A chronicle of the emergence and development of punk and new wave in German-speaking countries 1979-1984. Als die Welt noch unterging (When the world was still ending) ... many things were possible. The apocalyptic sentiment around 1980 gave punk and new wave the necessary push. It led to an inc- redible outburst of activity and creativity. Against the backdrop of the nuclear armament, nobody bel- ieved that this world would have a great future anymore - so suddenly everything was allowed, regard- less of the consequences. This is the subject of a book by German author Frank Apunkt Schneider, in which he unfolds the history of the New German Wave and the German punk underground right through to the regional, cassette and fanzine scenes. To mark the 20th anniversary of this book, a compilation curated by the author brings this period back to life.

Feat tracks by Freiwillige Selbstkontrolle, Holger Hiller, Die Zwei, Carambolage, Palais Schaumburg, Hans-A-Plast and many more

US singer-songwriter legend Amy Rigby will release her new album 'Hang In There With Me' through Tapete Records on August 30, 2024. Eleven up to the minute songs written by Amy and recorded by Wreckless Eric at the couples home in upstate NY, Hang In There With Me is a bracing look at life in- side the vortex of the last few years. Mortality, aging and youthful missteps refracted through Amy's insightful lyricism emerge not wistful but resolute even triumphant. Rigby's distinctive voice bluntly traverses love, loss and DIY projects gone wrong over guitars cranked or shimmering, indelible bass lines, a raft of synthesisers, keyboards, beat boxes and the occasional drummer allowed into Amy & Erics rustic mid-century echo chamber.

Like some people turn to the moon and stars for inspiration, Amy Rigby looks to creative heroes like Bob Dylan and Mike Leigh. She finds poetry in haircuts, live chat boxes; bartending and bookselling. Her music is the sound of everyday people getting by, just like the country artists she loved and learned to write songs from.

The recording of Hang In There With Me was bookended by Amy performing in the round alongside Nashville compadre David Olney when he died onstage in January 2020, and the demise of Amy's dad. Along with Eric's near-fatal heart attack, it could have all made for heavy going in the studio, but Amy says: 'There was nothing to hide in the few years when no one could see each other. And with my dad losing his mind and passing away, theres not much left to prove anymore. Watching key figures in our lives die just makes it clear that getting older is a gift and brings a new kind of freedom. Writing songs, making records and touring has been my life and I'm lucky I have the energy and will to keep at it. I still just want to share stories and rock out on guitar.

The world is such a mess she says. Writing songs and working in the studio is a small way to make order out of the chaos. It keeps on giving me hope.

Hang In There With Me looks at the impossibility of life and living it anyway, with abandon. First single Dylan In Dubuque was inspired by a notorious nineties Bob Dylan concert in Iowa, where a lack of security led to chaos and a nonstop stage invasion that Bob simply took in his stride. If only we could all be so unfased when things get weird!

Amy Rigby has established herself one of Americas enduring underground/cult/indie artists, com- bining the insight and humour of country and folk songwriting with classic rock craftsmanship and punk DIY spirit. She formed pre-Americana country band Last Roundup (Rounder) and Richard Hells favorite girl group the Shams (Matador) in downtown NYC before launching a solo career with 90s classic album Diary Of A Mod Housewife. Amy's honest, kinetic songwriting has earned her praise from critics (pithy wisdom, acerbic pen and sterling American guitar classicism - MOJO) and other artists: 'Think Randy Newman and Loudon Wainwright, at their best' says Steve Earle. Her songs have been covered by Laura Cantrell and Ronnie Spector, John Flansburgh of They Might Be Giants and Maria Doyle Kennedy. Her 2019 memoir Girl To City was called an instant classic by The Big Takeover. You can smell the damp, see the clothes, hear the guitars! says Goldmine. She divides her time between New York and the UK with her husband and sometime duo partner Wreckless Eric.

TRACK LISTING

A1 Hell-Oh Sixty
A2 Too Old To Be So Crazy
A3 O Anjali
A4 Dylan In Dubuque
A5 Requiem
B1 Bangs
B2 The Farewell Tour
B3 Bad In A Good Way
B4 Bricks
B5 Heart Is A Muscle
B6 Last Night's Rainbow

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned.

Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me.

I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well.

With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instru- mentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario. Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting.

Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns.

Stephen Lawrie
February 2024.

TRACK LISTING

A1. Handful Of Ashes (Radio Sessions)
A2. The Perfect Needle (Radio Sessions)
A3. Violence (Radio Sessions)
B1. Strange Waves (Radio Sessions)
B2. We See Magic And We Are Neutral, Unnecessary (Radio Sessions)
B3. You Can't Reach What You Hunger (Radio Sessions)
B4. Something In My Brain (Radio Sessions)

Hailing from a place of ancient mariners' secret coves and vast moors beaten by the wind and rain, Backwater Collage is James Hoare's first solo album under the name of Penny Arcade.

Despite leaving London for the West country he grew up in, the Englishman is no stranger to the scene. He has been wandering around as if awakened from a long, not-so-peaceful sleep for some time now. You have most probably come across his washed-out blue eyes several times, in projects including Veronica Falls, The Proper Ornaments and Ultimate Painting.

For this dreamy, hand-stitched record, Hoare has taken his time. Maybe because he had to rescue his songs from various recording sessions tinged with a number of mishaps he amusedly admits he is accustomed to: broken multitracks, failing tape machines, rarely available drummers living in the capital. The eleven intimate and solitary songs which make up the album, delivered in the greatest home recording tradition, are nonetheless cautiously produced. James unfurls pure, uncluttered melodies in which his gentle, melancholic voice mingles with smooth, warm vocals by Nathalia Bruno. Barely saturated guitar solos sometimes disrupt the clear, unpolished musical line. Hopping onboard, longtime friend Max Claps has added keyboard parts which manage to embrace the minimal nostalgia of the tracks while preventing any teary pathos. Similar to Jack Name or Syd Barrett – only less psychedelic – in terms of songwriting and stripped back atmosphere, Hoare is sitting on the Velvet Underground's black-and-white sofa and gives his album a subter- ranean feel. At times restless but light-footed, deprived of any unnecessary effects, the record follows in the steps of a less noisy but just as raw and unadorned Jesus and Mary Chain.

With Backwater Collage, alone at the helm under a stormy sky, James Hoare invites his listeners to s ettle in the sheltered comfort of a cup of tea.

TRACK LISTING

A1. Jona
A2. Don’t Cry No Tears
A3. Want You Around
A4. Dear John
A5. Prodigal Son
A6. When The Feeling Is Gone
B1. Black Cloud
B2. Mr. Softie
B3. Dennis
B4. Garage Instrumental
B5. One More

"As the fiftieth birthday approaches, you get the sense that your life is thinning out and will continue to thin out, until it thins out into nothing. And you sometimes say to yourself: that went a bit quick. In certain moods, you may want to put it rather more forcefully. As in: OY!! THAT went a BIT FUCKING QUICK!!!... then fifty comes and goes, and fifty-one, and fifty-two. And life thickens out again. Because there is now an enormous and unsuspected presence within your being, like an undiscovered continent. This is the past." – Martin Amis

2024 marks 40 years of Pete Astor making records, a suitable anniversary point at which to take stock and double back on songs that first appeared on records by Astor-fronted combos such as Creation Records trailblazers The Loft and The Weather Prophets and Matador recording artists The Wisdom of Harry, as well as selections from solo albums that appeared on labels such as Danceteria and Static Caravan.

Astor’s motivation for TS&NR is manifold. Some songs are effectively re-examined in the way one might linger over a resonant picture from a box of old photographs – connecting with the essence of a younger self. Other songs are newly recast in wiser and more reflective hues, while others simply demanded exhumation from wilfully opaque, lo fi non-production. The songs chosen are not the obvious ones – there’s no "Up the Hill and Down the Slope" or “Almost Prayed” here - but have been selected for more interesting, often esoteric, reasons.

Astor is accompanied by an estimable band of co-conspirators, evolving out of many hours spent playing music together on records and at shows over the last decade. They are drummer Ian Button, (Death in Vegas, Papernut Cambridge, Go Kart Mozart), bassist Andy Lewis (Paul Weller, Soho Radio and Blow Up DJ), guitarist Wilson Neil Scott (Summerhill, Felt, Everything But the Girl) and keyboardist/ multi-instrumentalist/ producer Sean Read (Dexys, Mark Lanegan, Dave Gahan, Iggy Pop, Manic Street Preachers, Beth Orton, Chrissie Hynde...).

Together they’ve revisited these lost gems of songs in a manner that has allowed Astor to balance the way that they still make sense to him now, looking both to the future and to that big and interesting new country, the past.

TRACK LISTING

A1. Model Village
A2. Ladies And Gentlemen
A3. Chinese Cadillac
A4. The Emperor, The Dealer And The Birthday Boy
A5. She Comes From The Rain
A6. Nancy True Knot
B1. Caesar Boots
B2. Head Over Heels
B3. Marsh Blues
B4. Emblem
B5. Disney Queen
B6. On Top Above The Driver

The second release in Tapete’s great series of radio sessions are the collected BBC recordings of COMET GAIN, the rough diamond of the International Pop Underground, the indie punk Monkees, the noise pop collective Numero Uno! RADIO SESSIONS BBC 1996 - 2011 contains three John Peel sessions from 1996 and 1997 as well as a Marc Riley session from 2011. One thing is for sure: a world in which such a great, anarchic, idiosyncratic band, simply perfect in its imperfect- tion, is invited to Abbey Road Studios for radio sessions by the country's biggest broadcaster, among others, can't be that bad. All those who are already fans of COMET GAIN should get this album, and everyone else too.

BBC Sessions Sleevenotes

Session 1
John Peel! Abbey Road! The Fabs! The Fall! what are we doing here? Did they make a terrible mistake? Young, eager, dumb, like an indie punk Monkees - Sam is Nesmith - talented and sarccy, Phil is Pete Tork - wide eyed and excited, Sarah a smiling Davy Jones, I'm a more sullen, inept Dolenz and Jax is Jax - stoic and beyond monkeehood, 3 songs! Why? I dunno... big white room, men in lab coats, school canteen vibes, "will they tune our instruments for us?", wandering St. Johns Wood in awe - is that David Hemmings eating a sandwich with some sherry on the bench? I think I saw Marianne Faithfull poke her head round when you did that guitar solo, 'Say Yes' becomes 'Say No'... "is the guitar supposed to sound like that at the start? The laboratory man says "uh....yeaaa...I guess" - I wonder what Peelie will say after our songs - (all these years later I totally forget even though this was such a part of it - yet I recall his "that young man certainly has some rum thoughts running through his head" (or something) after a Julian Cope song. Well, we made Peel Session at Abbey Road and half of us are signing on and I have no idea what these chords are called and how to tune this bastard thing. Thank fuck for punk rock!

Session 2
We're supposed to be pop contenders now? I think the label thinks so - shit, we know more chords too, Sam and Sarah's songs stretch out and flower, mine hide in my grouchy beatnik cave, Subway Sect! Dub basslines! Oh, we're in a smaller studio now, no Beatles for us contenders, the hippy engineer takes us to the pub for rock advice, I hummed 'Bortsal Breakout' to myself and missed it all - shit! Our second LP's done and it's gonna be a hit! Except it never comes out and we break into 2 groups instead, small whiffs of squabbling kids permeate the BBC air but it's all good now,' songs we never released – that's good right? That's what Peel sessions are supposed to be! 'Love And Hate On The Radio' wrote the day before and not heard again by me for 20 years, I wonder what clothes we were wearing, did we make a BBC effort? Did we go to blow up afterwards and drink champers with all the other pop-stars-in-waiting? Did we hear the sound of one door closing and another collapsing. Brit Pop. New Mod. Riot Grrrl. International Pop Underground. New wave of new wave. Romo. Mojo. Skol. Mad Dog 20/20. What are we? What should we do? It's funny that something that started in an arc of almost always falling apart comes together so wonderfully just to fall apart this time from the heart. But good, solid, golden, eager, yearning, learning times for weekend groovers like we was.

Session 3
Hey kids its - a new Comet Gain! This time let's make it jagged and randomly ripped, our moment's gone so fuck it! Sweet skinhead Blair our secret weapon - he knows how to play his guitar! Darren, Rachel, Kay and me are learning on the job, although Kay is already some kind of immoveable fuzz bass machine, one old(ish) song and 3 new ones written in a midnight speed trial, stretch em out or rush to the finish, was Jon there? Jon was always there but sometimes he wasn't, y'know, actually there, or he'd turn his amp off so he could just hang out onstage looking like a young lion, I don't remember the session at all, perhaps we got drunk in the nearest old pub first, sure we'd be all nervous, the nervousness of pouring out all that eager electricity in one burst of ragged YEAH, "we don't need to rehearse - it'll sound better", we kept to that method forever, 'back to the restart' that one goes out to chrisser and the peechees, new friends new family found in an unexpected insane US tour, reignited, full of purposeless purpose, ok guys, it'll never happen for us now thank god, so let's enjoy the amble into beautiful obscurity! Upwards, onwards and down, down, down! Yeah!

Session 4
Ah so much time has passed, so, we have a 'body of work' now, they put the word 'cult' in front of our name now (I THINK that's the spelling) so many stories, so many rings on that tired old tree, who are we now? Most of the faces have changed yet again, James, Woodie, Ben, Anne-Laure though they've been here forever pretty much, we have to go to MANCHESTER?! and play a gig the same night! Whose idea was...oh was it... oops, Marc Riley! The Fall again, nice dude, cheap pints in the beeb, we are professional now, well I'm not but standards need to be maintained, the birth and death of groovy Tony, I didn't know we had to TALK! And not swear? Oh shit, we are so ingrained in the rock behemoth machinery now we actually 'play songs from our new album' and a golden oldie with a side order of the seeds, I can't hear my guitar but I'm not allowed to turn it up to ear destroying levels this time, its the BBC doncha know, all in a circle waiting for the Riley nod, then a quick 'seeya mate' - 'yeh seeya mate' and its off for fish n chips and a gig then a bottle of baileys in the back of the van back home, next stop Coney Hatch Lane and sleep - working in Soho tomorrow, see you guys the next time the rock gods call 'yeh seeya mate', is this what it's come to? Almost acting like a normal band, we could even tune our guitars ourselves, well I say let's not do THAT again.

My recollections of all these pivotal points in the ever winding road of shame that is Comet Gain are as you can see sparse and pointless, we lived in those small moments, those fast and scorched afternoons pouring our ashes into the BBC air, I mean it's not like anyone is ever gonna want to put this shit out on a RECORD, ha! No, let's leave these precious lost days and spontaneous exhort- ations where they are buried, never to bother those nice people out there...

Ah wait, I've just got an email from Tapete - I'll be with you in a minute .......oh bugger...
DAVID CHRISTIAN, LACANAU, MAY 2023

TRACK LISTING

A1) Say Yes Kaleidoscope Sound
A2) Stripped
A3) Pier Angeli
A4) Strip Poker
A5) I Can't Believe
A6) Chain Smoking
A7) Love And Hate On The Radio
B1) Emotion Pictures
B2) Tighten Up
B3) Young Lions
B4) We Are All Rotten
B5) Working Circle Explosive!
B6) Thee Ecstatic Library
B7) After Midnite, After It's All Gone Wrong
B8) Saturday Night Facts Of Life

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. Eric’s version featured in the 2022 Expedia / Superbowl / Ewan MacGregor travel ad, and the Cage The Elephant version is the new theme tune for the podcast Smartless.

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 realising he was stuck with the name Wreckless Eric.

Eric’s three most recent albums ‘amERICa’, Construction Time & Demolition and Transience are widely praised as his best work. His albums encapsulate pop, bubblegum, garage trash and psychedelia – lyrical and sonic journeys, pop explosions, epic voyages, Polaroid snapshots.

This new album, Leisureland, marks a return to his more ramshackle world of recording – guitars and temperamentally unpredictable analogue keyboards, beat-boxes and loops in conjunction with a real drummer, Sam Shepherd, who he met in a local coffee shop in Catskill, New York. He was delighted to find that Sam lived around the corner and could easily drop by to put drums on newly recorded tracks. The recording methodology may have been Contemporary American but the subject matter is almost entirely British. It also contains more instrumentals than any of his previous albums.

TRACK LISTING

1. Southern Rock
2. Inside The Majestic
3. Badhat Town
4. Intermission
5. Standing Water
6. Standing Sunday Morning
7. The Old Versailles
8. Dial Painters (Radium Girls)
9. The Tipping Point
10. High Seas (Won & Lost)
11. On The Move
12. Esplanade By Moonlight
13. They Come Free With Cornflakes
14. Zoom (Glittering In The Sun)
15. Drag Time

With 'The Monochrome Set – Radio Sessions (Marc Riley BBC 6 Music 2011-2022)' we revive the great tradition of releasing radio sessions of great (independent) acts. And what could be more natural than starting our series with a band that represents the indie ethos like few others in following their own unique artistic vision without compromise.

The most unique thing about the radio session recordings is that they encompass a mixture of concert and studio. The bands are freer than in studio recordings at the same time more focused than in live performances - gems from the bands repertoire which might not have been played live are often preserved only in the radio sessions.

The Monochrome Set - Radio Sessions contains all the BBC 6 sessions recorded for and hosted by the great Marc Riley from the years 2011-2022. 32 songs in total including well-known hits like "Eine Symphonie des Grauens", "Jet Set Junta" and "Alphaville" as well as fantastic versions of seldom heard or not so well-known songs like "Rain Check" or "Hip Kitten Spinning Chrome". With the kind support of the BBC, we are now able to release these recordings of the most demonstrably intelligent, dark, witty and British of all guitar pop bands on record for the first time. Radio Sessions" by THE TELESCOPES and COMET GAIN are planned for the near future. Stay tuned!

TRACK LISTING

LP1/CD1
A1) Eine Symphonie Des Grauens
A2) The Mouse Trap
A3) Alphaville
A4) Jet Set Junta
A5) Hip Kitten Spinning Chrome
A6) Streams
A7) They Call Me Silence
A8) Cauchemar
B1) Super Plastic City
B2) The Time I've Spent Doing Nothing
B3) Lefty
B4) Strange Young Alien
B5) The Z Train
B6) Iceman
B7) Fantasy Creatures
B8) Rain Check

LP2/CD2
C1) Cosmonaut
C2) Reach For Your Gun
C3) Stick Your Hand Up If You’re Louche
C4) Fele
C5) I Feel Fine
C6) Maisieworld
C7) Mrs Robot
C8) Oh Yes I'm Going To Be In Your Dreams Tonight
D1) Rest, Unquiet Spirit
D2) Summer Of The Demon
D3) I Can't Sleep
D4) La Chanson De La Pucelle
D5) Allhallowtide
D6) Hello, Save Me
D7) Really In The Wrong Town
D8) Resplendent In A Darkness

Since 1992, the collective around David Christian has been stoically producing unique noise pop. Comet Gain are Comet Gain, a band in which the Swell Maps and the Undertones shake hands in the Wigan Casino. Admittedly, a skewed picture. But as with every outstanding band, one fails to describe the sound of Comet Gain. You just have to hear it.

When the Corona shit hit the fan in 2020, David Christian, who now lives in the beautiful south of France, had the leisure to dig through the considerable Comet Gain archive and presented the astonished Comet Gain community with new compilations of outtakes, demos, live recordings and simply forgotten and never released hits every Bandcamp Friday. "The Misfit Jukebox" is now a compilation of these compilations, the toppermost of the poppermost from a hitherto unseen or unheard part of the CG universe. First time on LP and CD.

TRACK LISTING

1. The Weekend Dreams (Doble Vida Version)
2. Pinstriped Rebel
3. Never Die
4. When?!
5. My Time Tunnel
6. Herbert Huncke Part 3
7. Only Happy When I'm Sad
8. Even This Could Be Beautiful
9. This Line Has Been Drawn
10. Like A Sparrow
11. Your Just Lonely
12. Post USA
13. Goodbye Part One
14. The Fists In The Pocket (Demo)
15. No Spotlite On Sometimes
16. Skinny Wolves (Demo)
17. Letting Go

The Telescopes are an all embracing concern that began in 1987, the only constant being sole composer/ instigator, Northumbrian born Stephen Lawrie. The band’s line-up is in constant flux, there can be anywhere between 1 and 20 members on a recording.

The Telescopes were initially signed to Cheree Records then moved on to What Goes On Records where they became regulars at the top of the indie charts before gaining more mainstream success on signing to Creation Records. The Telescopes are now with Tapete Records. The previous album for the label – Songs Of Love And Revolution saw a return to the indie charts in 2021, including a Dinked edition with remixes by Anton Newcombe, Lloyd Cole and Third Eye Foundation. The Telescopes music has constantly pushed at it’s own boundaries, it overlaps many genres following its own course, inspiration led.

Time has shown The Telescopes music not only withstands repeated listening but also reveals something new with each listen, it has been described by the British music press as 'more a revolution of the psyche than a revolution of the sidewalk'; a thread consistent throughout a highly influential body of work spanning over 30 years. The Telescopes have been cited as an influence on many artists across genres, around the world. The first five albums have all been re-issued by renowned labels such as Cherry Red, Bomp! Rev-Ola, Space Age Records, Weisskalt, Glass Modern, Fuzz Club and many more.

Of Tomorrow is the 15th album from The Telescopes, the fifth for Tapete. The album was created entirely by Lawrie at his studio in Shropshire, it is a departure from what the press often refer to as a ’wall of throb’ when describing the dense merge of noise and sound synonymous with most of The Telescopes output. Of Tomorrow marks a complete change in dynamics. Here we have the poetry of motion, solid grooves to the fore, leaving crystallised trails across a fluttering undercurrent of uplifting rhythm and hooks. Lawrie’s voice, usually treated as an instrument equal to the rest of the sound now takes the reins, engaging the listener in a melodic swirl of radiant harmony that speaks, sometimes in a whisper, of love as revolution. Every song on the album stands it’s ground, each one unique. Everything from the composition to the performance, arrangements and production are leaps beyond previous offerings. This is an album to get lost in on the dance floor or headphones in equal measures.

TRACK LISTING

1. Butterfly
2. Everything Belongs
3. Where Do We Begin?
4. Only Lovers Know
5. (The Other Side)
6. Under Starlight
7. Down By The Sea

Downpilot is the solo project of singer/songwriter, multi-instrumentalist, and recording engineer Paul Hiraga. His seventh album, The Forecast, is the boldest, most exquisitely crafted Downpilot album to date. A trip across multiple decades with influences subtly ranging from the melodic Laurel Canyon-esque ballads (“Balancer”), to Baroque and Sunshine Pop of the late 60s and 70s (“Strangers Hotel”), to 90s Britpop (“Red Desert”), all with a 21st Century spin, it’s nothing less than an achievement that The Forecast hangs together so wonderfully as a cohesive body of work.

"If I could be in any other band, it would be BMX Bandits"
Kurt Cobain allegedly said.

A great artist with excellent taste. The BMX Bandits have been around in varying formations since 1986 and come from great Scottish guitar pop lineage. Something must be in the drinking water in and around Glasgow, the density of legendary, fantastic bands is striking; Teenage Fanclub, Belle & Sebastian, Primal Scream, Vaselines, Pastels and... the BMX Bandits. With Duglas T. Stewart as the focal point, the band has been releasing great indie pop albums irregularly since 1989. Their first album "C86" is a classic and since then the band has had a worldwide fan base, be it in Tokyo, Hamburg and…well of course, Seattle.

Deeply rooted in the golden era of pop - the 60s - as well as the DIY indie pop scene of the 80s, Duglas and the Bandits created their own sound and style. Humorous, heartfelt and always featuring great melodies. Humorous, heartfelt, great melodies...that's exactly our field of expertise! And so it was surely only a matter of time until we, Tapete Records, finally had the honour of releasing a BMX Bandits album. Welcome aboard!

In between the BBC's coverage of the moon landing in the Summer of 1969 something else was happening, something that would have a greater impact on shaping me and my life. In between live images of the moon mission and reports the BBC were screening episodes of The Adventures of Robinson Crusoe starring Robert Hoffmann, a 1965 serialised telling of the classic tale of a man lost so far from home, it felt an appropriate choice of programme. The series was a French German production and for the BBC to broadcast it Hoffmann's dialogue had to be replaced in English. To do this they didn't have the option to just replace the voice and keep the original music and sound effects, everything had to be replaced. A new haunting soundtrack was produced by Gian Piero Reverberi and Robert Mellin. Their music for this show made a deep connection with me. It was so beautiful, it made me feel sad but I loved the feeling. It was a starting point in setting an aesthetic that runs through so much that I love in music and also in a lot of what I have done. Since then music composed / created for film and television has been a major passion and pleasure in my life and I always wanted to have an opportunity to work in this field.

Mark, Dreaded Light's writer and director approached me through a mutual friend to see if I would be interested in supplying original music for his debut film. At that point it became about both of us making a leap of faith, deciding that we trusted each other. I knew I needed a collaborator to help bring my ideas and themes to life and to bring interesting and to also bring sympathetic ideas of their own to the project. And so I asked Andrew to work with me on the soundtrack. Andrew can play a lot of instruments well, is a great singer and has natural musicality. We loved and connected with the emotional content in the story and we found our first musical theme quite quickly. It was a reaction to imagining an opening titles sequence that would set a mood and tone for everything that would follow. This theme mutates and resurfaces at various points throughout the film. After that we found other themes that we connected to the emotions and physicality of the central characters. As well as the instrumental themes you will find two songs on this album. Spinning Through Times is our emotional end theme about love living on after death. Long Forgotten Summers is a song composed especially for this album, inspired by the film, musically it grew out of the film's opening theme. Andrew and I are proud of this album and are grateful that we had the opportunity to be part of this project. We hope our music enhances the film and will be something that you will enjoy listening to separately.
Duglas T Stewart, Summer 2022.

I was surprised Duglas hadn't scored a feature film prior to Dreaded Light. He's so passionate about music in film and his knowledge of this area really is encyclopaedic. When I asked him why he said it was because no one had asked him. With this being my first feature film as a Director and his first as a Composer. There was part of me thought perhaps I should go with someone who had more experience. I decided I wanted him on board and I'm glad I did because he's been an asset to the production and the score that he created with Andrew is perfect. Mark MacNicol (writer and director of Dreaded Light), Summer 2022.

TRACK LISTING

1) Theme From Dreaded Light
2) Mysterious Nurse
3) Shutting Out The Light
4) Urination Jazz
5) I Heard A Baby Crying
6) Early One Morning (What's Wrong With You)
7) Kettle O' Worms
8) Night Riding
9) Tuning In
10) Love Theme
11) Long Forgotten Summers
12) Smorgans
13) Early One Morning (Reprise)
14) Duncan's Theme
15) Family Values
16) SAT NAVs And Drugs
17) A Dark Figure
18) Twist The Knife
19) Never Come Back
20) New Revelations
21) Discovering Duncan
22) Thrilling
23) Spinning Through Time

EPs, 7"s, Compilation Tracks and some other Songs 1998-2022. Long time no hear: after an extended hiatus and just the occasional gig, Robocop Kraus have rewired and reunited. They’re back in the game. Almost a quarter of a century has passed since the band was formed, a period which saw them release on labels like L’Age D’Or, Epitaph, and Anti. Now they have put together a compilation featuring all of the tracks which, for one reason or another, were not available on their regular albums, with an intriguing number of rarities and previously unreleased material.

Garrie’s album "The Nightmare Of J.B. Stanislas" became a cult album in the truest sense of the word which has been re-released several times, and rightly so. Gradually, a new generation of music fans and musicians came to appreciate Garrie's work, he was collaborating with the likes of Duglas T. Stewart (BMX Bandits), Norman Blake, Francis McDonald (both Teenage Fanclub) and Gary Olson (The Ladybug Transistor) and releasing critically acclaimed albums in recent years. The latest find from the Nick Garrie cosmos is a session he recorded in Portugal at the beginning of the millennium: "Summer Nights - The Lost Portuguese Session".

Sean O’Hagan (Microdisney, High Llamas) compiles this retrospective of a songwriter, arranger and singer who understands the gift of the chord change, the endless intrigue of arrangement and always knows where and when the sun rises and falls. Lose yourself in this record and let me warn you. You’ll be humming the tunes and reliving the chorus’s and key changes for an age, and if you’re a songwriter you will probably be lifting the melodies without realising it.

20 years of Tapete Records - The world has changed a lot in the last 20 years but one detail has remained the same: Tapete still putting out great music. That's a bit reassuring, isn't it? So they thought in their Tapete Building in Hamburg ‘Let's look back and start a series of good, old-fashioned, fantastic label compilations in the style of "Shadow Factory", "Tamla Motown Is Hot! Hot! Hot!" or "Wanna Buy A Bridge?"...something like that. And so here is "Intact & Smiling - The Weird & Wonderful World Of Tapete Records Vol.1". It wasn't that easy to choose 28 out of about 5000 released songs, but what's easy? Therefore a series.

"Intact & Smiling Vol. 1" concentrates on the poppy side of Tapete Records, and features the likes of The Clientele, The Jazz Butcher, The Monochrome Set, Robert Forster, Lloyd Cole, Pete Astor, Comet Gain and a whole heap more.

TRACK LISTING

01. We Are Muffy – Frosted Candy
02. Martin Carr – The Santa Fe Skyway
03. Jaguwar – Crystal
04. Stereo Total – Cinemascope
05. Simon Love – Joey Ramone
06. The Jazz Butcher – Running On Fumes
07. The Proper Ornaments – Echoes
08. The Momochrome Set – White Lightning
09. Botschaft – Sozialisiert In Der BRD
10. Comet Gain – Mid 8Ts
11. Pete Astor – Water Tower
12. The Clientele – The Neighbour
13. Louis Philippe & The Night Mail – When London Burns
14. Bill Pitchard – Trentham
15. Benjamin Dean Wilson – Sadie And The Fat Man
16. Robert Foster – I’m So Happy For You
17. Elva – Athens
18. Lloyd Cole – Writers Retreat!
19. Die Höchste Eisenbahn – Job
20. Gary Olson – Some Advice
21. The Catenary Wires – Sixteen Again
22. Friedrich Sunlight – Sag Es Erst Morgen
23. Sophisticated Boom Boom – Number One In Radio
24. LAKE – Work With What You Got
25. Davey Woodward And The Winter Orphans – Dylan’s Poster
26. Der Englische Garten – Mitten In Der Nacht
27. Carambolage – Johnny
28. John Howard & The Night Mail – Intact & Smiling

In my 50s I realised that the past slowly becomes a bigger country than the future. As always, the future is where I’m headed, but now the past and all that comes with it is stacked up behind me. And, as time on earth passes, more and more of my contemporaries have started to disappear from the planet.

I’ve made 11 albums of new material since 1987. I realise that anything I’ve ever thought that mattered, that told the real story, is in those records. It’s been 5 years since my last album of new songs. Perhaps more than before, there’s been plenty of time over the last few years to think and reflect. Like every set of work, Time on Earth is an attempt to make sense of life by making work about it.

As erstwhile editor of the NME and Q, journalist Danny Kelly wrote recently while interviewing The Loft: ‘a lifetime of listening to them has led me to believe that Pete Astor’s songs would have always found a way to reach an audience. If he’d been a Californian baby boomer, he’s have ended up in the Capitol Records building in Los Angeles, laying down late-night grooves with the Wrecking Crew for a largely-neglected, slightly gloomy, pop album that’d now be worth a fortune. If he’d been born into post-War Britain, earnest girls in sweaters would’ve fallen in love with him, and his songs, in Embassy-fogged folk clubs.’ Of course, I love this quote. And I believe that Time on Earth is most of these things. But then I would say that, wouldn’t I?

Time on Earth has songs which were written in direct response to loss and bereavement (Undertaker, Fine and Dandy); songs striving for different kinds of belief (New Religion, Time on Earth, Miracle on the High Street); stories from either end of the cycles of life (Sixth Form Rock Boys, English Weather). And a few still searching for fulfilment of the heart. (Stay Lonely, Grey Garden, Soft Switch).

I was lucky enough to be able to make the music with the help of multi-instrumentalist Ian Button (Wreckless Eric, Death in Vegas, Papernut Cambridge) on the drums, bass maestro Andy Lewis (Spearmint, Paul Weller, and DJ at London’s legendary Blow Up Club and Soho Radio), long time guitarist Neil Scott (Everything But the Girl, Denim) and last but by no means least, Sean Read (Dexys, Edwyn Collins, Rockingbirds) who recorded and produced the album at his Famous Times Studios. As you would expect, I’m convinced it’s the best record I’ve made.

Pete Astor is a musician, writer and educator. He led Creation Records’ groups The Loft and The Weather Prophets, writing songs and releasing records that helped define the sound of the label and the emerging Indie genre. He has gone on to a lengthy solo career since then; writing, recording and releasing music on a range of labels including Matador, Heavenly, Warp, EMI and Fortuna Pop. He is Senior Lecturer in Music at the University of Westminster. As well as touring extensively, he also makes records with David Sheppard as Ellis Island Sound and releases his spoken word work as The Attendant on his label Faux Lux with the help of Ian Button. Since 2017 Astor has been signed to Tapete Records, home to Robert Forster, Lloyd Cole and Comet Gain among many estimable others.

TRACK LISTING

1) New Religion
2) English Weather
3) Stay Lonely
4) Time On Earth
5) Miracle On The High Street
6) Sixth Form Rock Boys
7) Soft Switch
8) Grey Garden
9) Undertaker
10) Fine And Dandy

Unhappybirthday from Hamburg have been releasing dreamy Avant-pop records and touring Europe consistently for over 10 years now. "Stella Loops" circles around the vast cosmos offering refuge from the feeling of confinement that has enveloped us all over the last few years and to help achieve this Unhappybirthday have mixed their trademark elements of Electronica, House and Ambient music and for this release invited a guest list that includes Andreas Dorau, Martha Rose and Jimi Tenor to contribute.

Since the historiography of punk is a male-dominated one, a "Revenge of the She-Punks" was long overdue. This feminist reckoning was written by none other than post-punk pioneer Vivien Goldman, who has an insider's perspective due to her work as a musician and one of Britain's first female music writers. Along four themes - Identity, Money, Love and Protest - the "punk professor" traces empowering moments that punk holds especially for women. This Compilation is inspired by the book, which was originally released by University of Texas Press in 2019.

Compiled and with liner notes by Vivien Goldman. “We're not talking a mean-spirited gotcha! revenge here. As both my book that inspired it and this recording prove, us She-Punks' revenge is about our complex survival in an all too often hostile environment.The book offers a template to finding a way through the patriarchal labyrinth of the music industry by telling the back- stories of thirty-eight songs by women from not only the Anglophone countries, but Africa, the Caribbean, Asia and Eastern and Continental Europe. Together, they demonstrate how girls around the world, with no or few role models, found ways to thwart blockages and become self-expressive musicians, breaking traditions and expectations, setting new standards with every chord. Alas, for a raft of factors it was impossible to include them all; but herein lies a stirring and representative selection. Cumulatively, we hear how female artists everywhere are moved to sing about the common issues that I distilled down to be the core themes of the book: the bare-bones of living that connect us, wherever we are. We open with Identity featuring Fea, Big Joanie, The Raincoats, Blondie and Poly Styrene with X-Ray Spex. Then comes Money with Patti Smith, Shonen Knife, Malaria! and the Slits; followed by Love/Unlove: Crass, Cherry Vanilla, Grace Jones, Rhoda Dakar with the Special AKA, Alice Bag (The Bags), Tribe 8 and the Au Pairs, the Mo-dettes, Neneh Cherry from the UK/Sweden/US and this writer/musician. The closing chapter, Protest, features Sleater-Kinney, Jayne Cortez and the Firespitters Skinny Girl Diet, Vi Subversa and the Poison Girls, the Czech Republic's Zuby Nehty, Colombia's Fertil Miseria and Jamaica's Tanya Stephens. Many people have questioned how I arrived at those four themes (answer: thinking,) and so far, no-one has disagreed.However, in sequencing this compilation, the important thing was to sonically flow through the breadth of our creativity, led by the rhythms and sound, rather than the lyrics; they, I already knew, formed a compelling whole, an implacable critique. My perspective on punk is based on spirit rather than adherence to the venerated concept of the genre as only a frenetic full-frontal sonic attack (though that is also represented here). Having been involved with the movement at the start in mid-1970s London, as Features Editor of the punk rock weekly, Sounds, I understood it to be a front line, inclusionary genre, with DIY at its core, which is why it was the first genre to give anything approaching an equal platform to women musicians.

Especially for the less conventional, all too often the path for women artists is still steeper than that of male peers. Despite the massive success of today's female superstars, there remains a quota perception in an industry that still largely lives in boystown (though always factor in that it's not the men, it's the mentality,) who are less receptive to forceful females; like the sort of bookers who say, Well, we've done our bit, we've booked our female artist - as if booking women were some grim post-MeToo duty.But as heard in these tracks, in all its forms, whether sounding strident or soft, punk is a music of resistance; women's punk specially so. We continue to rail at and use our music to shift a system which, in America as this release comes out - let alone in countries long known to be suppressive of women - our basic human agency is under attack on more than one front, notably where equal pay and abortion are concerned. Welcome to some very necessary and in many cases, too little heard voices of women whose creativity could not be stopped, and who managed to use music to mould their environment, create their own space, and live as self-actualized artists.”

TRACK LISTING

LP 1
A1) Tanya Stephens – Welcome To The Rebelution
A2) Au Pairs – It’s Obvious
A3) X-Ray Spex – Identity
A4) Fea – Mujer Moderna
A5) The Bags – Babylonian Gorgon
A6) Fértil Miseria – Visiones De La Muerte
A7) Crass – Smother Love
A8) Rhoda With The Special AKA – The Boiler
LP2
B9) Jayne Cortez And The Firespitters – Maintain Control
B10) Skinny Girl Diet – Silver Spoons
B11) Big Joanie – Dream No 9
B12) Malaria! – Geld
B13) The Slits – Spend, Spend, Spend
B14) Poison Girls – Persons Unknown
LP 3
C1) Bush Tetras – Too Many Creeps
C2) Grace Jones – My Jamaican Guy
C3) Patti Smith – Free Money
C4) Tribe 8 – Checking Out Your Babe
C5) Cherry Vanilla – The Punk
C6) Blondie – Rip Her To Shreds
C7) Sleater-Kinney – Little Babies
C8) The Selecter – On My Radio
LP4
D9) Mo-Dettes– White Mice
D10) Shonen Knife – It’s A New Find
D11) The Raincoats – No One’s Little Girl
D12) Vivien Goldman – Launderette
D13) Zuby Nehty – Sokol
D14) Neneh Cherry – Buffalo Stance

John Peel liked Foyer des Arts so much that he not only played all the songs from their album several times on his show, he also invited the duo to record a session and were one of only a few German-speaking bands to do so. The Berlin duo made their way to London in October 1986, where they were joined by members of The Higsons and The Farmers Boys to record at BBC Maida Vale In the year 2000 Goldt asked the BBC what had happened to the session tapes, only to learn that they had probably been wiped. Twenty years later, the Cologne-based sound engineer Tom Morgenstern, with the help of a colleague from the BBC, managed to unearth the lost tapes. And here they are, 35 years on, as fresh as the day they were made.

Following on from his 2018 album "Sincerely, S. Love x", Tapete Records are proud to present Simon Love's new record "LOVE, SEX and DEATH etc"

Swinging from love songs to hate songs through all points in-between, the centrepiece of the album is the nigh on 7-minute long pop epic "L-O-T-H-A-R-I-O" "

Bart Davenport might be a multitude of things, depending on whom you ask. He's been a mod, a blues singer, and a softrock troubadour. He's an eclectic singer songwriter with the timeless voice of a real crooner. He lives and creates music in Los Angeles. Smooth and yet curiously pointed, his work transports us to an imagined past or present filled with romantic odes and enigmatic characters. Davenport's stories are often a reflection of now, taking place in a fantasy world but conveying personal and universal truths. Returning to acoustic guitars and 60s baroque pop tones, Davenport recently tracked twelve new songs in his home studio in Los Angeles. He takes us on an exclusive tour of colorful stories, both comic and tragic. The resulting 'Episodes' marks his eighth proper album and is scheduled for release in March 2022 on Tapete Records.

Davenport's evocative, new material provides both an escape from and an unusual commentary on turbulent times. From digital antagonists in 'Holograms' to waltzing oligarchs in 'Billionaires' to an enigmatic nudist in 'Naked Man', many offbeat characters populate the funny little world within Davenport's verses. His vocals are distinctively smooth at times, while at others, a slightly cheeky, more dramatic baritone takes over. His patented happy/sad sensibility remains along with the occasional jazz chord.

While 'Episodes' features Davenport on multiple instruments, he did not go it alone. Several guest musicians were crucial to the production. Drummer Graeme Gibson's casual feel graces several tracks, notably the Kinksy 'It's You'. The samba-tinged 'Easy Listeners' has that tropical flavor Davenport's been known to dabble in, this time aided by impeccable percussionist Andres Renteria (Jose Gonzales, Rodrigo Amarante). Meanwhile, the Turkish Psych-inspired 'Strange Animal' showcases futuristic organ riffing by Aaron M. Olson (L.A. Takedown), who produced Davenport's previous album ('Blue Motel' by Bart & The Bedazzled). Other longtime bandmates, Jessica Espeleta (bass) and Wayne Faler (lead guitar), both make appearances.

Perhaps the standout track of the album is its quietest; the Brit-folk-styled 'Alice Arrives'. Davenport's autumnal vocal and guitar are adeptly accompanied by Dina Maccabee's original string arrangement, which morphs from earnest baroque to playful modern and back again. This along with the heavier, orchestral sound of 'Billionaires' adds a touch of hi-fi to an otherwise homemade album.

TRACK LISTING

1. It's You
2. Holograms
3. Alice Arrives
4. Easy Listeners
5. Billionaires
6. All Dressed In Rain
7. Naked Man
8. Strange Animal
9. Wireless Moon
10. 99 Forever
11. Creatures In Love
12. Still Life

Having amassed a formidable catalogue of releases on a number of key labels over 5 decades, including Rough Trade, Dindisc and Cherry Red, The Monochrome Set are ready to release their new studio album on Tapete Records - the bands home for the last eight years and five albums.

The indie pop veterans have been hard to pin down over this time. Their instantly recognisable sound and darkly hilarious lyrics have always set them apart. Bid's cerebral Brit wit spikiness and debonair tones melded to infectious melodies and deft songcraft of a cinematic and literary quality has been quietly influential over a diverse set of artists since their inception and throughout different stages of their career so they can count the likes of Graham Coxon, Iggy Pop, Alex Kapranos, Neil Hannon, Johnny Marr and Jarvis Cocker as fans.

Bid is joined in The Monochrome Set by fellow original Andy Warren on bass, Mike Urban on drums and newest recruit Athen Ayren on keyboards. For the album recording Alice Healey brovides backing vocals with Karen Yarnell on percussion and Jon Clayton, additional instrumentation. The album was recorded at OneCat Studio in London, engineered by Jon Clayton and produced by Jon Clayton and Bid.

After an aeon spent in infinitely old cities of the body and mind, a magical creature glides back into its bedroom.It has been changed forever - what once was human is now a higher being, an unnatural force, the new perfect.

It can still feel the exulting gaze of The Eye upon its back- thousands of years of brooding, planning, in deep, dark, secret places, waiting for the stars to align, the ideal body to infuse.

The air around it spits ferociously; the whines of the weak still sing in its ears, like the pathetic squeaks of old curtains as they are closed forever.

It stands before the full length mirror, its reflection now clouded with dust. A lifetime of waiting; my poor mirror, here I am, I will clean you!
It picks up a cloth and wipes across the glass triumphantly!
Strange.
It looks the same as before it left, all that time ago.
A naked old man.
...and from a hidden door comes the strains of The Monochrome Set's 16th and latest album, "Allhallowtide", with its elegantly crafted pop songs, ornate melodies, sumptuous lyrics, all performed superbly by a rare and legendary band.

TRACK LISTING

1) Allhallowtide
2) Ballad Of The Flaming Man
3) My Deep Shoreline
4) Moon Garden
5) Really In The Wrong Town
6) Box Of Sorrows
7) I, Servant
8) In A Chapel Of A Personal Design
9) Hello, Save Me
10) Resplendent In A Darkness
11) Parapluie

The long overdue first best-of compilation by the Hamburg pop outsiders around Timo Blunck (also Palais Schaumburg) and Detlef Diederichsen, the Fun Boy 2 from Hamburg-Hummelsbüttel, contains all the hits, starting with the scratchy 1980s ska "So Froh" to the elegant funky guitar pop from the "1001 Ways to Make Love Without Having Fun" album from the great pop year 1982; all the hits from the 84 masterpiece "Goethe" to the most beautiful songs from the late works "Fortpflanzungssupermarkt" and "Ein Hund namens Arbeit.

Sophisticated Boom Boom transported the Brill Building / Red Bird / Girl Group sound from the 60s into the New Wave year of 1982. These 14 compositions did not not lack in punk esprit and the band fell gloriously out of time in the jagged, slightly gloomy early 80s. Their sound was probably too cheerful, too bubblegum and too life-affirming, and they stopped after just one album. After the end of Sophisticated Boom Boom, the no less great C86/Power Pop band Chin Chin emerged from the ashes and released a compilation on Stephen Pastel's 53rd & 3rdLabel.

It's not often that an artist gets to do a Bowie by consciously carving their personal epitaph into the grooves of their final LP. The Highest in the Land is that rarity of an album, and it could not have been made by a more brill- iantly poetic and fearlessly sarcastic writer than Pat Fish, also known as The Jazz Butcher.

'My hair's all wrong / My time ain't long / Fishy go to Heaven, get along, get along,' he sings, to a ticking-clock beat in 'Time', rhyming its title with 'a one-way ticket to a pit of Council lime' in just one of many existentially charged moments on a record whose songs were written throughout the last seven years of Fish's life before his untimely passing in October 2021, aged only 63. 'Self-knowledge, urgency,' he wrote as a comment to this song in his private notes to the album's producer Lee Russell, 'He'd been around the block. and knew he was on the last lap.''We had closure," Russell remembers, "We had worked together for three months, and then on the last day I drove him home. And for the first time we hugged and said goodbye, and that was it.'

Recent years have seen a long overdue re-appreciation of The Jazz Butcher catalogue, all the way back to that astonishing 11-album run of the first 13 years of their career, now celebrated and handily compiled in a series of box-sets after decades of shameful neglect.

Founded in Oxford in 1982 by Pat Fish and prodigious guitarist Max Eider, the band that would become synonymous with its leader embodied an anti-rockist, semi-ironically jazz-conscious indie aesthetic before the word had even been invented. In a world of po-faced poseurs this "Southern Mark Smith" proved that it was possible to be both smart and funny, erudite and unpretentious, the latter sadly to the detriment of his fame.

But, as so often the case, his underratedness only seemed to fuel his sharpness as a writer throughout his later years. It was not for want of material that he allowed a 9-year-gap to open after the penultimate Jazz Butcher album Last of the Gentlemen Adventurers appeared in 2012.

'It was a big thing for him that a record company come and ask you to make an album,' says Dhiren Basu, Fish's Northampton housemate who became, next to bass player and musical confidante Tim Harries, a sounding board for plans and ideas. 'That was something that he felt really, really strongly about. As a close friend said, the people he really admired were Lou Reed, Syd Barrett, John Cale and Kevin Ayers, and they were all people who did not bend for anything. There was a sort of ambition to be an English dandy and that uncompromising nature of just saying: This is what I'm here to do.'

It's no coincidence that a continental label, Hamburg's Tapete Records, should put out The Highest in the Land or that Fish can be seen at the gates of Paris's Eurostar terminal Gare du Nord on the cover shot of the album. Between moving personal songs like 'Never Give Up' or 'Goodbye Sweetheart' and more opaque ones such as the title track (the mysterious 'Black Raoul', by the way, is Pat and Dhiren's cat), much of this album is imbued with righteous ire at the isolationist path taken by the UK in recent times.

'Running on Fumes' and 'Sebastian's Medication' may be the sharpest analyses of the state of Brexit Britain yet committed to song. 'The gammons are all whining for some kind of reclamation but they don't know what they want to reclaim,' Fish fumes in the latter, 'How the hell are you supposed to leave a continent?' Meanwhile, the former stands as an angry state-of-the-nation address, drawing parallels to the Weimar Republic by evoking Hermann Hesse and Mackie Messer, musically cloaked in a Dylan reference suggesting there is indeed blood on the tracks. By contrast, 'Sea Madness' tells the heart-warming tale of an immigrant in tribute to Turkish George, a legendary presence on the Northampton music scene.

'Pat was an internationalist,' says Dhiren Basu, 'I think he felt far closer to Europe than his own country. He was always very political, as with most thinking people who've got a sense of justice. He was always going to be an intellectual left-winger.' It is not without irony that a career that began in witty defiance of the Thatcher years should end under the shadow of the Johnson era. Certainly, The Highest in the Land sounds as relevant to today as A Scandal in Bohemia did to 1984.

Likewise, in musical terms, it feels like the closing of a circle, based around live recordings by a core band of Fish, Dave Morgan on drums and Tim Harries on bass, augmented by an array of musicians including founder member Max Eider.

While Pat Fish's death may have come suddenly, he had previously been undergoing extensive treatment for cancer, the subject of mortality hanging heavily over the writing process. When recordings began at Lee Russell's Dulcitone studios in rural Northamptonshire in June that year, Russell was 'under the impression that this would be his last record. And it was only when we started making it that I found out he was free of cancer. But he was not delusional. We all go through life acting like it's going to last forever, but that's a lie, and Pat was cleverer than the rest of us. He actually was facing it. He was in no mood to compromise his life in any way what- soever, you know, he was sitting at home waiting for his coffee to brew, and he just went. He didn't have to stop smoking or drinking or taking drugs or doing gigs. He missed one live stream, and that was it. He was still Pat Fish. He was still the Jazz Butcher.'

TRACK LISTING

1. Melanie Hargreaves' Father's Jaguar
2. Time
3. Sea Madness
4. Never Give Up
5. Amalfi Coast May 1963
6. Running On Fumes
7. The Highest In The Land
8. Sebastian's Medication
9. Goodnight Sweetheart

Originally released 1982. On their sophomore album Eilzustellung-Exprès, Carambolage's ranks were bolstered by the arrival of Janett Lemmen, who had deputized for the pregnant Angie on a recent tour. Like its predecessor Carambolage (1980), the record was produced in Fresenhagen by R.P.S. Lanrue and released on the Scherben label David Volksmund Produktion. Like a whirlwind girl gang on the road, the LP revs up with dynamic guitar riffs, indulging their "turned on to the max" sexual desires, before the mood shifts to the deeper realms of life on the Eilzustellung-Exprès (express delivery): melancholy musings on dismaying love affairs, a song about contradictory feelings experienced in childbirth, culminating in a declaration of love for Angie's new daughter Lisa.

The baby was always on board when Carambolage went on tour. The idea of her father Kai Sichtermann (Scherben bass player) taking her on tour would have been too much even for the left-leaning alternative Ton Steine Scherben. Making a mockery of male privilege, Carambolage delivered an album orbiting punk and pop in a classic line-up: Britta on drums, Elfie's snotty vocals and effects-drenched guitar and keyboards, Angie on bass. The trio is augmented by Janett's screeching saxophone on the instrumental track "Maschine" and a squeaky baby sample (Lisa?). "I Remember You" brings proceedings to a close in something approaching Schlager*

The Bon Voyage recordings sound far more mature than the band's earlier music, whilst losing some of the playful insouciance that ran through the first two albums. Strains of ska and chanson complement the latter-day NDW (German new wave) flavoured power pop. After four successful years of extensive touring, new perspectives presented themselves to Carambolage. Having outgrown the somewhat languid Scherben scene and label life at David Volksmund Produktion, the trio upped sticks and headed for Berlin, curious to see what the big city had to offer, namely a close-up view of the pop business. Manne Praeker, former Spliff bass player and Nina Hagen's producer, offered to produce their third record, anticipating a shot at success with a major label. Bon Voyage was recorded in 1984 in Praeker's Mad-Mix studio in Berlin with various guest musicians. Even the pop mag Bravo took note, featuring the punkish North Frisians in a home story. Alas, any aspirations of becoming stars quickly dissipated during the recording process as aesthetic differences came to the fore. In one corner, Britta and Angie were determined to follow the DIY principles of the two preceding albums. In the opposite corner, Manne Praeker and Elfie felt compelled to introduce a stronger element of professionalism and Praeker increasingly weighed into the creative process. "You might say our story practically came to an end with a collision**, just to match our name," Britta Neander recalled in an interview with Tine Plesch. We're happy to report that the girls renewed their friendship after a while. The third record is well worth a listen, a divergent coda to the band's history. Bon Voyage spent 34 years under lock and key before the FUEGO label released a digital version in the year 2019.

After 29 years with British indie/garage/beat/punk/psych-pop collective Comet Gain, singer/ mastermind and main fireraiser David Christian thought, "Why not do a solo album?" After all, some of his favourite records are also solo records by people from bands; John Cale, Gene Clark, Julian Cope, Stephen Duffy, Mike Nesmith, Curtis Mayfield, Neil Young... under the sun of his new home in the South of France, exchanged for Brexit London, a timeless folkrock album was created with the kind help of numerous friends on numerous instruments. The verve and snottiness of the Comet Gain sound can also be found here, but "For Those We Met On The Way" sounds more dandy, somehow more southern French. If you like listening to "Robespierre's Velvet Basement" by the Jacobites AND the electric songs of Bob Dylan's "Bringing it All Back Home" AND Comet Gain... then "For Those We Met On The Way" is perfect for you!

Fleeing screaming from the group gulag after 29 years of maintaining sweet failure at all costs with his group Comet Gain (a mix of post punk, garage punk, northern soul, freakbeat/psych, early creation records, indie pop, folk rock and other such messes all churned together with films, books, left wing politics-all THAT stuff falling out of a bin onto a pile of records) songwriter and singer and oldest bastard in the gang David Christian (sometimes known as Feck) escaped to the french woods by the ocean when Boris and his rabid disgusting crew weren't looking. After a while of picking up pinecones he decided he simply had to EXPRESS HIS INNER SOUL. “Fuck it, i might as well make a solo record". Some of his favourite records were solo lps from people in bands – John Cale, Gene Clark, Julian Cope, Stephen Duffy, Mike Nesmith, Neil Young, Mark Eitzel, Sandy Denny, Curtis Mayfield, etc – and there were all those great solo solo ones from Jimmy Camel, Bill Fay etc and it seemed like everybody was looking back or inward due to that plague thing, a connection to what you loved or who you missed in order to make sense of the nonsensical world of Brexit and plague and all that shit. The LP was made in the middle of the french countryside in a barn/farm owned by Mike and Allison Targett of Heist fame where along with old comrade and wonderful drummer Cosmic Neman (Zombie/Zombie, Herman Dune) they cut the record while cows grazed with Mike producing and both Targetts adding vocals,pianos etc. Then later, the group of friends known as The Pinecone Orchestra; James Horsey and Alasdair MacLean (The Clientele), Ben Phillipson (18th Day Of May/Trimdon Grange Explosion/Comet Gain), Gerry Love (Teenage Fan Club/Lightships), Anne-Laure Guillain (Comet Gain/Cinema Red And Blue) and Joe-Harvey Whyte (Hanging Stars) coloured everything in with guitars, vocals, bass, pedal steel etc.

So David’s rules for the LP were off to a good start. Get some good dudes to play with you, also... it's a solo record so be honest bad or good, don’t listen to any records before and rip anything off (very difficult after years of "ooh-i'll have that riff!"). Part of the weird process of looking back or trying to diary a life full of holes is that it's best managed through friends, places, records. But mainly the people you knew – good or bad – those fleeting best friends forevers whose faces you now struggle to recall, the crushes that crushed you until you wonder 'well i wonder how their life turned out'. Moving country makes you go through boxes and find memorials – letters, photos, all kinds of mementos and some tug at you preciously so the title of the record was in tribute to these half remembered and faded folks - 'the ones that burst into your heart and are then lost forever' but you can navigate your way to who you were or where or what by their psychic presence-maps to a gone you. The plan was to inhabit the songs with these moments, people, places, etc and then banish them sweetly – or as sung in "Goodbye Teenage Blue": "you've got to break the taboo by singing goodbye teenage blue" to exorcise your ghost suitcase weight – so there are songs about the future ("On The Last Day (We Spend Together)"), the present ("In My Hermit Hours", "Dream A Better Me" and the past (most of the others) and "Mum's and Dad's and Other Ghosts" which holds to the past while giving a message to a future.

When a record has just YOUR name on it you try to make it good. No shadows to hide in, even your mum might hear it. Solo records are (technically) written by songwriters, so might as well try and write some songs. So that's what David tried and he thinks he did ok. There are broken ballads, long winding songs, short pop songs, and things in between. Acoustic guitars, pianos, pedal steels, harmonies, wonderful drumming… There are alcoholic skinheads, forest hermits, californian dudes, holloway sweethearts, bruised mods in the upstairs room, strange boys being hit by a car, painters who can’t paint no more, friends and ghosts and lovers and losers.

TRACK LISTING

1. In My Hermit Hours
2. Goodbye Teenage Blue
3. Holloway Sweethearts
4. When I Called Their Names They'd Faded Away
5. Dream A Better Me
6. On The Last Day (We Spend Together)
7. Lockets, Drop-outs And Dragnets
8. Pay Me. Later, Coco + Dee
9. See You In Almost Sunshine
10. I Used To Make Drawings
11. The Ballad For The Button-downs
12. Mum's And Dad's And Other Ghosts

The box set "Chanson Hystérique" presents the first ten years of the bands history and, due to the death of Françoise Cactus on 17th February 2021, also unfortunately represents the last Stereo Total release.

Since their first release in 1995 Stereo Total have spoiled us with their entertaining over-the-top-songs, always way beyond mass taste. The anti-diva Françoise Cactus and the multi-non-instrumentalist Brezel Göring have released a total of 16 albums - including soundtracks and theatre works.

The box set "Chanson Hystérique" presents the first ten years of the bands history and, due to the death of Françoise Cactus on 17th February 2021, also unfortunately represents the last Stereo Total release in which this extraordinary artist participated.

"Instead of buying a record, we just made one of our own …

This box set contains the recordings from the first ten years of Stereo Total - the original albums, with original covers!,as well as various rarities. There's also a book, though not about Stereo Total. Instead it is a catalogue of Françoise Cactus's art work. These sketches and paintings embody the very latest trends in art, sex, and psychological disorders - borderline kitsch at its best! Françoise wasn't actually seeking a career as a painter with these works - she just wanted to decorate the empty walls of our apartment. We had a similar impulse with our music. With Stereo Total we recorded the music we wanted to hear; fun, with no regard for mainstream taste, naïve, perverse, and always a bit off-kilter. Before concerts Françoise often warned me not to play too precisely otherwise people might think we were just playing a recording. This was not difficult for me, as I can make an expensive instrument sound like a 50 euro piece of junk, and nearly everything we play relies on screw-ups.

The box set was the final project Françoise worked on. Because of her tragic death, this release now represents the end of Stereo Total and a farewell to the amazing and unique Françoise Cactus: she is difficult to describe and absolutely impossible to explain. But listen for yourself …" Brezel Göring - Stereo Total.

TRACK LISTING

LP1 Oh Ah
A1) Dactylo Rock
A2) C'est La Mort
A3) Miau Miau
A4) Comme Un Garçon
A5) Belami
A6) Johnny
A7) Morose
A8) Je Suis Venu Te Dire Que Je M'en Vais
B1) Push It
B2) Souvenir Souvenir
B3) Auf Dem Blauen Meer
B4) Moviestar
B5) A L'amour Comme à La Guerre
B6) Get Down Tonight
B7) Dans Le Parc
B8) Epitaph
B9) Moi Je Joue

LP2 Monokini
A1) Ach Ach Liebling
A2) Lunatique
A3) Supergirl
A4) Furore
A5) Schön Von Hinten
A6) Dilindam
A7) Cosmonaute
B1) Aua
B2) Und Wer Wird Sich Um Mich Kümmern
B3) Tu M'As Voulue
B4)Moustique
B5) La, Ca, USA
B6) L'Appareil A Sous
B7) Grand Prix Eurovision
B8)Ushilo Sugata Ga Kilei

LP3 Juke-Box Alarm
A1) Holiday Inn
A2) Comicstripteasegirl
A3) Sweet Charlotte
A4) Touche-moi
A5) Crazy Horse
A6) Supercool
A7) Les Minets
B1) Oh Yeah
B2) Film D’horreur
B3) Vertigo
B4) Heaven's In The Back Seat Of My Cadillac
B5) Der Schlüssel
B6) Nouvelle Vague
B7) Party Anticonformiste
B8) Holiday Out

LP4 My Melody
A1) Beautycase
A2) I Love You, Ono
A3) Plötzlich Ist Alles Anders
A4) Larmes Toxiques
A5) Discjockey
A6) Ich Liebe Dich, Alexander
A7) Tout Le Monde Se Fout Des Fleurs
B1) Vilaines Filles, Mauvais Garçons
B2) Sous La Douche
B3) Du Und Dein Automobil
B4) Partir Ou Mourir
B5) Ringo, I Love You
B6) Tokyo Mon Amour
B7) Milky Boy Bourgeois
B8) Die Krise
B9) Joe Le Taxi

LP5 Musique Automatique
A1) Musique Automatique
A2) Liebe Zu Dritt
A3) Ma Radio
A4) Wir Tanzen Im 4-Eck
A5) Les Chansons D’A
A6) Kleptomane
A7) Adieu Adieu
B1) Für Immer 16
B2) Je Suis Une Poupée
B3) Ich Weiss Nicht Mehr Genau
B4) Le Diable
B5) Nationale 7
B6) Exakt Neutral
B7) Ypsilon
B8) Hep Onaltí’da

LP6 Do The Bambi
A1) Babystrich
A2) Do The Bambi
A3) Ich Bin Nackt
A4) Cinémania
A5) Vive Le Week-end
A6) Das Erste Mal
A7) La Douce Humanité
A8) Les Lapins
A9) Hunger!
B1) Ne M'appelle Pas Ta Biche
B2) Orange Mécanique
B3) Tas De Tôle
B4) Europa Neurotisch
B5) Partymädchen Gefoltert
B6) Cannibale
B7) Helft Mir
B8) Mars Rendezvous
B9) Troglodyten
B10) Chelsea Girls

LP7 Carte Postale And Other Rarities
A1) Carte Postale
A2) In/Out
A3) Ex Fan Des Sixties
A4) Prends-moi
A5) C'est Fini
A6) Wollita Außer Kontrolle
A7) The Monster
A8) Tetsuwan Atomu
A9) Tu Peux Conduire Ma Bagnole
A10) I Think Somebody Should Call The Love Doctor
B1) Bad News From The Stars
B2) Un Rayo Del Sol
B3) Schön Von Unten
B4) Je Rêve Encore De Toi
B5) Avec Ma Valise
B6) À La Sortie Du Lycée
B7) Hey Protest
B8) Les Enfants Font Des Enfants
B9 Megaflittchen

Berlin and Dresden trio JAGUWAR played their way into the hearts of noise romantics with the sprawling sonic landscapes which characterized the trio's 2018 debut album. Their sophomore album GOLD, is set for release in October 2021.

GOLD is a supercharged blast of future pop, transcending borders and defying pigeonholes, an album arising from the band's predisposition to experiment. GOLD is not only danceable, poppy and endearingly intricate, it also flys in the face of the status quo, ask questions of the current state of affairs and the oppressive mechanisms in our society. GOLD is no blunt denunciation, however, but a soundtrack to accompany the realization that there is strength in individuality, thereby unlocking a new level of productiveness.

Since the mid-1990s, Stockholm's Last Days of April have created a succession of luminous, hook-laden LPs, earning the band's lead vocalist, guitarist, and all-around auteur, Karl Larsson, a reputation as a bonafide songwriter's songwriter. With EVEN THE GOOD DAYS ARE BAD, Larsson and Co. return with their 10th long player (following 2015's Sea of Clouds), a shimmering collection of eight new Larsson-penned songs that show him at the apex of his craft and LDOA achieving new levels of strength, honesty, and brilliance. The result is totally cathartic, just what the doctor ordered for 2021.

The Telescopes have been described by the British music press as 'more a revolution of the psyche than a revolution of the sidewalk'; a thread consistent throughout a body of work spanning over 30 years. The Telescopes have constantly pushed at their own boundaries to unravel new pathways of existence, colouring outside the lines of all expectation to reach beyond the realm of natural vision.

With a legacy full of eureka moments, intravenously fed through a crack in the cosmic egg, The Telescopes invoke the kind of altered perceptions that time has shown not only withstand repeated listening, but reveal something new whenever one ventures into the depths of their highly influential artistry.

At the core of their being, The Telescopes are an all embracing concern, in every sense, a constant revolution of the psyche exploding endless spores of sound, carriers of warm transmissions seeped in aural innovation that spiral around ones inner receptors to induce a series of auditory illusions that completely immerse the listener in the grip of their own imagination.

The most revolutionary act we can all perform is to stand by our calling, to keep doing what we do, for the reasons we are conceived to do so, no matter what. Some call it 'The New Weird' but call it what you will, it is born of love. The Telescopes are one of the very few artists that are living proof that this revolutionary act is possible to evolve and sustain free from artistic corruption.

Songs Of Love And Revolution is a solar burst of trance inducing rhythms gripped at the helm by a wall of throbbing bass held in place by a swarm of encircling guitars. Lashed to the mast of this whirling dervish, incantations abound to dispel what is bound. This is the 12th album by The Telescopes, music for a four-piece ensemble that will never sound the same twice in any given environment or to any set of ears.

STAFF COMMENTS

Barry says: Hypnotic stoned groove and psychedelic echo abound on this stunning new LP from English space-drone stalwarts, The Telescopes. Melodies slowly weave their way around the bass-heavy churn and jangling 70's guitars.

TRACK LISTING

1) This Is Not A Dream
2) Strange Waves
3) Mesmerised
4) Come Bring Your Love
5) This Train
6) Songs Of Love And Revolution
7) You're Never Alone With Despair
8) We See Magic And We Are Neutral, Unnecessary

Dinked Edition Bonus 12":
(Come Bring Your Love) Come Drown In Love (Anton Newcombe Remix)
Strange Waves (Lloyd Cole Remix)
This Train (Love-Songs Remix)
Come Bring Your Love (Camera Remix)
(Come Bring Your Love) Come Bring Your Magic Waves (Third Eye Foundation Version)

Here comes the beat of the broken street…

'Fireraisers' as in those with flames in veins – had enough of the never ending spiral of stupidity and hate and greed and religious/political hypocrisy– the inexorable rise of the moron mind and those sleepwalking in their lazy hives letting THEM do this to US... a modern rite to burn away all this to the ground and see what nice flowers rise up from the ground… we imagine an army of disenchanted, beaten down kids becoming modern anarchist magicians drawing dumb sgylls of dada retribution ... 'if we all spit together we can drown the bastards'.

The last LP was a gentler, inner, melancholic hug at 2 am and perhaps we would’ve continued to go down a sweeter road but the state of the world has meant we were compelled to turn the fuzz up and make something more brutal and instant. In defiance to our last LP – now it’s late night sadness turns to the angry morning. First take beats ethics. Two weeks of late afternoon 45s listening parties with The Rationals/Nerves/Messthetics/Back From The Grave garage/Fading Yellow comps/The Jam/Dead Moon – whatever had the urge. Trying to figure out how Rufus Thomas would sound if he joined the Swell Maps … condensing it all mixing and absorbing then forgetting it all and propelling the psychic mix tape into an albums worth of angry pop drops and slow howls.

Recorded in a living room in North London with James Hoare (The Proper Ornaments/Ultimate Painting) with the help of Joseph Harvey-Whyte (Hanging Stars) pedal steeliest. Then turned into the record it is by drummer/producer M.J. Taylor who also produced our LP 'Realistes' – the closest cousin to this one ... songs about the evil greedy mirage of world religion, Victor Jara and those poets and teachers killed for believing in love and words, about the forgotten who are blamed for everything and can't rise up from their knees to fight back, about the high street Kali-Yuga, occult terrorists with low IQ but high ESP, about the Godfrey Brothers, about Lou Reed’s mourning dog on a road trip trying to bury his masters mullet somewhere in the desert, about those stuck in the glory days of their past myopic of the present and all the other usual losers and romantics we always bang on about – with added melody and stomp … giving no real answers but pointing fingers and prodding you in the back ... in defiance of just staying silent and letting the morons win.

So Comet Gain is still alive longer than we should – still trying to be a collective and an idea emerging every now and then with the same grumpy erratic sounds – this one’s louder than the last one but sometimes maybe quieter. It’s made from an amazement that the hate mind is winning and we're not doing anything about it – we're still voting for these bozos and not burning the whole ugly facade to the ground. And it’s filled with love and rage. And its about 40 minutes long which is always a good thing.

STAFF COMMENTS

Barry says: Clashing, snarling punky guitars and peaking percussion meets sleazy alt-rock before pulling things back for gorgeous swooning slide guitar and brittle acoustic ballads. Comet Gain are pushing things rapidly forwards while still retaining their post-punk roots and superb melodic sensibilities. Brilliant stuff.

TRACK LISTING

A1 We're All Fucking Morons
A2 The Girl With The Melted Mind And Her Fear Of The Open Door
A3 Bad Nite At The Mustache
A4 Society Of Inner Nothing
A5 Victor Jara, Finally Found!
A6 The Godfrey Brothers

B1 Your Life On Your Knees
B2 Mid 8Ts
B3 The Institute Debased
B4 Her 33rd Perfect Goodbye
B5 Werewolf Jacket
B6 I Can't Live Here Anymore

EXCLUSIVE DINKED 7“ BONUS SINGLE:
C1 Chain Smokin'
D1 Even This Could Be Beautiful