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TAPETE

Pixie Carnation

New World Record

    There’s a thesis waiting to be written about Sweden being the heartbeat of European pop culture, a quicker way though to take the pulse of modern music would be to get acquainted with Pixie Carnation – new proof from Sweden’s deep South that the Nordic beat goes on.

    Formed in Sweden’s third city Malmö by childhood friends Tobias Hellkvist and Ola Pålsson, Pixie Carnation’s debut album is the culmination of two years of recruitment, touring, writing and recording. After an EP in 2009, the band took to the studio where Hellkvist and Pålsson recorded and produced the album on their own. Later, they joined forces with Kalle Gustafsson Jerneholm from Soundtrack Of Our Lives to mix "The New World Record", a collection of songs that affirms the band’s ascendancy and aspiration towards the hallowed ground of great pop.

    Talk to the band and they’ll tell you it’s all about open tunings, string arrangements and classic rock influences. Listen to the record and you’ll hear the spirit, urgency and bold-hearted sensibility of a group who manage to sound accomplished and fresh at the same time. Vivid and skilled, Pixie Carnation sound like altogether worthy heirs to one of the great mantles of modern music, their album a bright and blinding slice of Arctic light from a band whose day has undeniably dawned.

    Pete Astor & The Holy Road

    Paradise

      With the onset of the 1990s and the conclusion of The Weather Prophets, Pete Astor was in the mood for some artistic regeneration. To this end, he recruited a new group of musicians and friends, forming The Holy Road. The band consisted of erstwhile Felt and Everything But The Girl guitarist Neil Scott, bassist Chris Clarke, (soon to become a key member of both The Rockingbirds and Danny and the Champions of the World), and drummer Russell Lax, late of The Oyster Band and Billy Childish's Pop Rivets. And so arrived Paradise, becoming for many the album in which Astor, along with The Holy Road, most perfectly expressed his indubitable facility as a singer and songwriter. Only ever released in France, in 1992 twenty-seven years later, with Tapete's re-release, Paradise is a vital addition to a body of work which sounds as good now as it did then. 

      The Monochrome Set

      Fabula Mendax

        At the end of the 70s, The Monochrome Set were part of the first wave of 'post punk' bands. Right from the beginning, the band earned a solid reputation as purveyors of fine pop, gaining praise from 80s contemporaries such as Morrissey and Edwyn Collins. The Monochrome Set sound has often been described as 'timeless', and that alone explains why, over the years, the band has continued gaining admirers. As with all TMS albums, "Fabula Mendax" is at once accessible and arcane, upbeat and dark, lush and spare, and with lyrics that as ever remain tantalisingly opaque.

        Stereo Total

        Ah! Quel Cinema!

          Musically, this Stereo Total disc, their twelfth, cannot be readily aligned with anything at all. If earlier albums resonated with influences from chanson, trash or disco to punk, rock'n'roll and NDW (German New Wave), Stereo Total have now arrived in their very own musical universe which pays no heed to stylistic devices, A word to our younger readers: Stereo Total began making music before the internet existed, before the Euro, before Germany reunited and before there were even bands or music. They will probably still be playing when all that has been consigned to the dustbin of history.

          Robert Forster

          The Evangelist - Reissue

            Following the 1989 break-up of the Go-Betweens, the band he had formed at college in 1978 with his friend Grant McLennan, Robert Forster embarked on a solo career, releasing four albums under his own name between 1990 and 1996, before reforming The Go-Betweens in 2000.

            After the death of bandmate Grant McLennan in 2006 Robert released, this, his 5th solo album in 2008, including the last three songs he wrote with Grant. 

            Nick Garrie

            The Nightmare Of J.B. Stanislas

              Nick Garrie recorded his masterpiece in France at the tender age of nineteen. The year was 1968 and Garrie felt ill at ease with the lavish arrangements accompanying his songs (beautiful as they may sound to our ears today). Worse still, the label owner committed suicide and the record virtually disappeared without trace - until it resurfaced in 2005. This release from Tapete now includes numerous bonus tracks, rare photograph and extensive liner notes. 

              FORMAT INFORMATION

              2xLtd LP Info: Limited edition of 1000 double LPs in gatefold sleeve.

              Ltd CD Info: Limited edition of 1000 CDs.

              Levin Goes Lightly

              Nackt

                Take off all your clothes. Shed your armour. Get naked. Everything could have stayed the same, but you can rely on Levin Stadler to break with the norm. His Levin Goes Lightly project has earned a plethora of plaudits in recent times - a cover of Iggy Pop's Nightclubbing made it all the way to the master's headphones and straight onto the aforementioned's BBC radio show. Latterly, Trentemoller was curating a compilation and put in a request to include Levin's song 1989. Levin Goes Lightly has thus transcended the barriers which usually stand between German pop music and a wider audience.

                The Catenary Wires

                Til The Morning

                  The Catenary Wires are Rob Pursey & Amelia Fletcher , formerly of Tender Trap, Marine Research, Heavenly & proto-riot-grrrl machismo-mocking punk-pop explosion Talulah Gosh. They specialise in emotive indie duets, capturing the spirits of Nancy Sinatra & Lee Hazelwood, Serge Gainsbourg & Brigitte Bardot, & releasing them into modern Britain.

                  The resulting songs will appeal to fans of Courtney Barnett &Kurt Vile or Isobel Campbell & Mark Lanegan. On this album, they are joined by Andy Lewis (Paul Weller Group)on cello, mellotron and percussion, & Fay Hallam (Makin' Time, Prime Movers) on Hammond organ & backing vocals. The local Kentish countryside provides ambient noise.

                  Andreas Dorau

                  Das Wesentliche

                    Andreas Dorau's love affair with pop blossomed early. Long before he had his first top ten hit at the tender age of sixteen, before he became one of a select few German artists to sign to Mute Records and before he hit the French charts with 'Girls in Love' (its rise halting at #2, alas), little Andreas retreated to his bedroom with a handful of singles - Sparks, T-Rex, Beatles, Tina Charles or whoever else was hot in his childhood years - and listened to these discs over & over again.

                    He has now arrived at Tapete Records, a label renowned for giving free rein to libertine spirits. The songs on 'Das Wesentliche' feel all the more opulent for having left so much out. And they are wonderfully brief. Bubblegum, dance, HI-NRG, leftfield electronica, junk shop glam and yacht rock are all signposted along the way. Dorau is supported by friends like the Marinas, Carsten Erobique Meyer and Gunther Buskies in his daring endeavours to strip away unnecessary ballast from the music. 

                    ‘Six Lenins’, the third album release from The Proper Ornaments, sees the band master their seemingly effortless but finely-wrought sound as their songwriting prowess refuses to plateau. Fresh from an US tour in Autumn last year, the London jangle pop group led by James Hoare (also of Ultimate Painting/Veronica Falls) and Max Claps (Toy) went into James' home studio in Finsbury Park, London and made their finest recordings to date on a newly-installed 16 track Studer machine - joined by Danny Nellis (Charles Howl) on bass and Bobby Syme (Wesley Gonzalez) on drums. Having escaped deep, twisting tunnels of illness, divorce and drug abuse to release their second record in January 2017, it's unsurprising they sound sunnier this time around. What their supremely melodic work suggests is a nonchalance or naivety but is in fact an expensively bought slice of coherence and clarity within a constantly shifting backdrop to their lives and landscapes. The band exists as an unassuming and resilient organism in a fiercely competitive, trashed environmental niche. Throughout their years of hard-edged music industry Darwinism, they've shown longevity and growth scuttling from the wreckage of their previous guitar bands to become one united organism. "We started writing new songs in the Summer. I was in bed recovering from hepatitis and very broken and tired so couldn't do anything else apart from playing guitar," says Max, "and the songs slowly started to appear. In August we realised we had five new songs each and free time, so we decided to record them. The actual recording only took two weeks and it was considerably easier than our previous recordings.” The speed with which “Six Lenins” was made suggests the two songwriters managed to keep a keen focus on what they wanted to achive, further finessing the balance of conflict and collaboration that lends their sweet, succinct tunes their nervous energy. Well-crafted songwriting and a controlled sonic despite a zealous analogue sensibility. The opener 'Apologies', sets out stridently and the mood and momentum, even as we weave through some more sombre moments, never dips before soaring with the Velvets-y propeller riff of live favourite 'In the Garden' to end the record.

                    STAFF COMMENTS

                    Barry says: The Proper ornaments superbly tread the ground laid by hazy psych-rock aficionados BJM, mixing airy simmering guitars and long reverbs with multi-layered vox, swooning synths and almost-horizontal harmonies. Beautifully warm and brilliantly written summer serenades.

                    Bill Pritchard

                    Midland Lullabies

                      Bill Pritchard is a British singer-songwriter, instrumentalist (guitars, keyboards), musical arranger and producer. Some time ago... "The J.D. Salinger of pop" was how Rolling Stone France described Bill Pritchard after the release of "Mother Town Hall" in 2016. And now 'Midland Lullabies' This is the album Pritchard always wanted to make .Why? Because he always wanted to make a mark as a 'shabby suited crooner'. 'Midland Lullabies' is songs from the Midlands about continental issues bathed in a crooning, piano drenched style that Pritchard has been perfecting over two years! Complete with sumptuous, at times almost Brechtian strings. Produced again beautifully by Tim Bradshaw, Pritchard says that from the very outset he insisted on a stripped-down sound, utilising Tim's brilliant, subtle and sympathetic piano interpretations of his songs.

                      'Inferno' is acclaimed Australian singer-songwriter Robert Forster's first solo album in four years - his second album over the last eleven years. Forster only makes records when he feels he has the songs - on 'Inferno', he has nine he totally believes in.

                      They range from the exhilarating top ten pop of 'Inferno (Brisbane In Summer)', the beach shack groove of 'Life Has Turned A Page', via 'Remain's 1977 New York strut, to finish in a way that this concise, brilliant, drama and wit filled album only can - on the big build epic 'One Bird In The Sky'.

                      'Inferno' was made in Berlin in 2018, during the hottest German summer in decades. Noted producer/engineer Victor Van Vugt (Beth Orton 'Trailer Park', P J Harvey 'Stories From The City, Stories From The Sea'), recorded the album; the first time he and Forster had worked together since Van Vugt engineered Forster's debut solo album classic 'Danger In The Past' in Berlin in 1990.

                      'Inferno' in its making is a perfect mix of the familiar and the new. Also working with Forster again, are Brisbane based multi-instrumentalists Scott Bromley and Karin Bãumler from 'Songs To Play' (2015), while new recruits are drummer Earl Havin (Tindersticks, Mary J. Blige) and keyboardist Michael Muhlhaus (Blumfeld, Kante). Four musicians from the corners of the world, who, with Van Vugt's bold and beautiful production, sound like a band of the ages. In front of them, Forster delivers the best vocal performances of his career.

                      STAFF COMMENTS

                      Barry says: Encompassing all of the best melodic aspects of some of the greatest songwriters to date (Forster's vocal drawl sounding not entirely unlike Morrisey's at points), Forster manages to be both poignant and accessible all at once. Shimmering acoustic guitar and crisp production come together to accentuate the country-folk-indie at every turn. A wonderfully written and brilliantly conceived outing.

                      We Are Muffy

                      The Charcoal Pool

                        From somewhere wild and strange in Cornwall come the idiosyncratic acoustic sounds of We Are Muffy, the happy alliance of Nick Duffy (The Lilac Time, Bait) and Angeline Morrison (The Mighty Sceptres, The Ambassadors of Sorrow).

                        With influences including the Incredible String Band, Tyrannosaurus Rex, Sam Cooke, Max Romeo and Shirley & Dolly Collins weaving through their music, We Are Muffy spin poetic narratives of remembered and imagined pasts. Their distinctive strain of folk music combines vocal harmonies with unexpected instrumentation (lyre, music box, cutlery, bottle tops, broken china), in amongst the expected (autoharp, banjo, double bass).

                        It all began when Nick asked Angeline to provide some guest vocals on his Simulacra Two album (2016) - a collection of unorthodox covers. Whilst lively debate ensued on the themes of folk song and cover versions, it soon emerged that they shared a common homeland - Birmingham. In scenes reminiscent of the industrial heyday of this city they began to turn out song upon song depicting the peculiarities of growing up there.

                        Frosted Candy is a love song to the delights of colour, of texture, and the delicious mysteries of the adult world that reveal themselves upon discovery of the makeup counter at the local chemist. A joyful song that captures the uncertain balance between appearance and identity, outward poise and inward angst performing an intricate dance in a miniature bildungsroman.

                        Milk Bar depicts everyday life on the furthest reaches of the 56 bus route, back when Spaghetti Junction was still being built, somewhere just over the horizon. When you were just as likely to go to Elmdon Airport as the Beaufort cinema if you were a teenager looking for light entertainment.

                        Recorded in Nick's garden studio - once a suburban double garage, now inaccessible by motor vehicle due to encroaching foliage - 'The Charcoal Pool' is replete with the sounds of the neighbourhood. Crows, robins and seagulls all put in an appearance, as does the rain on the skylights and the trains on the adjacent branch line.

                        FORMAT INFORMATION

                        Vinyl comes with CD version of the album enclosed.

                        Simon Love

                        Sincerely, S. Love X

                          If you're thinking of buying just one magnificent pop disc in 2018, you need look no further: I give you, ladies and gentlemen, SIMON FUCKING LOVE! ("The Ballad Of Simon Love"). "Sincerely, S. Love x" (the kiss is meant to be pronounced) is Simon's sophomore solo album (his 2015 debut It Seemed Like A Good Idea At The Time was released on the brilliant, now sadly defunct Fortuna Pop label) and it features at least ten hits. Proper pop hits, with ELO harmonies, Spectoresque production, strings and trumpets, the whole shebang. All recorded over the last two years in London, England. Big city pop!

                          The Monochrome Set

                          Maisieworld

                            Maisieworld is the brand new studio album from The Monochrome Set. At the end of the 70s, The Monochrome Set were part of the first wave of 'post punk' bands. Right from the beginning, the band earned a solid reputation as purveyors of fine pop, gaining praise from 80s contemporaries such as Morrissey and Edwyn Collins. Importantly, in later years this praise has continued with artists such as Franz Ferdinand, The Divine Comedy and Graham Coxon, all citing the band as a key influence on their own work.

                            The Monochrome Set

                            1979-1985 Complete Recordings

                              6-LP (with 6 CD’s in slipcases) boxset (limited to 700 copies).

                              Contains the Monochrome Sets first 4 albums, plus two albums of singles from the same period. All in original sleeve artwork and with a lyric book .

                              FORMAT INFORMATION

                              FREE SHIPPING This item has FREE UK shipping!

                              The Times

                              Go With The Times

                                "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 "Go! With The Times" which was originally released in 1985. 

                                Jaguwar

                                Ringthing

                                  "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. At thunderous volume!

                                  Nick Garrie

                                  The Moon And The Village

                                    In the final year of the sixties and in the final year of his teens, Nick Garrie made an album that should be regarded as one of the great classic albums of the decade: 'The Nightmare of J.B. Stanislas'. It's packed full of smart, romantic, melodious baroque-pop story telling songs with killer string and woodwind arrangements.

                                    Back to 2017 and now there is a new album by Nick Garrie. It's a thing of great and rare beauty. It's still very much the same Nick Garrie who made that incredible 1969 debut and the 2009 album too, but this time round it's Nick Garrie in a more reflective mood.

                                    FORMAT INFORMATION

                                    Vinyl comes with CD version of the album enclosed.

                                    Nick Nicely

                                    Sleep Safari

                                      New album & new horizons for psych legend Nick Nicely. "Sleep Safari" delves further into electronics while continuing the artist's psychedelic journey creating a unique pop juxtaposition.

                                      FORMAT INFORMATION

                                      Vinyl comes with CD version of the album enclosed.

                                      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.

                                      FORMAT INFORMATION

                                      Deluxe LP Info: Deluxe LP is Indies Only and is a limited edition of 500 worldwide and comes in a gatefold sleeve with a CD and a bonus 7” containing two exclusive tracks.
                                      7” tracklisting 1.All Alone 2.Lyra in August.

                                      As Light Return - The Telescopes are back with their ninth album. Evolving oscillations of guitar feedback screech and howl through thick layers of distortion. Overtones shift and drift and combine on a carpet of white noise. In the eye of the storm, the voice of Stephen Lawrie remains calm, almost detached. He intones a low, trance-like chant. The vocal is buried deep in the mix, the lyrics just barely discernible.

                                      FORMAT INFORMATION

                                      Vinyl comes with CD version of the album enclosed.

                                      LAKE are an experimental-pop ensemble centered around the songwriting partnership of wife/husband duo Ashley Eriksson and Elijah Moore. LAKE's musical kindling is unusual for a band whose genesis was rooted in the punk and indie community - before signing to legendary K Records (for their 2nd album Oh,The Places We'll Go, 2008) Calvin Johnson apparently couldn't believe a band from the Olympia underground would be so keen on reinterpreting the music of mainstream pop acts from a bygone era. LAKE has since converted him, and many more, to a re-sensitized appreciation of big musical ideas, which are non-cynical, joyous, inviting.

                                      Hurricane #1

                                      Find What You Love And Let It Kill You

                                        Batten down the hatches - there’s a storm coming. Former Creation Records act Hurricane #1 are back! After battling cancer, front man Alex Lowe has emerged triumphant (well, they do say 'only the strongest will survive') and resurrected his old band and now Hurricane #1 are about to release their first album in 16 years.

                                        The original line up included ex-Ride guitarist/vocalist Andy Bell, Alex Lowe (vocals & guitar), bassist Will Pepper and drummer Gareth Farmer. The band split up in 1999 after releasing two full-length albums and several singles on Creation Records. Their anthemic sound was influenced by classic 60s Rock & Roll, Soul and Country Rock, but with a contemporary edge. Paul Oakenfold remixed their debut single, and UNKLE’s James Lavelle revamped 'Only The Strongest Will Survive'.

                                        After the demise of Hurricane#1, Lowe concentrated on his solo career - his most recent album was recorded under the name Gun Club Cemetery and came out last year on Alan McGee’s new label 359 Music. McGee has been the driving force behind bringing Hurricane#1 back from the dead. This time around, former boxer Lowe has been joined by Brazilian brothers Carlo and Lucas Mariani on guitar and bass, and Chris Campbell on drums. Says Lowe: "I’m really excited about the new line up - there is a real buzz about it and I can’t wait to get back on the road in 2015. It’s going to be fun. It’s great to be back with such a gifted band. It’s been a tough couple of years, but I’ve never been more convinced that this is the time for Hurricane#1. Bring it on!".

                                        The new album came about when Alex was in hospital undergoing cancer treatments. Alex says: "I would sit there on the bed for hours just thinking, staring out the window, then I thought if I’m spending my time in here doing nothing, I may as well try and keep busy, so I wrote most of the album in hospital." At the time of writing it Alex wanted to write something happy and not too dark to get him out of the horrible state he was in at the time. "When you are wired up to chemo and radio therapy, the last thing you want to do is wallow in it and feel sorry for yourself so I had the idea that the album should be happy and not too dark. I knew I wanted it to be a very organic album, back to basics type of sound, nothing fancy,just good tunes played in a good Rock ‘n’ Roll manner."

                                        The album was recorded in Turriff Aberdeenshire, Scotland, where Steve Ransome, an old friend of Alex, runs a studio. During the recording sessions Andy Bell contributed the backwards guitar sounds on 'Think Of The Sunshine'. For the artwork the band hunted down loads of ideas, but couldn’t find anything they liked, so Alex painted it.Hurricane#1 will be touring in 2016 and Lowe promises that the band will sound bigger and better than ever. Prepare to be blown away.

                                        FORMAT INFORMATION

                                        Vinyl comes with CD version of the album enclosed.

                                        The Monochrome Set

                                        Spaces Everywhere

                                        "On one hand, the music is very melodic and cheerful. The lyrics, however, deal with death, decay, change ... no wonder we are rather popular with the undead," says singer, guitarist and songwriter Bid of the new The Monochrome Set album "Spaces Everywhere". A very particular humor. And a very unique sound: Although this time banjos, Hammond organ, female backing vocals and even flutes can be heard on the new album, experts and laymen alike will recognize: This is The Monochrome Set. Undistorted, nervous guitars, like the soundtrack to a Nouvelle Vague film ... but one featuring Michael Caine, Louis de Funès and Belmondo (directed by Andy Warhol). Peculiarly timeless, it is a sound that can not be categorized. Although rooted in the 1950s and 60s (the guitar sound, for example, is a hybrid of Duane Eddy and Sterling Morrison), it still feels oddly modern. Then there is Bid's voice, which this time is more reminiscent of the great American crooners than of Lou Reed. Bid wrote most of the songs in May and June of 2014. Perhaps the band's popularity among the undead will diminish upon hearing the springtime air that can thus be detected in this music? Nevertheless - like virtually every album by The Monochrome Set - this album, which was recorded in Brixton in London, has the potential to become a classic, the potential to be a hit. While music historians and critics continue to grapple with the baffling reasons why this band has never attained major success, the in-crowd has always known what they have in The Monochrome Set. Time and again, the story is repeated of how Johnny Marr found a single by the band in Morrissey's record collection and decided it might not be a bad idea to start a band with the somewhat eccentric singer. The influence of The Monochrome Set on bands like Felt, Franz Ferdinand, Belle and Sebastian or the Strokes can hardly be ignored. With "Spaces Everywhere" The Monochrome Set present an album that will become a modern classic like "Eligible Bachelors" or "Strange Boutique".

                                        And where is the best place to listen to the album? Bid: "In a deconsecrated church, without a mirror." There he goes again.

                                        With their follow-up to 2010’s self-titled EP, Brace/Choir have made an LP of idiosyncratic Trancerock geared towards the listener of whole albums. At its core, Turning on Your Double is a series of dark and ecstatic tales of mental illness, written and recorded in Berlin, Germany amidst tectonic shifts both personal and political. The eight songs are a meditation on social and individual struggles with compulsive disorders, power and inverted schizophrenia: four people united by an idealistic vision of collaboration who come to think they’re one - and the cracks that show in their lives and personalities when the music stops.

                                        Multi-instrumentalists Alex Samuels, Max Gassman, Cristoph Adrian and Dave Youssef have committed to switching instruments and writing each other’s lyrics in order to allow each instrument to speak with multiple voices and each voice to speak from the depths of multiple psyches. Or is it one? The sound is a shifting and shadowy amalgam of treated hollow body guitars, Farfisa organ, various synthesizers (Roland Alpha Juno 1, MFB Synth 2), percussion, and drums. Themes such as cuckoldry ('Be Let Down'), satanic fiction ('Biond'), technology-related neuroses ('Coil'), and the killing of Osama bin Laden ('Fallmen') are unveiled through a combination of rapturous improvisation and sublime songwriting, while 'Five Fngered Leaf' showcases a powerful reworking of the Arseny Tarkovsky poem 'But There Has To Be More', as featured in Andrei Tarkovsky’s classic film Stalker.

                                        The Grand Opening

                                        Don't Look Back Into The Darkness

                                        Do you have to be Swedish to cast such deep melancholy in music so accurately and so beautifully? The one-man project The Grand Opening by the Stockholm multi-instrumentalist John Roger Olsson proves impressively on his fourth album that he is rightly counted among the finest representatives of this art. Being mentioned directly alongside American Music Club, Talk Talk, Red House Painters and The Blue Nile - as happens in the British music press - is certainly flattering. The recordings for the album began in 2012 with sessions featuring a rotating cast, but the search for the right direction was difficult. Finally, John Roger Olsson locked himself up in his new studio in Stockholm and, inspired by ideas and chords that had occupied him for a long time, recorded the album in four days.

                                        Hero & Leander

                                        Collider / Soul To Soul

                                        Debut 7” from London based band.

                                        Pop music should be honest, should have melodies that linger, and lyrics that don't read like bad poems. Hero & Leander try to follow these rules,and it seems to be working. For Fans of Belle and Sebastian, Squeeze, Camera Obscura, The xx and Arcade Fire.

                                        Limited red vinyl 7".

                                        The Horror The Horror

                                        Wilderness

                                        Some five years ago The Horror The Horror emerged from the Swedish club circuit, drawing influences from the late 60's and early 70's, sounding like the bastard child of a one-night stand at CBGB's. Their self titled debut album (released 2006) was a Record Of The Week' at Rough Trade and here at Piccadilly Records. Euphoric press reviews was followed by touring in the U.K, Germany, Spain, Austria and Sweden showcasing the bands explosive live sound. Wild times indeed!

                                        In 2011, the direction has changed, leaving the shabby clubs for yacht parties, showing more commonality with David Gilmour than David Johansen. The sound of The Horror The Horror is evolving into something rather more luxurious. It still has an indie rock thorn, but grit has given way for gravy. THTH is coming in from the wilderness. Lyrically the new album is less "me against the world" and more "Where in the world am I?"

                                        In fact: closer to the Stockholm Archipelago than the Lower Eastside.

                                        The Grand Opening

                                        In The Midst Of Your Drama

                                          "In The Midst Of Your Drama", the new album by The Grand Opening, is dramatic and compelling and singer and songwriter John Roger Olsson's strongest work to date. On previous albums the focus has been to combine and integrate acoustic pop songs with ambient landscapes this third outing however shows a new side of The Grand Opening. There is a real band feel to the recording. Rich instrumentation, strong choruses and beautiful backing vocals by Jens Pettersson and Anna Ödlund.

                                          Salim Nourallah is a singer/songwriter/producer from Dallas, Texas, previously with his brother Faris in the Nourallah Brothers. Salim released his first solo record, "Polaroid" in 2004 on Secretly Canadian, and then the critically acclaimed "Beautiful Noise" in 2005, and "Snowing in My Heart" in 2007. "Constellation", Salim's 4th solo CD is a joyous sonic return to the indie pop sounds of Nourallah Brothers while also maintaining the emotional directness of Salim's previous solo CDs. With soaring vocals, catchy melodies and evocative words it promises to be one of Salim's best efforts to date.

                                          Manchester-based Dutch Uncles are sub-20 year olds, pulling funny faces, wearing checked shirts, and playing tighter than their drainpipe jeans. The first single "Face In" was produced by Gareth Parton (The Go! Team, Foals, Pete And The Pirates), and the rest of this debut album was recorded in a stormy ten day session in Hamburg, Germany. Call it prog-pop, mathrock, indie, jingle-jangle... John Kennedy XFM said 'Trying to pin down the sound of Dutch Uncles is tricky… somehow they are new wave, no wave, post punk and pop all at once. They have the well drilled groove of The Strokes, the chiming African inflected guitars of Vampire Weekend, the otherness of Shudder To Think but then there's the repetition of Steve Reich and the singular singing of Duncan Paton. These ten songs are just the start. Dutch Uncles are only opening their wings.'

                                          Josh Ottum

                                          Like The Season

                                          After making music in his bedroom for four years, Seattle kid Josh Ottum had the bright idea to make his debut album "Like The Season" a sort of 'personal greatest hits'. Joining Ottum on his solo debut are Sufjan Stevens' drummers and multi-instrumentalists James McAlister and Casey Foubert. Bolstered by semi-hollow body guitars, old keyboards, dry drums, and a hundred multi-tracked voices singing melodies, harmonies and backwards woah-woahs, Ottum's exquisite pop songs harken back to the sweet melodic days of 70s pop, Stevie Wonder and Steely Dan, Randy Newman, but also has the influence of such modern bands as The Flaming Lips, Grandaddy and Phoenix.

                                          The Grand Opening

                                          Don't Drop Off

                                          Another great single from Tapete Records, the label that brought us The Horror The Horror. "Don't Drop Off" is a wonderful slice of simmering pop cool that hints at 80s indie without actually sounding like anything in particular. The track drifts along effortlessly as guitars and drums intertwine under an understated vocal melody. Another winner from Tapete!


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