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Late Night Load Out is the debut LP from Dublin five piece band Papa Romeo.

The release is a collection of work which catalogues their first two years of rehearsing and gigging together around Ireland, a process which has forged their sound. The tracks journey through sound palettes which variously touch on dreamy spaced out indie rock, moments of ambient contemporary jazz, and rougher post-punk influenced sounds.

The ‘Late Night Load Out’, became the term to describe loading gear out of venues late at night after a show, which is a moment to both dread and cherish, the (sometimes) hard work which follows elation.

Now primarily based in London, Papa Romeo’s music has connected with London based DJs and broadcasters. Their debut single ‘Yellow Magic Orchestra’ was supported by Flo on NTS, as well as Avalon Emerson, and appeared as the A1 on a vinyl compilation from All City Records Dublin. Singles from ‘Late Night Load Out’ have also gained early support on BBC 6 Music and from Ross Allen on NTS.

In the meantime the band have been busy on the Irish circuit with appearances at Cork Jazz Festival, Other Voices, All Together Now and Another Love Story, as well as repeat sold out shows at Dublin’s Sugar Club. They have built a reputation as a versatile band who can bring the energy to a packed room, and were named an Artist to Watch for 2024 by Hot Press Magazine.

‘Late Night Load Out’ will be released on digital and vinyl in May 2024.

Papa Romeo is Paddy Rogers, Mark Rogers, Dan Coyne, Rob de Boer and Chris Wong.


A1.  World Of Paint
A2.  Jessica Lovejoy
A3.  Deep Purp (Reprise)
A4.  Diamonds In The AM
B1.  Chicken Town
B2.  Night Flight
B3.  Deep Purp
B4.  Midnight Tristesse


Papa's Ear

    Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded "Papa's Ear" (2012) and "Tan-Tan Therapy" (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close- knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats - during the late '00s and early '10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas - they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

    This reissue mini-series starts with "Papa's Ear". The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other's presence, and they've almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats' aesthetic - sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

    "Papa's Ear" includes some of Tenniscoats' most memorable songs. "Papaya" is a lustrous dreamland of a song, with the Swedish musicians singing 'pa-pa-ya' as an enchanted tattoo, while Saya's piano and melodica clank and huff out, further expanding the song's horizon. It's followed by the spindly and mysterious "Sappolondon", where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya's voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song's surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley's compositions.

    Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in "På floden", like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on "Sabaku", dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., "Lutie Lutie" is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. "Come Maddalena" rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, "Papa's Ear" is an album of great tenderness and warm friendship.


    1. Higa Noboru / The Sun Rises (2022 Remaster) 04:39
    2. Hikoki / Airplane (2022 Remaster) 08:12
    3. Kuki No Soko / The Bottom Of The Air (2022 Remaster) 04:29
    4. Papaya (2022 Remaster) 04:42
    5. Sappolondon (2022 Remaster) 03:57
    6. New Seasons Dead (2022 Remaster) 05:15
    7. På Floden / On The River (2022 Remaster) 03:27
    8. Sabaku / Desert (2022 Remaster) 06:00
    9. Tanjobi No Yokan / Expectation Of Birth (2022 Remaster) 04:10
    10. Nigor / Cloudy Air Is Not So Bad (2022 Remaster) 02:11
    11. Come Maddalena (2022 Remaster) 05:17
    12. Lutie Lutie (2022 Remaster) 04:17

    Papa M

    A Broke Moon Rises: Music For Four Acoustic Guitars By Papa M

      Late 2016’s ‘Highway Songs’ brought Papa M back to us, after many years of silence and several harrowing dances with death for his Id-ego/host body, David Pajo. Now, two years on down the road, we’re all here again to witness ‘A Broke Moon Rises’.

      ‘Highway Songs’ was a necessarily cathartic experience in all phases. Afterwards, with no tour dates forthcoming (partially due to lousy clubs and their lack of wheelchair-accessible stage doors), it felt good just to play for fun again, like being in the practice space instead of the psych ward - a much healthier change of pace than some might guess. David blew it out; all the different styles he’s played in over the years, from folk-blues to metal, electronic, pop, Bollywood... all of it. When the spasms subsided, however, a back-to-roots sediment remained in the bottom of the bowl, which he read as a motive for a new Papa M album done with all acoustic instruments. That’s how there’s nothing electric about ‘A Broke Moon Rises’. Even the drums are acoustic.

      The five songs of ‘A Broke Moon Rises’ find David focusing his technique in unknown directions, to find out what he can do with them. When that happens, he finds himself on the very spot where Papa M music becomes alive. As the quietly funereal march of the opening track resonates with a spare drum beat, we are completely transfixed into the open spaces around the guitars.

      David’s been engineering and mixing his records for years, so the sensation of his sound-thoughts doesn’t entirely surprise us, even in their latest, acoustic anointment. Layers of guitars curl and unfurl, falling away from the centre with feathery softness. Slide figures cut through the progressions with a rusty glide. Arpeggiations flicker with light, leading into a change that’ll break on ones ear like a small revelation. Even the sound of Papa M playing in the room, leaning forward or untouching the strings, provides textural byplay in created space. ‘A Broke Moon Rises’ is meditative in the most active sense, with the unquiet mind leaping from place to place in a static, spartan theatre. All of which action makes hypnotic music, perfect for listening.

      The album’s title is based upon his son’s observation of a half-moon one evening (when his son was 29) and it helped infuse the record with an essential feeling, which draws to a decidedly tasty conclusion with David taking on an Arvo Pärt piece. After years of fascination with the music, listening in passivity, he finally decided to do something about understanding it by playing it himself. If you’re wondering, that’s the key to ‘A Broke Moon Rises’.


      The Upright Path
      A Lighthouse Reverie
      Spiegel Im Spiegel

      Papa M

      Highway Songs

        David Pajo’s been writing lines on the guitar since he was a kid. It sustained him through a lot of groups, like Maurice, Slint, Aerial M, Tortoise, The For Carnation, Dead Child and Papa M. The sounds he’s made on albums with names like ‘Live From A Shark Cage’ and ‘Whatever, Mortal’ implied danger, violence and total alienation alongside a peaceful, easy, good-willing and wide streak of broke-toothed black humour.

        With a humble combination of sources Papa M has traditionally traced his music from aboriginal blues all the way through the rock and on into 21st Century classical, exploring moments via an audio-diary vérité. With each encroaching moment of ‘Highway Songs’ it sounds more and more like good old Papa M, as David throws back the veil of tears from recent times to bear witness to miasmic mood-clouds passing not over but through him. Music from where the mind goes when the body is broken. Reflecting time spent hooked up to machines. A good person with bad thoughts, a story told in fragments picked up off the bathroom floor.

        The Papa M approach is laced with fun amongst the bristle, with loads of tasty playing and a dynamic that pits darkness vs light vs irreverence in a Mexican standoff. As before, it’s pretty much all played by Pajo, whose multi-instrumental flair (and Def Leppard-inspired one-legged drum technique) speaks of the gumption and optimism that has always run under his bridge, along with the blood and water and sperm, massed together in a hypnotic flow. All these things are what makes Papa M and it’s good to hear them and him again.


        Barry says: Shining with the sort of instrumental flare seen in Pajo's former bands Slint and Tortoise (among others), this incarnation has a lot more of an acoustic playfulness. Upbeat melodies and interwoven guitar lines cascade into each-other before crackling with electronic shards and static flourishes. This is a finely crafted and impeccably produced collection of soulful electro-acoustic gems.

        Papa M

        Hole Of Burning Alms

          A clutch of rare tracks, B-sides and a previously unreleased song from David Pajo aka Aerial M, Papa M or indeed sometimes just 'M'! Influential guitar innovator David Pajo (Slint, Tortoise, Stereolab, Palace Music) presents this collection of rare, hard to find and out of print singles. The very first M 7" single is here: "Safeless" / "Napolean", so is the first M 7" split single side "Vol De Nuit". The Aerial M CD Singles of 97 and 98 "M is…" and "October" are also in evidence. So is the Papa M 1999 Tour Single. An old Christmas card from 2000 is included, a sixteen minute version of The Byrds' "Turn Turn Turn", and a previously unreleased Christmas song, to boot. Plus another fifteen or so minutes of the timeless, eternal sounds of M!

          Papa Roach


            Limited edition enhanced CD, includes two bonus tracks, "Gouge Away" and "Never Said It", plus two live videos.

            Papa Roach

            Between Angels And Insects

              Papa Roach


                Special numbered limited edition, packaged in a metal box. Enhanced CD includes the video for "Last Resort", pictures of the band, lyrics etc.

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