punkraut 1978-1981.
"Peter Braatz (Harry Rag), Jojo Wolter, Ulli Putsch and myself in 1980 in Can's so-called Innerspace Studio in Weilerswist: what a happening! I probably still don't have the words to describe how I felt. Were we excited? Of course we were -- and then some. It was a non-stop flight to the center of the universe, to the Holy of Holies, way beyond our musical imagination. After all, except for the first LP Monster Movie, this is where all the wonderful masterpieces of the very best international German band that we all love so dearly were created. Pure magic was at work here. Future Days had already been a promise for me when I was still a student -- and now the four of us were right at the center of our musical dreams. We could suddenly play whatever we wanted. Okay, on the first day we were all still pretty tense. But Holger Czukay kept encouraging us and quickly managed to loosen us all up a little. And then the thing took off. So there was always an urgent desire within us to create intuitive music without making agreements up front, where everyone was listening to their inner self and at the same time to their fellow musicians -- that's what the Pst, i.e. 'Shh' is about! -- creating music together in the moment. A free, direct way of composing. The spatial atmosphere of the Innerspace Studio contributed significantly to us being able to realize this wish. The studio as a living musical universe. A large, truly infinite space without barriers, where all four of us were in our element." --Uwe Jahnke
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LP
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TR 569LP
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$26.00
PREORDER
RELEASE DATE: 4/4/2025
LP version. With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles, the band produced two more albums -- Pst and S.Y.P.H. -- together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities -- Punkraut 1978-1981.
"Peter Braatz (Harry Rag), Jojo Wolter, Ulli Putsch and myself in 1980 in Can's so-called Innerspace Studio in Weilerswist: what a happening! I probably still don't have the words to describe how I felt. Were we excited? Of course we were -- and then some. It was a non-stop flight to the center of the universe, to the Holy of Holies, way beyond our musical imagination. After all, except for the first LP Monster Movie, this is where all the wonderful masterpieces of the very best international German band that we all love so dearly were created. Pure magic was at work here. Future Days had already been a promise for me when I was still a student -- and now the four of us were right at the center of our musical dreams. We could suddenly play whatever we wanted. Okay, on the first day we were all still pretty tense. But Holger Czukay kept encouraging us and quickly managed to loosen us all up a little. And then the thing took off. So there was always an urgent desire within us to create intuitive music without making agreements up front, where everyone was listening to their inner self and at the same time to their fellow musicians -- that's what the Pst, i.e. 'Shh' is about! -- creating music together in the moment. A free, direct way of composing. The spatial atmosphere of the Innerspace Studio contributed significantly to us being able to realize this wish. The studio as a living musical universe. A large, truly infinite space without barriers, where all four of us were in our element." --Uwe Jahnke
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Artist |
Title |
Format |
Label |
Catalog # |
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CD
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TR 570CD
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$16.50
PREORDER
RELEASE DATE: 4/4/2025
With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles, the band produced two more albums -- Pst and S.Y.P.H. (Album 4) -- together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities -- Punkraut 1978-1981.
"In the mid-seventies, Uwe Jahnke and Harry Rag had probably founded the first CAN fan club in Germany and, among other things, conducted an interview with Holger Czukay for Harry Rag's school newspaper in 1976. Four years later, fandom made way for collaboration when the band asked the legendary CAN multi-instrumentalist whether he'd be willing to produce the next S.Y.P.H. album. To their astonishment, he accepted. Thus it came about that in 1980, S.Y.P.H. was recording with Czukay in the fabled Innerspace Studio in Weilerswist, where the iconic CAN albums had been created years earlier. Czukay also performed on several tracks, for instance horn, percussion, bass and harmonica on 'Do the Fleischwurst'. These sessions resulted in the two albums Pst and the untitled 4th album. We stumbled into the 'Innerspace', a raucous and shrill punk band in CAN's private recording room. We wanted to develop our musical style, change it, discover new territory, improvise. We wanted to move away from the punk belters and towards something new. Jojo on bass, Uli on drums, Uwe on guitar -- and myself on whatever we could find. Holger would send the signals through the loudspeakers distributed around the room and recorded a lot with several room mics. Most of the recordings were therefore live, only a few overdubs were recorded separately. We probably didn't know exactly what we were doing at the time. After 5 days, the studio days were over and we went home." --Harry Rag
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LP
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TR 582LP
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$26.00
PREORDER
RELEASE DATE: 3/14/2025
LP version. The Loft notched up an impressive list of firsts for Creation Records' artists back in the mid-'80s. First Creation band on TV, first to hit the top of the indie singles chart, first to be invited on to a major UK tour and first Creation band to record a coveted BBC radio session -- for Janice Long's Radio One show in 1984. Then they split up. Since that infamous onstage tragedy; splitting up mid-song, at the Hammersmith Palais in front of 3,000 people when on the verge of Big Time indie greatness, the band has reunited. Just as their status as one of the UK's most influential guitar bands of the '80s continues to grow and to influence a host of younger artists, and thirty-nine years after that acrimonious split, it seemed the time was right to record their debut album. After a sell-out show at London's MOTH club and their heralded appearance at the Glas-Goes Pop festival, the group was invited by BBC 6 Music's Riley & Coe to record its fourth BBC session, at Maida Vale's famous Studio 4. Within six months the session was rush released by Precious Recordings of London on glorious ten inch vinyl. Enter Hamburg based, Tapete Records, who, hearing rumors about new Loft material, snapped up the album and signed the band without hearing a single note. The ten song collection, Everything Changes, Everything Stays The Same was recorded in Hackney in August and produced by Dexys' Sean Read with the original Loft line up of Pete Astor (guitar /vocals) Andy Strickland (guitar), Bill Prince (bass) and Dave Morgan (drums).
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CD
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TR 582CD
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$16.50
PREORDER
RELEASE DATE: 3/14/2025
The Loft notched up an impressive list of firsts for Creation Records' artists back in the mid-'80s. First Creation band on TV, first to hit the top of the indie singles chart, first to be invited on to a major UK tour and first Creation band to record a coveted BBC radio session -- for Janice Long's Radio One show in 1984. Then they split up. Since that infamous onstage tragedy; splitting up mid-song, at the Hammersmith Palais in front of 3,000 people when on the verge of Big Time indie greatness, the band has reunited. Just as their status as one of the UK's most influential guitar bands of the '80s continues to grow and to influence a host of younger artists, and thirty-nine years after that acrimonious split, it seemed the time was right to record their debut album. After a sell-out show at London's MOTH club and their heralded appearance at the Glas-Goes Pop festival, the group was invited by BBC 6 Music's Riley & Coe to record its fourth BBC session, at Maida Vale's famous Studio 4. Within six months the session was rush released by Precious Recordings of London on glorious ten inch vinyl. Enter Hamburg based, Tapete Records, who, hearing rumors about new Loft material, snapped up the album and signed the band without hearing a single note. The ten song collection, Everything Changes, Everything Stays The Same was recorded in Hackney in August and produced by Dexys' Sean Read with the original Loft line up of Pete Astor (guitar /vocals) Andy Strickland (guitar), Bill Prince (bass) and Dave Morgan (drums).
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CD
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TR 588CD
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$16.50
PREORDER
RELEASE DATE: 3/7/2025
The Hanoverian post-punk group Der Moderne Man made a splash with the 1980 release of their first album 80 Tage auf See (80 Days at Sea). The album quickly drew attention throughout Germany, later also in the UK and other international territories -- not least thanks to the support of BBC's John Peel. The second LP Unmodern was released in 1982. Tapete Records is now re-issuing the first two studio albums. This is accompanied by Jugend Forscht, a compilation of demos, EPs and singles with some unreleased tracks. All three releases are complemented by detailed liner notes and previously unreleased images.
"Although Unmodern is still the album of a bunch of amateurishly posing musicians demonstrating self-empowerment, alongside the simple arrangements, statements and songs that repeatedly define POP in three capital letters, it jangles and twinkles in every nook and cranny, and not just like that, but well thought out and in the same way that New Wave was defined and produced in the UK. The topics that Unmodern tackles have aged surprisingly well. I have to put it this way because it sounds good, but you could just as well say that they are quite conservative. Or you could tone it down and say that you must understand it in the context of the times. Abwärts were afraid of the computer state, Der Moderne Man criticizes the fact that robots are now making music. With 'Nur Die', it's not entirely clear which language is being referred to. It could be German. 'Anakonda' and 'Blaue Matrosen' provoke with a proximity to the exoticism of the 1940s and 1950s: here, 'the faraway' invariably is a somewhat ridiculous world, and the songs do not clearly distinguish themselves from this part of German non-culture. All of this was justified against the backdrop of the hippie dogmatism of the 1970s, but as I said, it can often only be understood in the context of the times. In any case, Der Moderne Man achieved something here that hardly anyone else in Germany would have managed at the time, except perhaps Fehlfarben. A cutting-edge production of international standard. New Wave without caricaturing New Wave. 'Blaue Matrosen' was released around the same time as 'Enola Gay' without being left behind or anyone turning up their nose and saying something like 'Oh, the Germans are trying their hand at New Wave now too.' Hats off to that." --Frank Spilker
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2LP
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TR 589LP
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$35.00
PREORDER
RELEASE DATE: 3/7/2025
Double LP version. Der Moderne Man emerged from the vicinity of Hanover's No Fun label, an incubator for a scene somewhere in between punk, avant-garde and new wave. In addition to two studio albums, the band recorded various demos, EPs and singles between 1981 and 1983. These songs, which did not appear on the two regular albums, are now being re-issued for the first time as an independent compilation. Jugend Forscht spans an arc from the first EP to early demo recordings and a single that was never released as a regular album to the German-language New Wave of the last mini-LP Neues aus Hong Kong. The tracks collected on Jugend Forscht tell the story and development of Der Moderne Man in an impressive way. The compilation is supplemented by detailed liner notes and some never-before-published images. Der Moderne Man combined a wide range of influences: the punk rock minimalism of guitarist Eckhardt 'EKT' Kurtz, English music magazines, imported records bought during visits to Berlin, the hyperactivity of drummer Claudius Hempelmann and the lyrics of Michael 'Ziggy XY' Jarick with their very own view of everyday life. After touring with five other bands from the No Fun label and new drummer Felix Wolter, Der Moderne Man released a live mini-LP and produced the LP Unmodern with the additional band member Thomas 'Tonio Scorpo' Schnura on saxophone and synthesizer. With the addition of bass player Axel Wicke, 1982 was shaped by numerous tours and positive to euphoric reviews. Soon, major record companies were coming along with offers, but the band (for the most part) rejected the industry's temptations. Der Moderne Man incorporated influences from England and the USA on their 1983 mini-LP Neues aus Hong Kong. This could have meant a career boost, but German audiences were tired out by the glut of cheap German new wave industry output and the band subsequently dropped out in autumn of that year. The songs now compiled on Jugend Forscht show that Hannover was capable of more than just rock music.
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Artist |
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Catalog # |
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LP
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TR 588LP
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$26.00
PREORDER
RELEASE DATE: 3/7/2025
LP version. The Hanoverian post-punk group Der Moderne Man made a splash with the 1980 release of their first album 80 Tage auf See (80 Days at Sea). The album quickly drew attention throughout Germany, later also in the UK and other international territories -- not least thanks to the support of BBC's John Peel. The second LP Unmodern was released in 1982. Tapete Records is now re-issuing the first two studio albums. This is accompanied by Jugend Forscht, a compilation of demos, EPs and singles with some unreleased tracks. All three releases are complemented by detailed liner notes and previously unreleased images.
"Although Unmodern is still the album of a bunch of amateurishly posing musicians demonstrating self-empowerment, alongside the simple arrangements, statements and songs that repeatedly define POP in three capital letters, it jangles and twinkles in every nook and cranny, and not just like that, but well thought out and in the same way that New Wave was defined and produced in the UK. The topics that Unmodern tackles have aged surprisingly well. I have to put it this way because it sounds good, but you could just as well say that they are quite conservative. Or you could tone it down and say that you must understand it in the context of the times. Abwärts were afraid of the computer state, Der Moderne Man criticizes the fact that robots are now making music. With 'Nur Die', it's not entirely clear which language is being referred to. It could be German. 'Anakonda' and 'Blaue Matrosen' provoke with a proximity to the exoticism of the 1940s and 1950s: here, 'the faraway' invariably is a somewhat ridiculous world, and the songs do not clearly distinguish themselves from this part of German non-culture. All of this was justified against the backdrop of the hippie dogmatism of the 1970s, but as I said, it can often only be understood in the context of the times. In any case, Der Moderne Man achieved something here that hardly anyone else in Germany would have managed at the time, except perhaps Fehlfarben. A cutting-edge production of international standard. New Wave without caricaturing New Wave. 'Blaue Matrosen' was released around the same time as 'Enola Gay' without being left behind or anyone turning up their nose and saying something like 'Oh, the Germans are trying their hand at New Wave now too.' Hats off to that." --Frank Spilker
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Artist |
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CD
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TR 589CD
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$16.50
PREORDER
RELEASE DATE: 3/7/2025
Der Moderne Man emerged from the vicinity of Hanover's No Fun label, an incubator for a scene somewhere in between punk, avant-garde and new wave. In addition to two studio albums, the band recorded various demos, EPs and singles between 1981 and 1983. These songs, which did not appear on the two regular albums, are now being re-issued for the first time as an independent compilation. Jugend Forscht spans an arc from the first EP to early demo recordings and a single that was never released as a regular album to the German-language New Wave of the last mini-LP Neues aus Hong Kong. The tracks collected on Jugend Forscht tell the story and development of Der Moderne Man in an impressive way. The compilation is supplemented by detailed liner notes and some never-before-published images. Der Moderne Man combined a wide range of influences: the punk rock minimalism of guitarist Eckhardt 'EKT' Kurtz, English music magazines, imported records bought during visits to Berlin, the hyperactivity of drummer Claudius Hempelmann and the lyrics of Michael 'Ziggy XY' Jarick with their very own view of everyday life. After touring with five other bands from the No Fun label and new drummer Felix Wolter, Der Moderne Man released a live mini-LP and produced the LP Unmodern with the additional band member Thomas 'Tonio Scorpo' Schnura on saxophone and synthesizer. With the addition of bass player Axel Wicke, 1982 was shaped by numerous tours and positive to euphoric reviews. Soon, major record companies were coming along with offers, but the band (for the most part) rejected the industry's temptations. Der Moderne Man incorporated influences from England and the USA on their 1983 mini-LP Neues aus Hong Kong. This could have meant a career boost, but German audiences were tired out by the glut of cheap German new wave industry output and the band subsequently dropped out in autumn of that year. The songs now compiled on Jugend Forscht show that Hannover was capable of more than just rock music.
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CD
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TR 587CD
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$16.50
PREORDER
RELEASE DATE: 3/7/2025
Der Moderne Man formed in 1979 and operated mainly in the vicinity of Hanover's No Fun label. Inspired by visits to concerts and record stores in London and New York and bands such as the Ramones, Siouxsie and the Banshees, Iggy Pop, and the Clash, the group developed an explosive sound that led to the first album 80 Tage auf See ("80 days at sea") in 1980: German-language post-punk that stood out from Hanover's underground sound and also gained support from BBC's John Peel. Tapete Records now re-issues their first two studio albums. This is accompanied by Jugend Forscht, a compilation of demos, EPs and singles with some unreleased tracks. All three releases are complemented by detailed liner notes and previously unreleased images. 80 Tage auf See captures a historic moment. When the record was released in 1980, the so-called "Neue Deutsche Welle" (German New Wave) was no more than a rumor. It was still far from clear what (post-)punk on West German terms might entail. 80 Tage auf See was recorded over a short time span and hurled onto the market just as swiftly. The 80 days of the album title most likely do not refer to time spent in the studio. This release occupies one of the top spots in the race for the very first German punk album. It is perhaps the first "first German punk LP" that managed to reproduce the force and urgency of the English original, albeit in a way so deferred and strange that the term "Krautpunk" comes to mind. Der Moderne Man was to Damned and Wire what Amon Düül II was to Hawkwind and Vanilla Fudge. No wonder John Peel kept the record in his show's heavy rotation. Shortly after the release of 80 Tage auf See, the basically postnatal New German Wave disbanded into fractions whose initial hostility towards each other gradually turned into indifference. The remains were something like 'Deutschpunk' (not 'Krautpunk') here, avant-garde neo-tonality there and in between some more or less successful attempts to establish contemporary German pop music. On 80 Tage auf See, all of this is still on equal footing: (power) pop, the catchy wave punk which would become the signature sound of Hannover's No Fun label and the rather idiosyncratic idea of experimental music which Michael Jarick (aka Ziggy XY) brought in as a singer.
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LP
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TR 587LP
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$26.00
PREORDER
RELEASE DATE: 3/7/2025
LP version. Der Moderne Man formed in 1979 and operated mainly in the vicinity of Hanover's No Fun label. Inspired by visits to concerts and record stores in London and New York and bands such as the Ramones, Siouxsie and the Banshees, Iggy Pop, and the Clash, the group developed an explosive sound that led to the first album 80 Tage auf See ("80 days at sea") in 1980: German-language post-punk that stood out from Hanover's underground sound and also gained support from BBC's John Peel. Tapete Records now re-issues their first two studio albums. This is accompanied by Jugend Forscht, a compilation of demos, EPs and singles with some unreleased tracks. All three releases are complemented by detailed liner notes and previously unreleased images. 80 Tage auf See captures a historic moment. When the record was released in 1980, the so-called "Neue Deutsche Welle" (German New Wave) was no more than a rumor. It was still far from clear what (post-)punk on West German terms might entail. 80 Tage auf See was recorded over a short time span and hurled onto the market just as swiftly. The 80 days of the album title most likely do not refer to time spent in the studio. This release occupies one of the top spots in the race for the very first German punk album. It is perhaps the first "first German punk LP" that managed to reproduce the force and urgency of the English original, albeit in a way so deferred and strange that the term "Krautpunk" comes to mind. Der Moderne Man was to Damned and Wire what Amon Düül II was to Hawkwind and Vanilla Fudge. No wonder John Peel kept the record in his show's heavy rotation. Shortly after the release of 80 Tage auf See, the basically postnatal New German Wave disbanded into fractions whose initial hostility towards each other gradually turned into indifference. The remains were something like 'Deutschpunk' (not 'Krautpunk') here, avant-garde neo-tonality there and in between some more or less successful attempts to establish contemporary German pop music. On 80 Tage auf See, all of this is still on equal footing: (power) pop, the catchy wave punk which would become the signature sound of Hannover's No Fun label and the rather idiosyncratic idea of experimental music which Michael Jarick (aka Ziggy XY) brought in as a singer.
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CD
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TR 586CD
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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 586LP
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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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TR 568CD
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With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue series sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby Düsseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorize. In the intensive years that followed, S.Y.P.H.'s productions often featured guests from the Düsseldorf scene around Ratinger Hof or CAN's Holger Czukay. While around 1980, punk and Neue Deutsche Welle (German New Wave) were solidifying as supposedly clear-cut concepts, S.Y.P.H.'s music testified to the blurriness of genre boundaries: already on the first, self-titled LP, the band belts out short punky songs like "Zurück zum Beton" and "Lachleute und Nettmenschen," while the B-side surprises with more than ten-minute long Kraut-inspired pieces.
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TR 568LP
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Restocked, LP version. With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue series sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. Pure Freude Singles includes previously unreleased songs. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby Düsseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorize. In the intensive years that followed, S.Y.P.H.'s productions often featured guests from the Düsseldorf scene around Ratinger Hof or CAN's Holger Czukay. While around 1980, punk and Neue Deutsche Welle (German New Wave) were solidifying as supposedly clear-cut concepts, S.Y.P.H.'s music testified to the blurriness of genre boundaries: already on the first, self-titled LP, the band belts out short punky songs like "Zurück zum Beton" and "Lachleute und Nettmenschen," while the B-side surprises with more than ten-minute long Kraut-inspired pieces.
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TR 567LP
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LP version. With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof (German '70s punk club equivalent to CBGB's, where D.A.F. originated). Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue series sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby Düsseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorize. In the intensive years that followed, S.Y.P.H.'s productions often featured guests from the Düsseldorf scene around Ratinger Hof or CAN's Holger Czukay. This is a collection of the band's early singles: four tracks - including "Industriemädchen" and "Europa" -- were originally released in 1979 on the EP Viel Feind, viel Ehr. Thirteen further tracks -- including "Falsche Freunde" and "Knudelblues II" -- were released in 1982 as Der Bauer im Parkdeck. Three further songs are unreleased.
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TR 567CD
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With their unpredictable live performances and songs such as "Zurück zum Beton" and "Industriemädchen," S.Y.P.H. caused a ruckus at the end of the '70s -- as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof (German '70s punk club equivalent to CBGB's, where D.A.F. originated). Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue series sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby Düsseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorize. In the intensive years that followed, S.Y.P.H.'s productions often featured guests from the Düsseldorf scene around Ratinger Hof or CAN's Holger Czukay. This is a collection of the band's early singles: four tracks - including "Industriemädchen" and "Europa" -- were originally released in 1979 on the EP Viel Feind, viel Ehr. Thirteen further tracks -- including "Falsche Freunde" and "Knudelblues II" -- were released in 1982 as Der Bauer im Parkdeck. Three further songs are unreleased.
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TR 573LP
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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 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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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 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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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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