by Euradio

En ce moment



Emission en cours



Écrit par sur 6 mars 2018

Interviw with Gunther Buskies from Tapete Records :

Tapete Records is an indie label based in Hamburg, Germany. We’ve been releasing music since 2002 and have a pretty neat roster of bands and artists including many local stuff as well as bands/artists from the U.S., the UK, Scandinavia, Austria and some more.
We have in-house press and radio promotion, plus everything you need to go about helping our artists’ careers in all ways possible.
We’re also a full-time booking agency, getting Tapete’s bands as well as bands and artists from all kinds of other labels on the road in Europe (main focus: Germany, Austria and Switzerland).
For a closer look at the booking side of things, surf on over to and have a look around.

‘Time passes. Life happens. People arrive and people leave. Songs celebrate, songs grieve, look at yesterday and smile towards tomorrow; and everywhere, ghosts.
One evening, when I was enjoying my favourite red wine, I decided to pour an extra glass for people and times past. Soon it became a tradition, the name of a song and then an album: One for the Ghost.’

This is a record born through time; seasoned and erudite Indie auteur, ex leader of Creation Records’ favourites The Loft and The Weather Prophets, Pete Astor brings together strands and tributaries in his work over the years, mining timeless guitar pop to frame wry lyrical insights and melodic hooks, making music for today, with a true line from the past and an eye to the future.

Having released Spilt Milk (Fortuna Pop!) in 2016 to an overwhelmingly positive response, Astor continues the musical spirit of that album with James Hoare (Ultimate Painting, Proper Ornaments, Veronica Falls) remaining a mainstay on guitar. He is now joined by The Wave Pictures’ rhythm section of Franic Rozycki on bass and Jonny Helm on drums; Pam Berry of Withered Hand and Black Tambourine contributes vocals.

One for the Ghost’s rainy day psychedelia maintains Astor’s engagement with relevant and contemporary worlds; from the mordant wit of the title track (‘It’s the wallpaper or me you know/one of us has got to go/ said Oscar Wilde/ and then he died’), to the London-based outsider ache of Walker (‘Walking the town, joining the future to the past/ the line from Arnold Circus all the way to Marble Arch’), via the ageless love song of Water Tower and its paean to rural modernism (‘Meet my by the water tower/ it’s my favourite concrete flower’).

Bruised but very much alive, Astor and One for the Ghost face the future with a wry smile and hungry heart.

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Congratulations on owning this fine quality product.
Maisieworld is distilled from the pungent flowers of artistic mischief and represents the acme of sonic consummation.
Welcome to Maisieworld!
Your host, Maisie, will guide you through a succession of songs that highlight the volatile, capricious and ultimately unstable nature of The Monochrome Set. New doors lead into hitherto unexplored corridors, where saxophones, trombones, and trumpets claw at you from the Harlem-brownstone walls which pulsate with the ceaseless beating of animal skins.
Echos from a bygone era of expertise race around you as you careen down these sewers of sound, lead guitar solos leap with rusty scimitars, strange organs slither over you on the damp roof, a growling bass snaps at your ankles, a misshapen banjo scuttles across your path, and, all the while, barbarians shake the seed-filled skulls of the dead.
Playful vocals sing of your frail organic nature, the sad dreams and hopes that you entertain, and the dismal decisions you make. Scenes of a different imagination tear you like brittle canvas and rearrange your portrait into another’s fantasy.
Upon your exit from Maisieworld, you will be pleasantly surprised to find that your vessel is now filled with abnormal thoughts.
Caution : May contain nuts. And bolts.

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The Clientele return in September with Music for the Age of Miracles, their first release of new music since 2010’s Minotaur EP and their first album on Tapete Records.
After The Clientele released Minotaur, Alasdair MacLean, singer and principal songwriter for the band, made two wonderful albums with Lupe Núñez-Fernández as Amor de Días, issued a Clientele best-of called Alone and Unreal, oversaw reissues of Suburban Light and Strange Geometry, and played shows solo or as part of Amor de Días or The Clientele. He and Lupe have also been raising a family, so the prospect of a new Clientele record seemed to be diminishing.
It seems fitting, then, that a chance meeting with a ghost from the past/future is what led to Music for the Age of Miracles, the first album of new Clientele songs in seven years.
MacLean and Anthony Harmer knew one another and played music together in the mid-1990s but had lost touch. “I had often wondered what had happened to Anthony since,” writes MacLean. “It turned out—he told me—he’d studied the Santoor, an Iranian version of the dulcimer, and over decades become a virtuoso, at least by my standards. He suggested we have a jam together. Ant and I now lived three streets away from each other, it turned out. He started to arrange my songs. He let me write and sing them, and he came up with ideas for how they should sound. This carried on until we had an album. I called up James and Mark and asked them if they wanted to make another Clientele record. They did, and this is it.”
So, a new collaboration with an old acquaintance led to a new Clientele album. On Music for the Age of Miracles, Harmer joins the line-up of MacLean, James Hornsey (bass), and Mark Keen (drums, piano, percussion), contributing string and brass arrangements as well as guitars, vocals, keyboards, saz and, yes, Santoor.
There’s something rapturous about the ways in which tracks on side one such as “Falling Asleep” (featuring the Santoor) and the exquisite “Everything You See Tonight Is Different From Itself” stretch out in choral harmony and rhythmic syncopation. Leon Beckenham’s trumpet solo on the latter is a highlight of the record, as is the way the words “ballerina, breathe” reappear at the three-minute mark. Similarly, Keen’s beautifully evocative interludes “Lyra in April,” “Lyra in October,” and “North Circular Days,” the last of these featuring a recording of the wind captured outside the late filmmaker Derek Jarman’s house in Dungeness on the Kent coast, mean this album sounds subtly but significantly different from previous ones.
Birth, rebirth, the ghost in the trees, something on the edge of sight, the faces we love, childhood, parenthood, the dance of our days; music for the age of miracles, indeed.

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Nachdem wir letztes Jahr die Freude und das Vergnügen hatten, das gesamte Werk von JETZT! zu veröffentlichen, erscheint im Frühjahr 2018 erneut ein Album einer Band vom großartigen Fast-Weltweit-Label in unserem Hause. „Guten Morgen Sommer!“ ist eine Zusammenstellung der großartigsten Songs dieser legendären POP-Band. Aus ca. 70 von Frank Werner glücklicherweise archivierten Songs wählten Bernd Begemann und Carsten Friedrichs die 24 tollsten Hits aus, beginnend 1983. 24 zum Teil bisher unveröffentlichte Songs, Songs die nur auf lange vergriffenen Tapes, Singles und Compilations erschienen sind, auf so tollen und obskuren Labels wie Viel Leicht, From Art To Pop And Back Again und natürlich auf Fast Weltweit.

Die Time Twisters sind die Quintessenz von Popmusik: Mag es in den dunklen Hügeln Ostwestfalens auch regnen, der Job scheiße sein, das Mädchen an der Softeismaschine interessiert sich für jemand anderen – aber eine bessere Welt ist möglich: vier Akkorde, Harmonien, Ray Ban aufgesetzt und die Ronettes-Single aufgelegt … eine tolle Welt ist möglich, zumindest für 2:13 Minuten. Es geht um Lieblingshosen, gebrochene Herzen, das Gegenteil von gebrochenen Herzen, Sonnenbrillen, Surfer, rebellische Mädchen und U-Boote. Die wichtigen Themen halt.

Die Time Twisters sind die Modern Lovers, die Television Personalties und Buddy Holly in Personalunion. Ungestümer, schrammelnder DIY-Pop wie man ihn davor und danach leider nicht mehr gehört hat.
Bei den Time Twisters gibt es keine Dunkelheit. Oder wie es Bernd Begemann auf den Punkt bringt: „Das, meine Liebe, sind die Time Twisters. Aus Bielefeld. Surfer Boys, gestrandet in Ostwestfalens grünen Hügeln. Kleinwagenhalter mit einer unsichtbaren Ronnie Spector auf dem Beifahrersitz. Sie träumten groß in einer kleinmütigen Umgebung und für mich, verstehst du, haben sie triumphiert.“

Noch ein kurzer Verbraucherhinweis: Sowie LP als auch CD sind auf jeweils 500 Stück limitiert. Nicht, dass hinterher wieder jemand weint.

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“Lost, Found & Great: Obscure Pop Gems Of The Past” is the title of a series under which Tapete sporadically re-releases brilliant, but hard-to-get or even out-of-print POP albums. Now it is the time for The Times’ legendary albums “This Is London” and “Go! With The Times” which were originally released in 1983 and 1985.
More than four decades on, with yet another round of punk anniversaries safely behind us, here’s a chance to remind ourselves that not everyone believed or indeed peddled the myth of the Year Zero. Maybe that’s because they were young enough not to have to prove their youth. A good three years junior to Johnny Rotten and six years to Joe Strummer, Edward Ball had spent his 1960s childhood equally entranced by the Beatles on the radio and Patrick McGoohan playing The Prisoner on TV. And while the promises of a popular culture infused with fresh art school ideas had gone stale by the 1970s, a teenage Ed Ball would recognise the dawning of an independent DIY culture as a chance to rekindle them in a brand new way. To do so he had to bypass the corporate machine, then otherwise busy selling the Year Zero narrative to a gullible media, and set out on an unbeaten path that would soon converge with the leftmost edges of the nascent mod revival. Having formed his first band “O-Level” in 1976, Ball found a kindred spirit in schoolfriend Daniel Treacy. For a while their bands Television Personalities (fronted by Treacy) and Teenage Filmstars (fronted by Ball) existed in tandem until the latter morphed into The Times. Following a legal dispute around the name of their DIY label Whaam!, obviously monikered after Roy Lichtenstein’s 1963 painting as opposed to a certain pop band of the day, Ball launched his band’s very own Artpop! imprint (Deep into the next century Lady Gaga would have the same idea, albeit stopping short of hand-painting her record sleeves as the Times had done).
Having released six Times LPs between 1982 and 1986, by the end of the decade Ball reemerged on Alan McGee’s Creation Records, delving into electronic psychedelia and supplementing his recording career with a day job as a friendly executive/receptionist at the company’s London office. There he would sit behind a desk in front of one of his own paintings, sometimes speaking dismissively of himself in the third person to unsuspecting visitors.
Some time later, Ball would return to writing observational pop songs destined for the lower reaches of the charts as a fully paid up member of the Mill Hill Self Hate Club. By that time, Britpop had come and gone without giving its by now bald-headed prophet much credit for his services to the cause. But then you could also see that as a blessing. Here then is that rarest of things: British guitar pop history without baggage. Because only the best went with The Times back in the early eighties.

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November 2014: Ein ausverkauftes Konzert, ein glanzvolles Comeback. Die Zimmermänner spielen das Release-Konzert zu ihrem Album „Ein Hund namens Arbeit“. Plötzlich sackt Timo Blunck zusammen, stechende Schmerzen. Blaulicht, Krankenhaus … während die verbliebenen Zimmermänner Hits wie „Klein & Doof“, „Wir wollen keinen Ärger in dieser Stadt“ oder „Die Nöte des feinen Mannes“ nunmehr ohne Blunck spielen, „The Show must go on“, ringt der sympathische Komponist am anderen Ende der Stadt mit dem Tod: Darmverschluss, Not-OP, vier Wochen Krankenhaus, das volle Programm. Kaum aus der Narkose erwacht, denkt auch Blunck: „The Show must go on“. Noch mit diversen Schläuchen im Arm sowie im Darm bittet Blunck die Krankenschwester mit noch leicht zittriger Stimme um Zettel und Papier und beginnt zu schreiben …und schreibt, zum Teil noch unter dem Einfluss starker und stärkster Narkose- und Schmerzmittel, die ganzen vier Hospitalwochen durch. So eine Nahtoderfahrung, so wenig man so was anderen, geschweige denn sich selbst wünscht, kann die Kreativität doch ziemlich befeuern. Muss man sich mal vorstellen: Eben noch auf der Bühne, ausverkauftes Haus, schicker Anzug und jetzt im Krankenhaus-Doppelzimmer, geharnischt in eines dieser entwürdigenden Krankenhausnachthemden. Da kommt man schon ins Grübeln. Zeit, Bilanz zu ziehen. Und Blunck zog Bilanz: „Hatten wir nicht mal Sex in den 80ern?“ ist seine musikalische Autobiographie. In ihrer Direktheit ziemlich verstörend. Aber: „Das Leben ist zu kurz, um in Bildern zu sprechen.“ Recht hat der Blunck. Verstörend, aber trotz Tod, schlechten Drogen, guten Drogen, kaputten Beziehungen und dem ganzen üblen Kram nie ohne Humor. Und nicht nur textlich ist „Hatten wir nicht mal Sex in den 80ern?“ eine Autobiographie, sondern auch musikalisch, Blunck spielte alle Instrumente selbst ein. Vielleicht, weil die Songs so persönlich sind, so nah, so schmerzhaft?

Aber derartig prätentiöses, ja man möchte schon fast sagen deutschpoetenhaftes (was für ein Ekelwort, da schüttelts einen ja, bitte um Verzeihung) Befindlichkeitsgetue liegt Blunck, wir ahnen es bereits, fern: „Bevor ich einem Mucker seinen Part erklären muss, mach ich den Kram lieber selber“, so die etwas hemdsärmelige Auskunft. Und Blunck machte „den Kram“ selber, nahm mit einer alten 8-Spur-Bandmaschine zu Herzen gehende Balladen („Koks & Nutten“, „Der zärtlichste Psychopath“), New-Orleans-Soul-Yacht-Rock-Hybriden („Blöd“, „Angst essen Erbsenseele auf“) und Uptempo- Funk (das Titelstück) auf, sparsam, aber dafür umso knalliger arrangiert. Überhaupt zieht sich ein recht starker New- Orleans-Einfluss durch das ganze Album. Vermutlich, da Blunck jahrelang in „The Big Easy“ zu logieren pflegte. Eine perfekte Umsetzung der Texte in Musik. Aber was soll das Gelaber? Hammerplatte!

Hier ist Bluncki, hier ist Knirpsi, halb Mensch, halb Keks, hier der Gainsbourg aus St.Georg: Timo Blunck!

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Welcome to the soundtrack for the next Ice Age, home to the last survivors of the global climate catastrophe. A lone wolf prowls the snowy streets of a deserted, moonlit town. The night is pierced by a single voice, ringing as clear as crystal between Kiruna and Trelleborg. It belongs to the Swedish singer-songwriter Kristoffer Bolander, whose second solo album is being released by the Hamburg-based label Tapete Records.

“What Never Was Will Always Be“ offers compelling evidence of his accession to the European elite of alternative songwriters.

Moving beyond the typical spectrum of alternative folk as heard on Bolander’s 2015 debut “I Forgive Nothing”, the sophomore album represents a significant evolution in sound. The wonderfully delicate, high-pitched voice of the Swedish singer is framed beautifully by his excellent band, at times quietly focussed, at others ramping up distorted guitars and visceral drums. But what really makes the atmosphere of “What Never Was Will Always Be” unique is the introduction of electronic elements. From gentle synth pads, reminiscent of Brian Eno soundscapes, to dry, pulsating electro drums, whilst flashes of arpeggiator illuminate the elegantly conceived musical thicket.

The songs range from the epic uber-hit “Cities” to danceable synth pop numbers like “Animals” and classic folk tunes such as “True Romance” which features Kristoffer Bolander’s voice accompanied only by an acoustic guitar. The album is a panoply of small worlds, every song occupying its own sonic dimension, produced to perfection. Add in Bolander’s unique lyrical qualities and an extraordinary mood develops, his words falling like mantras from the future, with tales of lost cities and life-changing romances.

The new components gently shift the music away from the tried and trusted folk album biotope into a forward-looking electro folk pop sphere. If you like Cigarettes after Sex or Brandon Flowers, this might be something for you too.

There is a very good reason for the contrast in sound between “What Never Was Will Always Be” and its predecessor. Kristoffer Bolander took care of all the arrangements by himself and Daniel Johansson, renowned for his work with the likes of Grammy winner Tommy Black, was on production duties. Together, the pair created a distinctive sound for each individual song.

Bolander and Johansson’s meticulous attention to detail shines through the array of instrumentation so masterfully deployed on the record, perfectly complemented by Bolander’s expressive voice.
“What Never Was Will Always Be” is a fresh, contemporary folk pop album, tempting the listener to dance, to dream, to cry.
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NEW SHAPES OF LIFE is the third album I’ve made under my own name and my second for Tapete Records. My last LP, THE BREAKS, dealt with my feelings of separation from the world around me. The music was simple, guitars, organs, and drums, but somehow it left me feeling even more dissatisfied than when I started writing it. This time I wanted to swim deeper, catch the bigger fish that lurk in the depths, waiting to be found. […] NEW SHAPES OF LIFE is the first album I’ve made where I can stand by every word I’ve written. It’s the first one that sounds like me and it won’t be the last.
Martin Carr, Cardiff, July 2017

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Jaguwar began life as a trio, formed in Berlin by Oyèmi and Lemmy in 2012. Their drummer Chris signed up in 2014 to complete the current line-up. Thus far they have released two EPs on the US label Prospect Records and have played countless shows in the UK, Denmark, France, Serbia, Germany and beyond. They have shared the stage with acts like We were promised Jetpacks, Japandroids and The Megaphonic Thrift, resulting in many happy faces and ringing ears.

In 2016 they sent a brief e-mail to Tapete Records with music attached, asking to support The Telescopes on tour. Any band keen on supporting The Telescopes is sure to spark our curiosity and, before long, the two Jaguwar EPs had become firm favourites on the Tapete office playlist. File under: wall of sound, shoegaze, noise & pop. It is by no means injurious to surmise that My Bloody Valentine have had (and continue to have) some small, yet significant, degree of influence on Jaguwar.

In 2017, armed with an impressive array of effect devices, guitars, bass and amps, backed up by a prodigious supply of coffee and cigarettes, they decamped to the Tritone Studio in the idyllic environs of Hof, Bavaria, to record what would become “Ringthing”. Typically for the genre, they crafted layer upon sonic layer. No less typically, deadlines were not always adhered to. But it has been well worth the wait: more noise than ever and even more pop. “Noise & detail” is how the band describe their sound. “Ringthing” is a shimmering, reverberating, crashing monolith of an album. Jaguwar sway from combining saccharine pop with Amphetamine Reptilian noise to sounding like a serendipitous encounter between The Cure and Ride. Prepare to expect the unexpected from their meandering song structures. Successfully unshackled from their paragons, the trio’s sui generis sound is destined to be heard all over the world.

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