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CD
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TR 614CD
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$16.50
PREORDER
RELEASE DATE: 5/29/2026
Though vaguely considered along the lines of noise, space rock, dream pop and psychedelic, The Telescopes have consistently expanded boundaries, coloring outside the lines with possibility. This house has many rooms, embraced across genres, influential to many, all embracing, in an orbit of its own. Static Charge is The Telescopes' 19th studio album since the group's inception in 1988 -- and their seventh release on Tapete Records. After a three-month tour of the UK and Europe, the all-embracing sounds of The Telescopes return with a lean blitz of seditionary hits. Take a jolt of Static Charge and step beyond the realm of natural vision. Stone age beats, outsider sounds, low end disturbance unite in resistance to the new weirdness of existence. The Telescopes experience is known for having an ever-revolving line up that can vary between one and twenty people. On this album, The Telescopes are a four-piece consisting of The Telescopes founder and protagonist Stephen Lawrie on guitar and vocals, Darrell Carter on guitar, Robert Prest on bass with John Lynch on drums and percussion. Interesting facts: John can also be found playing with The Jonny Halifax Invocation. Darrell releases great music under the name of Fromme and Robert's father used to fly Fela Kuti around in a private jet. The album was written, recorded and produced within a two-month period from November 2025 to January 2026 at Stephen Lawrie's Butterfly House studio in Shropshire. The whole album was recorded mostly live with the only overdubs being vocal harmonies. There are seven songs in total.
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LP
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TR 614LP
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$26.00
PREORDER
RELEASE DATE: 5/29/2026
LP version. Though vaguely considered along the lines of noise, space rock, dream pop and psychedelic, The Telescopes have consistently expanded boundaries, coloring outside the lines with possibility. This house has many rooms, embraced across genres, influential to many, all embracing, in an orbit of its own. Static Charge is The Telescopes' 19th studio album since the group's inception in 1988 -- and their seventh release on Tapete Records. After a three-month tour of the UK and Europe, the all-embracing sounds of The Telescopes return with a lean blitz of seditionary hits. Take a jolt of Static Charge and step beyond the realm of natural vision. Stone age beats, outsider sounds, low end disturbance unite in resistance to the new weirdness of existence. The Telescopes experience is known for having an ever-revolving line up that can vary between one and twenty people. On this album, The Telescopes are a four-piece consisting of The Telescopes founder and protagonist Stephen Lawrie on guitar and vocals, Darrell Carter on guitar, Robert Prest on bass with John Lynch on drums and percussion. Interesting facts: John can also be found playing with The Jonny Halifax Invocation. Darrell releases great music under the name of Fromme and Robert's father used to fly Fela Kuti around in a private jet. The album was written, recorded and produced within a two-month period from November 2025 to January 2026 at Stephen Lawrie's Butterfly House studio in Shropshire. The whole album was recorded mostly live with the only overdubs being vocal harmonies. There are seven songs in total.
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2CD
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TR 612CD
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$20.00
PREORDER
RELEASE DATE: 5/22/2026
Angriff auf's Schlaraffenland: Ein Deutschpunk-Mixtape ("Attack on the Land of Milk and Honey: Punk in Germany from Then to Now"). The first singles that were later categorized as punk appeared in 1976. This makes for a fitting 50-year anniversary, which Tapete Records celebrates with a compilation. "Punks are the old farts of today," Vomit Visions already noted back in 1980. And doesn't that essentially say it all about punk -- the historicization of the genre, its musical conservatism, and the hype around milestone anniversaries. Punk bands are still being formed in Winnenden, Limburg, and Hoyerswerda -- just as they were in 1978, 1983, and 2013. And like this musical journey through time, they care little about neat definitions of Deutschpunk. Instead, this compilation opens itself up to different styles and voices of punk with German lyrics. What unites the songs is that, on the one hand, they are rooted in punk, and on the other, in the German language -- yet they create something of their own. In their most compelling moments, they struggle as much with the German language as they do with punk itself. Like any good mixtape, this compilation is based purely on musical aspects and pays no attention to release years. Featuring The Shocks, S.Y.P.H., Östro 430, Carambolage, Toxoplasma, and more.
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2LP
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TR 612LP
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$35.00
PREORDER
RELEASE DATE: 5/22/2026
Double LP version. Angriff auf's Schlaraffenland: Ein Deutschpunk-Mixtape ("Attack on the Land of Milk and Honey: Punk in Germany from Then to Now"). The first singles that were later categorized as punk appeared in 1976. This makes for a fitting 50-year anniversary, which Tapete Records celebrates with a compilation. "Punks are the old farts of today," Vomit Visions already noted back in 1980. And doesn't that essentially say it all about punk -- the historicization of the genre, its musical conservatism, and the hype around milestone anniversaries. Punk bands are still being formed in Winnenden, Limburg, and Hoyerswerda -- just as they were in 1978, 1983, and 2013. And like this musical journey through time, they care little about neat definitions of Deutschpunk. Instead, this compilation opens itself up to different styles and voices of punk with German lyrics. What unites the songs is that, on the one hand, they are rooted in punk, and on the other, in the German language -- yet they create something of their own. In their most compelling moments, they struggle as much with the German language as they do with punk itself. Like any good mixtape, this compilation is based purely on musical aspects and pays no attention to release years. Featuring The Shocks, S.Y.P.H., Östro 430, Carambolage, Toxoplasma, and more.
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CD
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TR 608CD
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$16.50
PREORDER
RELEASE DATE: 5/8/2026
After releasing their first studio album in 2025, more than 40 years after disbanding, The Loft return with their second record. Badges, featuring ten tracks, captures what defined The Loft then and what continues to define them today. As pioneers of an entire genre, they have nothing to prove -- neither to themselves nor to anyone else -- and that ease and quiet confidence resonate through every song on the album. The record features ten new songs, recorded at producer Sean Read's (Dexys, Edwyn Collins, Iggy) Famous Times studio in Hackney and is released on the Tapete Records label. The Loft notoriously split up mid-set at the Hammersmith Palais 40 years ago after climbing to the top of the indie charts and are now releasing their second album of new material following on from the Top 20 vinyl chart success of 2025's debut, Everything Changes Everything Stays The Same. The original four members, Pete Astor, Dave Morgan, Bill Prince, and Andy Strickland have produced an album that continues, and moves forward, the story of The Loft, the band that helped define the sound of the Creation label and the emerging Indie genre. Badges has a sound that comes from a band who've been together, touring and playing consistently over the past two years -- relaxed, vibey, assured.
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LP
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TR 608LP
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$26.00
PREORDER
RELEASE DATE: 5/8/2026
LP version. After releasing their first studio album in 2025, more than 40 years after disbanding, The Loft return with their second record. Badges, featuring ten tracks, captures what defined The Loft then and what continues to define them today. As pioneers of an entire genre, they have nothing to prove -- neither to themselves nor to anyone else -- and that ease and quiet confidence resonate through every song on the album. The record features ten new songs, recorded at producer Sean Read's (Dexys, Edwyn Collins, Iggy) Famous Times studio in Hackney and is released on the Tapete Records label. The Loft notoriously split up mid-set at the Hammersmith Palais 40 years ago after climbing to the top of the indie charts and are now releasing their second album of new material following on from the Top 20 vinyl chart success of 2025's debut, Everything Changes Everything Stays The Same. The original four members, Pete Astor, Dave Morgan, Bill Prince, and Andy Strickland have produced an album that continues, and moves forward, the story of The Loft, the band that helped define the sound of the Creation label and the emerging Indie genre. Badges has a sound that comes from a band who've been together, touring and playing consistently over the past two years -- relaxed, vibey, assured.
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LP
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TR 607LP
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LP version. Double Exposure isn't a departure, necessarily, but this new album contains some of the rawest and most deconstructed sounds that James Hoare -- of Veronica Falls, Ultimate Painting and Proper Ornaments -- has recorded to date. Principally, and for the first time, the guitars take a back seat. It's not a "no guitar" concept album by any means; it's mostly just the way it came together. It would also be inaccurate to suggest the guitars have been banished altogether, especially after the dual six-string solo that rips through the speakers on the mighty album opener Regrets. Following 2024's gorgeous Backwater Collage debut LP under the Penny Arcade nom de plume, this is a hallucinogenic experience, and the backbone of Double Exposure is the drum machine that informed the songs. It's also an album of sweet duality. The album features flashes of guest appearances, but for the vast majority it is an album of solo experimentalism, with gestations that bubble to life across the stereo before fading back out again. The drum machines take center stage, playing out like In Rainbows-era Radiohead channeled through Silver Apples, a trip in three minutes that you can play on an infinite loop. Like so much of the album, it was recorded almost instantaneously, with a simplicity and rawness that heavy overdubs and meticulous arrangements could never achieve. It is an album high on vibe. Clicking drum machines and oozing organs interplay with different hues of guitar work, from the ragas of the George Harrison-esque "Early Morning" to the tripped-out, smoke-drenched "We Used to Be Good Friends." Double Exposure is an unfussy collection of songs. The album harks somewhere between the restless experimentation of Syd Barrett and the uninhibited analogue innovations of Tim Presley as White Fence. It very much is what it is.
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CD
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TR 607CD
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Double Exposure isn't a departure, necessarily, but this new album contains some of the rawest and most deconstructed sounds that James Hoare -- of Veronica Falls, Ultimate Painting and Proper Ornaments -- has recorded to date. Principally, and for the first time, the guitars take a back seat. It's not a "no guitar" concept album by any means; it's mostly just the way it came together. It would also be inaccurate to suggest the guitars have been banished altogether, especially after the dual six-string solo that rips through the speakers on the mighty album opener Regrets. Following 2024's gorgeous Backwater Collage debut LP under the Penny Arcade nom de plume, this is a hallucinogenic experience, and the backbone of Double Exposure is the drum machine that informed the songs. It's also an album of sweet duality. The album features flashes of guest appearances, but for the vast majority it is an album of solo experimentalism, with gestations that bubble to life across the stereo before fading back out again. The drum machines take center stage, playing out like In Rainbows-era Radiohead channeled through Silver Apples, a trip in three minutes that you can play on an infinite loop. Like so much of the album, it was recorded almost instantaneously, with a simplicity and rawness that heavy overdubs and meticulous arrangements could never achieve. It is an album high on vibe. Clicking drum machines and oozing organs interplay with different hues of guitar work, from the ragas of the George Harrison-esque "Early Morning" to the tripped-out, smoke-drenched "We Used to Be Good Friends." Double Exposure is an unfussy collection of songs. The album harks somewhere between the restless experimentation of Syd Barrett and the uninhibited analogue innovations of Tim Presley as White Fence. It very much is what it is.
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CD
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TR 605CD
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Unashamedly literate UK post-punk sophisticates The Monochrome Set, having amassed a formidable catalogue of releases over five decades, are ready to release their new opus Lotus Bridge on Tapete Records -- the band's home for the last twelve years and six studio albums. Their instantly recognizable sound and darkly humorous lyrics have always set them apart. Bid's cerebral wit and debonair tones, melded to infectious melodies and deft songcraft of a cinematic and literary quality, have been quietly influential over a diverse set of artists since their inception and throughout different stages of their career. The band are, in essence, a national treasure. Lotus Bridge is a psychedelic trip into Bid's rich and fantastical dreamworld. Based on a singular dream that represented itself after an eight-month hiatus just when it became time to record again, Bid recounts in sharp detail the myriad of characters and surroundings that appeared in his dream and inspired this new set of stories to unfold. This new album follows on from Bid's book of selected lyrics -- Strange Young Alien -- published by Ventil Verlag in November 2025. Lotus Bridge has a subtle but quite different feel compared to previous TMS albums -- the core use of electric piano and acoustic guitar, electric guitars often used in wide stereo, and overall a very focused and almost orchestral feel to it. There are also ambient sounds between many of the songs, so that the whole album feels like a connected whole. Bid is joined in The Monochrome Set for this recording by fellow original Andy Warren on bass, Stephen Gilchrist on drums and Athen Ayren on keyboards and guitar. Alice Healey once again provides backing vocals. The album was recorded at OneCat Studio in London, engineered by Jon Clayton and produced by Jon Clayton and Bid.
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LP
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TR 605LP
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LP version. Unashamedly literate UK post-punk sophisticates The Monochrome Set, having amassed a formidable catalogue of releases over five decades, are ready to release their new opus Lotus Bridge on Tapete Records -- the band's home for the last twelve years and six studio albums. Their instantly recognizable sound and darkly humorous lyrics have always set them apart. Bid's cerebral wit and debonair tones, melded to infectious melodies and deft songcraft of a cinematic and literary quality, have been quietly influential over a diverse set of artists since their inception and throughout different stages of their career. The band are, in essence, a national treasure. Lotus Bridge is a psychedelic trip into Bid's rich and fantastical dreamworld. Based on a singular dream that represented itself after an eight-month hiatus just when it became time to record again, Bid recounts in sharp detail the myriad of characters and surroundings that appeared in his dream and inspired this new set of stories to unfold. This new album follows on from Bid's book of selected lyrics -- Strange Young Alien -- published by Ventil Verlag in November 2025. Lotus Bridge has a subtle but quite different feel compared to previous TMS albums -- the core use of electric piano and acoustic guitar, electric guitars often used in wide stereo, and overall a very focused and almost orchestral feel to it. There are also ambient sounds between many of the songs, so that the whole album feels like a connected whole. Bid is joined in The Monochrome Set for this recording by fellow original Andy Warren on bass, Stephen Gilchrist on drums and Athen Ayren on keyboards and guitar. Alice Healey once again provides backing vocals. The album was recorded at OneCat Studio in London, engineered by Jon Clayton and produced by Jon Clayton and Bid.
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LP
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TR 606LP
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LP version. Bill Pritchard's new album Haunted finds the acclaimed British songwriter at the height of his lyrical wit and melodic craft. A life's work of sharp observation and quiet beauty, Pritchard has long been praised for his ability to elevate the ordinary into something extraordinary. With Haunted, he delivers a sophisticated, deeply personal collection of songs revolving around the memories that linger: people, places, and passions, whether real or imagined, remembered or refracted. His 1990s album Jolie remains a touchstone of intelligent pop, and later releases like Mother Town Hall have been celebrated for their warm, idiosyncratic retro sensibilities. With Haunted, Pritchard delivers his most direct and pop-leaning album in decades. Recorded between Hamburg and Newcastle-under-Lyme, Haunted reflects the international spirit of Pritchard's music, blending vintage textures with modern production. Supported by an inspired network of Hamburg-based musicians and guided closely by Pritchard himself, the album spans vintage drum machines, brass flourishes, chiming guitars, lush harmonies, and even a touch of psychedelia. The result is a refreshingly European pop record, organic, eclectic, and deeply resonant. From the simple act of riding a bus through Stoke Newington, transformed into a gentle hymn to the everyday, to recollections of semi-real and semi-fictional torch singers and the resilience they embodied, these songs find inspiration in both the mundane and the monumental. They celebrate detachment and lightness too: moments that float on breezy organ lines, jangling guitars, and nimble bass runs, smiling even in the face of uncertainty. Throughout the album, Pritchard paints vivid vignettes. Bright horns and rippling guitars illuminate fleeting scenes, while hand percussion and chiming guitars evoke childhood wonder and the bittersweet recognition of how we grow apart. Elsewhere, blooming brass-driven rock captures the joy of performance and resistance, while acoustic moments turn inward, bruised but tender, reflecting on a life lived and remembered. A song of sunsets in Poland carries loneliness across an indie-pop sway, while playful language games sketch stories set in France, where the very form becomes part of the tale. Finally, the stripped-back closer, born from the thought of new life and breath itself, distills the album into its most intimate, beautiful moment. With influences ranging from Scott Walker to the Lemon Twigs, Walter Matthau to French poet Berreby, Haunted is a record of whimsy and wonder, melancholy and joy.
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CD
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TR 604CD
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The year is 2000. After only ten years performing and recording, the Austrian group Naked Lunch had reached the end of the line. They had experienced a meteoric rise throughout the 1990s: less than four years had seen the group move from a mold-infested rehearsal room in an Austrian town to a five-star hotel on Times Square. Imagine endless tours, outrageously expensive recordings in studios from Bochum to New York, an extended stay in London and collapsed major-label deals -- imagine, essentially, what the band themselves called "an utterly pointless burning through money." Eventually, the group returned to their hometown. What remained were mostly disillusioning experiences in the pop business and a huge amount of debt. Having grown into a quartet, the band decided to hit the reset button and start over. Together with producer and friend Olaf Opal (including work with The Notwist, International Music, etc.), they barricaded themselves for almost three years in the newly built studio of bassist Herwig Zamernik to work on an album that would eventually be released in 2004 under the name Songs For The Exhausted. It became not only a milestone in the band's career. It was also, in a way, a farewell to an unrestrained era and an admission of the exhaustion that resulted from it. The album certainly isn't easy fare. The record is dark, at times even obstructive. Yet it has the ability to embrace, as Anja Plaschg alias Soap&Skin once put it, "to comfort us in feverish nights." 22 years after the original release, Songs For The Exhausted is now reissued on Tapete Records, finally available on vinyl!
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LP
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TR 596LP
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LP version. More than two decades after their formation, Urlaub in Polen continue to celebrate an aesthetic of transience -- an experience bounded by time, poured into the project's very name -- set against a continuous flow of new impressions and a suitcase slowly filling with memorabilia. After a longer hiatus, their 2020 album All (TR 461CD marked a return with a warped take on krautrock, a direction which their new release Objects, Beings and Parrots both follows and expands upon. In true eclectic tradition, it ventures further into diverse genre territories -- always exploratory, yet never losing its thread. Multi-instrumentalist Georg Brenner and drummer Jan Philipp Janzen blaze a trail through a dense web of references (see also the cover collage merging tile selections, retro interior suggestions, and archaeology textbook cutouts), evoking a warm feeling of being taken along for the ride -- even as the band refuses to be pinned down to any clear musical category. Take the opener, "Abacus": kicking off with a drum machine and subtle guitar flourishes, it already nods -- title included -- to the mechanical, forward-clicking motorik sound of first-generation krautrock. Then it takes a turn, morphing into a grooving jam with increasingly dense sound layers, howling guitars, and the band's signature clipped vocal phrases -- calling to mind flashes of '90s noise rock. Next up on this winding path: a washing machine -- here manifested in layers of wide synth textures, crashing drums, distorted guitars, and vocals that end in a staccato-like cough. It's a shaking, rattling trip through a cosmos of self-willed machinery and a comforting embrace of imperfection. And so the transformation continues: sometimes as wavering retrofuturism ("Fame & Fortune"), sometimes as surprisingly melodic acoustic pop -- complete with a woodland brass solo ("Jaki's Love Time") -- and always through the weaving of finely crafted rhythmic repetitions with sonic experimentation. The Objects, Beings and Parrots in this flow form vague images, points of orientation and pause: at once recognizable elements drawn from pop and art history, and yet as fleeting and abstract as the track that shares their name. You can hear the album's decelerated genesis: after a lengthy writing phase, the tracks were recorded across multiple sessions at the secluded MARS Studio in Germany's Eifel region. The result is a trippy, self-contained celebration of persistence -- of pushing forward, without excluding moments of stillness, and with the occasional glance in the rear-view mirror.
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CD
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TR 590CD
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Formed in London in 1992 by singer and songwriter David Christian, Comet Gain were originally inspired by early Creation Records, Television Personalities, and mod culture, drawing from the same ideals as Dexys, The Style Council, and Vic Godard, and from the lineage of The Velvet Underground, The Byrds and the 13th Floor Elevators. In the ensuing years they have released eight albums on such esteemed labels as Wiiija, Kill Rock Stars, What's Your Rupture and Fortuna POP! that blend French New Wave with English kitchen-sink heart, Riot Grrrl with acid punk, and C86 with post-punk and Northern soul, somehow outliving their peers and in turn inspiring a younger generation of DIY musicians. Comet Gain are 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. It's all right here. Put it on, turn it up and feel alive again. City Fallen Leaves' was first released in 2005 by Track & Field in the UK and Kill Rock Stars in the USA and is now being reissued worldwide by Tapete Records.
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LP
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TR 604LP
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LP version. The year is 2000. After only ten years performing and recording, the Austrian group Naked Lunch had reached the end of the line. They had experienced a meteoric rise throughout the 1990s: less than four years had seen the group move from a mold-infested rehearsal room in an Austrian town to a five-star hotel on Times Square. Imagine endless tours, outrageously expensive recordings in studios from Bochum to New York, an extended stay in London and collapsed major-label deals -- imagine, essentially, what the band themselves called "an utterly pointless burning through money." Eventually, the group returned to their hometown. What remained were mostly disillusioning experiences in the pop business and a huge amount of debt. Having grown into a quartet, the band decided to hit the reset button and start over. Together with producer and friend Olaf Opal (including work with The Notwist, International Music, etc.), they barricaded themselves for almost three years in the newly built studio of bassist Herwig Zamernik to work on an album that would eventually be released in 2004 under the name Songs For The Exhausted. It became not only a milestone in the band's career. It was also, in a way, a farewell to an unrestrained era and an admission of the exhaustion that resulted from it. The album certainly isn't easy fare. The record is dark, at times even obstructive. Yet it has the ability to embrace, as Anja Plaschg alias Soap&Skin once put it, "to comfort us in feverish nights." 22 years after the original release, Songs For The Exhausted is now reissued on Tapete Records, finally available on vinyl!
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LP
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TR 590LP
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LP version. Formed in London in 1992 by singer and songwriter David Christian, Comet Gain were originally inspired by early Creation Records, Television Personalities, and mod culture, drawing from the same ideals as Dexys, The Style Council, and Vic Godard, and from the lineage of The Velvet Underground, The Byrds and the 13th Floor Elevators. In the ensuing years they have released eight albums on such esteemed labels as Wiiija, Kill Rock Stars, What's Your Rupture and Fortuna POP! that blend French New Wave with English kitchen-sink heart, Riot Grrrl with acid punk, and C86 with post-punk and Northern soul, somehow outliving their peers and in turn inspiring a younger generation of DIY musicians. Comet Gain are 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. It's all right here. Put it on, turn it up and feel alive again. City Fallen Leaves' was first released in 2005 by Track & Field in the UK and Kill Rock Stars in the USA and is now being reissued worldwide by Tapete Records.
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CD
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TR 606CD
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Bill Pritchard's new album Haunted finds the acclaimed British songwriter at the height of his lyrical wit and melodic craft. A life's work of sharp observation and quiet beauty, Pritchard has long been praised for his ability to elevate the ordinary into something extraordinary. With Haunted, he delivers a sophisticated, deeply personal collection of songs revolving around the memories that linger: people, places, and passions, whether real or imagined, remembered or refracted. His 1990s album Jolie remains a touchstone of intelligent pop, and later releases like Mother Town Hall have been celebrated for their warm, idiosyncratic retro sensibilities. With Haunted, Pritchard delivers his most direct and pop-leaning album in decades. Recorded between Hamburg and Newcastle-under-Lyme, Haunted reflects the international spirit of Pritchard's music, blending vintage textures with modern production. Supported by an inspired network of Hamburg-based musicians and guided closely by Pritchard himself, the album spans vintage drum machines, brass flourishes, chiming guitars, lush harmonies, and even a touch of psychedelia. The result is a refreshingly European pop record, organic, eclectic, and deeply resonant. From the simple act of riding a bus through Stoke Newington, transformed into a gentle hymn to the everyday, to recollections of semi-real and semi-fictional torch singers and the resilience they embodied, these songs find inspiration in both the mundane and the monumental. They celebrate detachment and lightness too: moments that float on breezy organ lines, jangling guitars, and nimble bass runs, smiling even in the face of uncertainty. Throughout the album, Pritchard paints vivid vignettes. Bright horns and rippling guitars illuminate fleeting scenes, while hand percussion and chiming guitars evoke childhood wonder and the bittersweet recognition of how we grow apart. Elsewhere, blooming brass-driven rock captures the joy of performance and resistance, while acoustic moments turn inward, bruised but tender, reflecting on a life lived and remembered. A song of sunsets in Poland carries loneliness across an indie-pop sway, while playful language games sketch stories set in France, where the very form becomes part of the tale. Finally, the stripped-back closer, born from the thought of new life and breath itself, distills the album into its most intimate, beautiful moment. With influences ranging from Scott Walker to the Lemon Twigs, Walter Matthau to French poet Berreby, Haunted is a record of whimsy and wonder, melancholy and joy.
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CD
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TR 596CD
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More than two decades after their formation, Urlaub in Polen continue to celebrate an aesthetic of transience -- an experience bounded by time, poured into the project's very name -- set against a continuous flow of new impressions and a suitcase slowly filling with memorabilia. After a longer hiatus, their 2020 album All (TR 461CD marked a return with a warped take on krautrock, a direction which their new release Objects, Beings and Parrots both follows and expands upon. In true eclectic tradition, it ventures further into diverse genre territories -- always exploratory, yet never losing its thread. Multi-instrumentalist Georg Brenner and drummer Jan Philipp Janzen blaze a trail through a dense web of references (see also the cover collage merging tile selections, retro interior suggestions, and archaeology textbook cutouts), evoking a warm feeling of being taken along for the ride -- even as the band refuses to be pinned down to any clear musical category. Take the opener, "Abacus": kicking off with a drum machine and subtle guitar flourishes, it already nods -- title included -- to the mechanical, forward-clicking motorik sound of first-generation krautrock. Then it takes a turn, morphing into a grooving jam with increasingly dense sound layers, howling guitars, and the band's signature clipped vocal phrases -- calling to mind flashes of '90s noise rock. Next up on this winding path: a washing machine -- here manifested in layers of wide synth textures, crashing drums, distorted guitars, and vocals that end in a staccato-like cough. It's a shaking, rattling trip through a cosmos of self-willed machinery and a comforting embrace of imperfection. And so the transformation continues: sometimes as wavering retrofuturism ("Fame & Fortune"), sometimes as surprisingly melodic acoustic pop -- complete with a woodland brass solo ("Jaki's Love Time") -- and always through the weaving of finely crafted rhythmic repetitions with sonic experimentation. The Objects, Beings and Parrots in this flow form vague images, points of orientation and pause: at once recognizable elements drawn from pop and art history, and yet as fleeting and abstract as the track that shares their name. You can hear the album's decelerated genesis: after a lengthy writing phase, the tracks were recorded across multiple sessions at the secluded MARS Studio in Germany's Eifel region. The result is a trippy, self-contained celebration of persistence -- of pushing forward, without excluding moments of stillness, and with the occasional glance in the rear-view mirror.
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LP
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TR 603LP
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Restocked; LP version. Lande Hekt has quietly become one of the UK's best underground songwriters. On her 2021 debut full-length Going To Hell and 2022's House Without a View, she explored her queer identity, sobriety, and childhood trauma through the lens of heartfelt, conversational indie-pop, which led to spots opening for the likes of Alvvays, Throwing Muses, and The Beths. Her new album Lucky Now, written and recorded with producer Matthew Simms (Wire, It Hugs Back), reflects the most mature and confident version of Lande Hekt yet. Hekt's musical touchstones -- The Wedding Present, The Sundays, The Replacements -- remain the same, but at the same time she's delved deeper into other influences. Lucky Now is indebted to 1980s twee-pop and jangle-pop like The Pastels, Tallulah Gosh and The Bats, plus more modern iterations of the sound such as Autocamper and Jeanines, in its ecstatic, soaring melodies and gorgeous, tactile guitars. The sound is fitting for Hekt's new lyrical outlook, where, though despair and anxiety rear their heads, she digs deep to find the gratitude. "I wanted to try and push for something slightly more positive, which I'm trying to do more of generally -- just to not fall apart," Hekt says. In keeping with that, opening track "Kitchen ii" is a love song about sharing simple, domestic moments with a partner, while "Rabbits" is a song about hope inspired by one summer solstice spent on Glastonbury Tor. Meanwhile, the slower, acoustic-based "Middle of the Night" is about "reeling from a realization of being properly happy for the first time in my life," Hekt says. Hekt also returns to more politically-based songwriting, after largely avoiding politics in both life and music during a disillusioned period, on "Circular" and "A Million Broken Hearts". During the process of making the album, Hekt also moved from Bristol back to her hometown of Exeter. She wrote Lucky Now's closing track, "Coming Home", about the experience of returning there after a long tour; smelling the familiar smells, spotting the familiar faces. In a lot of ways, Lucky Now is about return -- return to joy, return to places and parts of the self once left behind. Who you once were can seem unreachable, but sometimes you can build a bridge.
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TR 603CD
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Lande Hekt has quietly become one of the UK's best underground songwriters. On her 2021 debut full-length Going To Hell and 2022's House Without a View, she explored her queer identity, sobriety, and childhood trauma through the lens of heartfelt, conversational indie-pop, which led to spots opening for the likes of Alvvays, Throwing Muses, and The Beths. Her new album Lucky Now, written and recorded with producer Matthew Simms (Wire, It Hugs Back), reflects the most mature and confident version of Lande Hekt yet. Hekt's musical touchstones -- The Wedding Present, The Sundays, The Replacements -- remain the same, but at the same time she's delved deeper into other influences. Lucky Now is indebted to 1980s twee-pop and jangle-pop like The Pastels, Tallulah Gosh and The Bats, plus more modern iterations of the sound such as Autocamper and Jeanines, in its ecstatic, soaring melodies and gorgeous, tactile guitars. The sound is fitting for Hekt's new lyrical outlook, where, though despair and anxiety rear their heads, she digs deep to find the gratitude. "I wanted to try and push for something slightly more positive, which I'm trying to do more of generally -- just to not fall apart," Hekt says. In keeping with that, opening track "Kitchen ii" is a love song about sharing simple, domestic moments with a partner, while "Rabbits" is a song about hope inspired by one summer solstice spent on Glastonbury Tor. Meanwhile, the slower, acoustic-based "Middle of the Night" is about "reeling from a realization of being properly happy for the first time in my life," Hekt says. Hekt also returns to more politically-based songwriting, after largely avoiding politics in both life and music during a disillusioned period, on "Circular" and "A Million Broken Hearts". During the process of making the album, Hekt also moved from Bristol back to her hometown of Exeter. She wrote Lucky Now's closing track, "Coming Home", about the experience of returning there after a long tour; smelling the familiar smells, spotting the familiar faces. In a lot of ways, Lucky Now is about return -- return to joy, return to places and parts of the self once left behind. Who you once were can seem unreachable, but sometimes you can build a bridge.
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LP
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TR 600LP
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LP version. Following acclaimed outings About Love and Loving Again (TR 468CD, 2020) and Hold Your Love Still (TR 550CD 2023), Christian Kjellvander returns with Ex Voto/The Silent Love, a quietly devastating and profoundly intimate record that completes an unofficial trilogy exploring love in its most tender, conflicted, and spiritual forms. Originally conceived as an album of ten soft, calm country songs, Ex Voto gradually evolved into something more expansive, yet the embryo of that intention remains, pulsing gently beneath every track. The record opens with two stripped-back songs, flows into a louder, more dynamic center piece, then drifts back into stillness, mirroring the emotional journey of its creation. As with its predecessors, Ex Voto continues Christian's exploration of themes like love, religion, the natural world, and beauty, subjects he approaches with poetic precision and emotional depth. But this album goes deeper. It is more intimate, more raw. Christian was in a different place when he began writing it, and while the gravitational center of his artistry remains constant, that personal shift colors the entire record. Recorded live over a few days in an old summer house by the sea at Sweden's southern tip, the album captures the breath and quiet of a room where no headphones were needed, where vocals bleed into the space through a PA, and every creak of the floorboards became part of the sound. The specters of each voice and instrument haunt the multi-tracks like spirits lingering in a deep desert night. It's romantic and cinematic, a kind of small-town noir transposed from the Texan wilderness to the Swedish coast. At the heart of the record is Kjellvander's deep, expressive baritone and lyrical clarity, surrounded by a sparse yet richly textured palette: brush drums, bass clarinet, mournful cornet, Rhodes, synths, and the haunting counterpoint of female vocals. Producer Tobias Fröberg focused on the scale of Christian's voice and the gravity of his words, using reverb to lend a hyper-real quality to the album's mood. The sound is different to its predecessors, and so was the recording process -- just players in a room, leaning into the silence between sounds. The result is a document of presence: atmospheric, unguarded, and emotionally resonant. Ex Voto/The Silent Love is a record that inspires patience. It's not to be consumed, but sat with, like a long conversation late into the night.
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TR 599CD
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"I founded this band, and I'll bury it when I feel like it," Naked Lunch mastermind, songwriter, and singer Oliver Welter once said. Obviously, he hasn't felt like it yet. So it should come as no surprise that this band -- believed by many to be long gone -- is opening a new chapter in its eventful history, twelve years after their last critically acclaimed album All Is Fever (TR 243CD, 2013), with their new record Lights (And A Slight Taste Of Death). Following lineup changes and internal reshuffles, comes this outrageous record, on which, as seems to be the case with every Naked Lunch release, everything is once again at stake. The madness, the perspective, and the journey of songwriter and singer Oliver Welter go deep with these songs, far-reaching -- not least inward -- and from there, back out into the world. The almost fateful encounter with musician and producer Wolfgang Lehmann ("the best and most talented music interpreter ever," as Welter puts it) inspired Welter to finalize the arrangements and production of the various song drafts for Lights (And A Slight Taste Of Death) in Lehmann's studio -- with Lehmann also handling the final mix. All this, of course, was done with the support of longtime companions Alex Jezdinsky (drums) and Boris Hauf (keys/sax). Lights (And A Slight Taste Of Death) is a 14-track tour de force; demanding and harsh, yet tender and embracing. It's an intimate self-examination, spanning grand ballads like the hauntingly beautiful "Come Into My Arms or Love Don't Love Him Anymore," to sweeping, sky-storming pop anthems such as "To All And Everyone I Love, We Could Be Beautiful," or "Going Underground," and even includes completely unexpected expressive outbursts -- like a free-jazz saxophone solo in the drugged-out "If This Is The Last Song You Can Hear." Lights (And A Slight Taste Of Death) thus takes its rightful place as a consistent continuation in the tightly woven, high-quality discography of Naked Lunch.
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TR 600CD
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Following acclaimed outings About Love and Loving Again (TR 468CD, 2020) and Hold Your Love Still (TR 550CD 2023), Christian Kjellvander returns with Ex Voto/The Silent Love, a quietly devastating and profoundly intimate record that completes an unofficial trilogy exploring love in its most tender, conflicted, and spiritual forms. Originally conceived as an album of ten soft, calm country songs, Ex Voto gradually evolved into something more expansive, yet the embryo of that intention remains, pulsing gently beneath every track. The record opens with two stripped-back songs, flows into a louder, more dynamic center piece, then drifts back into stillness, mirroring the emotional journey of its creation. As with its predecessors, Ex Voto continues Christian's exploration of themes like love, religion, the natural world, and beauty, subjects he approaches with poetic precision and emotional depth. But this album goes deeper. It is more intimate, more raw. Christian was in a different place when he began writing it, and while the gravitational center of his artistry remains constant, that personal shift colors the entire record. Recorded live over a few days in an old summer house by the sea at Sweden's southern tip, the album captures the breath and quiet of a room where no headphones were needed, where vocals bleed into the space through a PA, and every creak of the floorboards became part of the sound. The specters of each voice and instrument haunt the multi-tracks like spirits lingering in a deep desert night. It's romantic and cinematic, a kind of small-town noir transposed from the Texan wilderness to the Swedish coast. At the heart of the record is Kjellvander's deep, expressive baritone and lyrical clarity, surrounded by a sparse yet richly textured palette: brush drums, bass clarinet, mournful cornet, Rhodes, synths, and the haunting counterpoint of female vocals. Producer Tobias Fröberg focused on the scale of Christian's voice and the gravity of his words, using reverb to lend a hyper-real quality to the album's mood. The sound is different to its predecessors, and so was the recording process -- just players in a room, leaning into the silence between sounds. The result is a document of presence: atmospheric, unguarded, and emotionally resonant. Ex Voto/The Silent Love is a record that inspires patience. It's not to be consumed, but sat with, like a long conversation late into the night.
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TR 598LP
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LP version. In 1985, Eric Goulden released an album entitled A Roomful Of Monkeys on the Go! Discs label under the name Captains Of Industry. It was a disaster -- most people didn't like it -- where it wasn't roundly ignored it was critically slated. Forty years later he decided to use these songs, written in the Medway Towns between 1982 and '84, as the basis for a new album: England Screaming. On the new recordings Eric played most of the instruments himself. Sam Shepherd played the drums, Amy Rigby and Marc Valentine sang backing vocals, and contributed piano along with Eric's art school friend, performance artist Graham (Graham) Beck. England Screaming is a sonically savage world apart from the insipid, half-arsed (Eric's words) original album. He has succeeded in marrying a young and unrealized vision to the wisdom and experience of his older years, incidentally posing the question: how far have we actually come as a society? As Wreckless Eric he needs little introduction -- he wrote and recorded the classic "Whole Wide World" and had a hit with it back in 1977. Since then it's been a hit for countless other artists including The Monkees, Cage The Elephant, and Billie Joe Armstrong of Green Day. As Eric Goulden it's a little more complicated -- a musician, artist, writer, recording engineer and producer, he didn't like either the music business, the mechanics of fame, or the name he'd been given to hide behind, so he crawled out of the spotlight and disappeared into the underground. He went on to release twenty something albums in forty something years under various names -- The Len Bright Combo, Le Beat Group Electrique, The Donovan Of Trash, The Hitsville House Band, and with his wife as one half of Wreckless Eric & Amy Rigby, finally realizing he was stuck with the name Wreckless Eric.
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TR 599LP
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LP version. "I founded this band, and I'll bury it when I feel like it," Naked Lunch mastermind, songwriter, and singer Oliver Welter once said. Obviously, he hasn't felt like it yet. So it should come as no surprise that this band -- believed by many to be long gone -- is opening a new chapter in its eventful history, twelve years after their last critically acclaimed album All Is Fever (TR 243CD, 2013), with their new record Lights (And A Slight Taste Of Death). Following lineup changes and internal reshuffles, comes this outrageous record, on which, as seems to be the case with every Naked Lunch release, everything is once again at stake. The madness, the perspective, and the journey of songwriter and singer Oliver Welter go deep with these songs, far-reaching -- not least inward -- and from there, back out into the world. The almost fateful encounter with musician and producer Wolfgang Lehmann ("the best and most talented music interpreter ever," as Welter puts it) inspired Welter to finalize the arrangements and production of the various song drafts for Lights (And A Slight Taste Of Death) in Lehmann's studio -- with Lehmann also handling the final mix. All this, of course, was done with the support of longtime companions Alex Jezdinsky (drums) and Boris Hauf (keys/sax). Lights (And A Slight Taste Of Death) is a 14-track tour de force; demanding and harsh, yet tender and embracing. It's an intimate self-examination, spanning grand ballads like the hauntingly beautiful "Come Into My Arms or Love Don't Love Him Anymore," to sweeping, sky-storming pop anthems such as "To All And Everyone I Love, We Could Be Beautiful," or "Going Underground," and even includes completely unexpected expressive outbursts -- like a free-jazz saxophone solo in the drugged-out "If This Is The Last Song You Can Hear." Lights (And A Slight Taste Of Death) thus takes its rightful place as a consistent continuation in the tightly woven, high-quality discography of Naked Lunch.
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