#tapete records

[bandcampsnoop]

11/10/24.

Thanks to Bandcamp for the article "When Germany Surfed the New Wave" by Jim Allen. Die Doraus & Die Marinas is the least traditional sounding new wave band of the list. Listening to this was like finding a key piece to a puzzle.

I'd always wondered what influenced Krischan (founder of Frischluft! Tonträger). Previously, we posted about Susan Aviles release, but now comes an artist from Germany that probably was part of Krischan's childhood. Andreas Dorau (Berlin, Germany) started Die Doraus & Die Marinas in the early 1980s as a high school project and scored a hit with "Fred vom Jupiter". The Bandcamp page has the first album up for streaming, but I thought I'd go with the 2nd because, while it too is sold out at the source (Bureau B...I looked for copies at Tapete Records), there are reasonable copies available on Discogs.

I'll throw out a few Frischluft! Tonträger bands since it's been a while since I thrown out these comparisons - Honigritter, Foxi Euler Syndikat, and Momus. Really, just enjoy this unique sound that is on a different level from the classic German New Wave sound.

[musicollage]

Robert Forster — The Candle And The Flame. 2023 : Tapete.

! acquire the album ★ attach a coffee !

[fastweltweit]

„Der letzte Tag des Sommers“ - Die Time Twisters - tapete records - 2018

[tonguesofdestruction]

Schrottgrenze - Das Universum ist nicht binär CD Kritik

Die Band Schrottgrenze begann in den 1990ern mit deutschpunkiger Musik, wandelten sich gen Indierock in den 2000er-Jahren und werden vom Label jetzt als queere Power-Pop verbucht. “Das Universum ist nicht binär” ist das aktuelle Studioalbum, welches am 10. Februar 2023 bei Tapete Records erschien. Es ist das zehnte Werk der Gruppe. Mein letzter musikalischer Kontakt war noch zu Indie-Rock-Zeiten,…

[dustedmagazine]

Amy Rigby — Hang in There with Me (Tapete)

Photo by Chris Sikich

“Yeah, yeah, age is just a number. Bullshit…I don’t want age to be just a number, I want all the experiences we’ve been through to add up to something” wrote Amy Rigby in a June 2024 newsletter. That sentiment resounds on Hang in There with Me, her latest album of tough, witty rock and roll. In “Hell-Oh Sixty” the loose, boisterous song that kicks it off, Rigby reviews in brief each decade of her, more or less, adult life: “30 was the best/30 was the worst/know I was blessed/thought I was cursed”; “50 didn’t fit/had to let out the seams.” The music has a spaciousness to match the timeline: jangling steel strings slide over martial drums while fuzzy synthesizers burst and Rigby repeats the title phrase. She sounds both invigorated and uneasy; a little bit triumphant and a little bit daunted by her arrival.

Lyrically, Hang in There with Me often speaks to the stacked layers of life; the emotional and material detritus we accumulate. What to do with it? How to build on top of it; where, even, to begin. One answer: wherever you are, that’s where to start. Or, as Rigby puts it in the sunny, biting kiss-off anthem “Bricks,” “I’m working on my future days…these bricks won’t lay themselves.” You hear that weary, still defiant tone again on “Too Old To Be So Crazy,” when she sings “I tried a thousand times to give it up/fall down and fuck it up/you can call it a victory/trust the mystery” and in the “Requiem” lines “try your whole life to make something that matters…doors don’t always open/that won’t stop you hoping.” Later, around the “Paint It Black”-ish progression of the latter, she raises the stakes on Neil Young’s longevity question, wondering whether it’s better to “fall apart” than “to burn out.” There’s no question of fading away when you have so much to sort through.

It’s appropriate, then, that the music is so textured and dimensional. “Too Old to Be So Crazy” is a good example. Coming in hot after “Hell-Oh Sixty,” we get yet more jangle; more ripping guitar; and, perhaps best of all, more squelchy-gorgeous synths. The use of electronics on the album is pronounced and varied, from the windy swirls and blinking bells of the wistful “O Anjali” to the scratchy fringes and reverse reverb of the unsettling character study “Bad In A Good Way.” Nearly haptic sounds like these constantly whir and bubble up around the album’s glammy grooves, complementing the sharp but unfastened playing – take, for instance, the heavy buzz that drives the chorus of “Dylan in Dubuque.” It all hangs together thanks to a lively, naturalistic mix. Rigby, with her spouse and recording partner “Wreckless Eric” Goulden, left in all the right mic-to-amp ambience. There’s enough room to hear everything going on but not so much that it isolates or chills the warmth of any given instrument. Even something like the compression effect on Rigby’s “Heart Is a Muscle” vocal feels lived in.

One of the least adorned songs is “Bangs,” a punky piece of garage pop that contains some of the record’s best lines. Which is saying something. Rigby the writer is, as usual, funny and cutting, casual yet precise, but it’s the conviction with which she lays down a couplet like “keep your Ann Taylor and Chico’s/I didn’t come here to play” in her burned-but-not-burned-out, scuffed diamond voice that makes her lyrics really stick. It’s her humor, too, that keeps an album so concerned with the existential pulls and shoves of life so grounded.

In that regard, “Last Night’s Rainbow,” the closer, is particularly effective. Rigby opened for Warren Zevon in the last years of his life and Hang in There with Me’s final song shares something of his comic grandiosity and tragic gravitas. She begins with “today is shit/today’s a bust…” and ends “...and I must hold on…’cause I sure would miss seeing you.” Here, like in so much of Zevon’s work, relentless joie de vivre shines through the bummers. Sure, life’ll kill ya, but you already knew that and Rigby does too, so what now? Hang in There with Me catalogs a lifetime of drags, uncertainties and disasters, but returns, again and again, to the people, moments and experiences that make it worthwhile, or bearable enough. The chuckle in her voice on “maybe there’s hope/’cause last night’s rainbow/that was dope” tells you everything you need to know. It all adds up.

Alex Johnson

[andy-paleoart]

Stromatolites! | Estromatólitos!

🇬🇧

Stromatolites are fascinating geological structures that hold crucial information about the early history of life on Earth. These formations are layered structures created by the activity of microbial communities, primarily cyanobacteria, in shallow aquatic environments. These ancient photosynthetic microorganisms played a significant role in Earth's early atmosphere by releasing oxygen as a byproduct of photosynthesis. The ability of cyanobacteria to thrive in such environments, including hypersaline or hot spring environments, makes stromatolites important environmental indicators.

They form through the trapping, binding, and precipitation of minerals by the sticky biofilms produced by microbial mats. The layering results from the repeated growth of these microbial communities over time. They have an extensive geological history, with some of the oldest known examples dating back over 3.5 billion years. These ancient structures provide valuable insights into the conditions and types of life that existed on Earth during its early stages.

The study of stromatolites has implications beyond Earth. Examining these ancient structures helps scientists in their search for signs of past or present life on other planets, providing a potential template for what to look for in extraterrestrial environments. While stromatolites were more prevalent in ancient times, they still exist today in a few select locations worldwide. Shark Bay in Western Australia is famous for its living stromatolites, providing a unique opportunity to study these ancient life forms in a contemporary setting.

The study of stromatolites is crucial for understanding the evolution of life on Earth. The layered structures provide a record of the interactions between early microbial life and the changing environment, offering glimpses into the development of complex ecosystems. They are remarkable geological features that offer a glimpse into Earth's ancient past and the early forms of life that shaped our planet! Studying these structures contributes not only to our understanding of Earth's history but also to the broader field of astrobiology as we explore the potential for life beyond our planet.

🇧🇷

Estromatólitos são estruturas geológicas fascinantes que contêm informações cruciais sobre a história inicial da vida na Terra. Essas formações são estruturas em camadas criadas pela atividade de comunidades microbianas, principalmente cianobactérias, em ambientes aquáticos rasos. Esses microrganismos fotossintéticos antigos desempenharam um papel significativo na atmosfera inicial da Terra, liberando oxigênio como subproduto da fotossíntese. A capacidade das cianobactérias de prosperar em ambientes extremos, incluindo ambientes hipersalinos ou de água termal, torna os estromatolitos indicadores ambientais importantes.

Eles se formam pela captura, ligação e precipitação de minerais pelos biofilmes pegajosos produzidos por tapetes microbianos. A formação em camadas resulta do crescimento repetido dessas comunidades microbianas ao longo do tempo. Eles têm uma extensa história geológica, com alguns dos exemplos mais antigos datando de mais de 3,5 bilhões de anos. Essas estruturas antigas fornecem dados sobre as condições e os tipos de vida que existiam na Terra durante seus estágios iniciais.

O estudo dos estromatolitos tem implicações além da Terra. Examinar essas estruturas antigas ajuda os cientistas em sua busca por sinais de vida passada ou presente em outros planetas, fornecendo um modelo potencial do que procurar em ambientes extraterrestres. Embora os estromatolitos fossem mais prevalentes em tempos antigos, ainda existem hoje em poucos locais selecionados em todo o mundo. Shark Bay, na Austrália Ocidental, é famosa por seus estromatolitos vivos, proporcionando uma oportunidade única de estudar essas formas de vida antigas em um ambiente contemporâneo.

O estudo dos estromatolitos é crucial para entender a evolução da vida na Terra. As estruturas em camadas fornecem um registro das interações entre a vida microbiana inicial e o ambiente em mudança, oferecendo vislumbres do desenvolvimento de ecossistemas complexos. Eles são características geológicas notáveis que oferecem uma visão do passado antigo da Terra e das formas iniciais de vida que moldaram nosso planeta! O estudo dessas estruturas contribui não apenas para nossa compreensão da história da Terra, mas também para o campo mais amplo da astrobiologia, enquanto exploramos o potencial de vida além do nosso planeta.

[daggerzine]

MY FAVORITE RECORDS OF 2023! (lists in no particular order....well, sort of)

MY 20 FAVORITE RECORDS OF 2023  

Anna Hillburg- Tired Girls (Speakeasy Studios)

RVG- Brain Worms (fire) 

The Tubs- Dead Meat (Trouble in Mind) 

Seablite- Lemon Lights (Mt St Mtn)

The Reds, Pinks & Purples- The Town That Cursed Your Name (Slumberland)

Lewsberg- Out and About (12XU)

Melenas- Ahora (Trouble in Mind)

Blues Lawyer- All in Good Time (Dark Entries) 

Colored Lights- S/T (Bobo Integral)

Doe St- Stepping Stones (Legless) 

Guardian Singles- Feed Me To The Doves (Trouble in Mind) 

Corvair - Bound To Be (WIAIWYA)

The Garment District- Flowers Telegraphed To All Parts of the World (HHBTM)

Royal Ottawa- Carcosa (self released)

Tough Age- Waiting here (Bobo Integral)

Soft Science- Lines (Shelflife)

The Midnight Sailors- S/T (self released)

Robert Forster- The Candle and the Flame (Tapete) 

Civic – Taken By Force (ATO) 

Sumos- Surfacing (Meritorio) 

WAIT….HERE’S 20 MORE!

Connie Lovatt- Coconut Mirror (Enchante’)

En Attendant Ana- Principia (Trouble in Mind) 

Withered Hand- How to Love (Reveal) 

The High Water Marks- Your Next Wolf (Minty Fresh)

The Feelies- Some Kinda Love: Performing the Music of the Velvet Underground (Bar-None)

Connections- Cool Change (Trouble in Mind) 

The Ex Bats- Song Machine  (Goner)

The Photocopies- Top of the Pops (Ultra Modern)

Amanda Brown- Eight Guitars (Lillipilli) 

Arthur Alexander- …Steppin’ Out!  (Big Stir Records)

Eyelids- A Colossal Waste of Lights ((Jealous Butcher) 

Panic Pocket- Mad Half Hour (Skep Wax)

Yo La Tengo- This Stupid World (Matador)

Swansea Sound- Twentieth Century (Skep Wax)

Kevin Robertson- Magic Spells Abound (Futureman)  

Super 8- Hoopla (The Beautiful Music) 

The Radio Fields- Dos and Dont’s (Subjangle)

Joe McAlinden- Where The Clouds Go Swimming (self -released)

The Black Watch- Future Strangers (ATOM) 

Rob I Miller- Companion Piece (Vacant Stare)

….AND HERE’S 10 MORE

The Lost Days- In the Store (Speakeasy Studios) 

Life Strike- Peak Dystopia (Bobo Integral)

Belle & Sebastian- Late Developers (Matador)

Lauds- Imitation Life (Fort Lowell) 

The Hepburns- Only the Hours (Lavender Sweep) 

Lomma- Torrey Pines (self released)

C.O.F.F.I.N.- Australia Stops (Goner)

Special Friend- Wait Until the Flames Come Rushing In (Skep Wax)

Burning Ferns- World of the Wars (Country Mile)

Wojtek the Bear- Second Place on Purpose (Last Night From Glasgow)

I ALSO REALLY LIKED ALBUMS BY:  Diners, Moving Targets, Bill Orcutt, Skull Practitioners, the Suncharms, Divine Horsemen, The Flashcubes, Hurry, Teenage Fanclub, Lydia Loveless, The Make Three, Shana Cleveland, The Ekphrastics, Ryan Allen, Fruit Bats, Nicole Yun, Dippers, Lost Film, Tony Jay, Cindy, Class, The Clientele, Lemon Twigs, Sweeping Promises, The National Honor Society, The Whiffs, Infinite River, Silver Biplanes, Jason Isbell, The Cuticles, Mudhoney, Alex Lahey, Crocodiles, Peter Hall, Cherry Fez, The Angles, Scott Gagner, Mainland Break, Christian Kjellvander, Sick Thoughts, Grand Drifter, The Motifs, The Sunshine Convention, The 1981, Roy Moller, Youth Valley, Soft Covers, Deadlights, The Smashing Times, The Spires, Helen Love, Motorbike, Silverstiles, Water Damage, Uni Boys, The Royal Arctic Institute, Gina Birch, Gee Tee, etc.

MY  10 FAVORITE REISSUES OF 2023 

The Chills- Brave Words (Fire)

The Replacements- Tim (Sire)

The Ocean Blue- Davy Jones Locker (Korda)

Wild Carnation- Tricycle (Delmore) 

Neutral Milk Hotel- The Collected Works of Neutral Milk Hotel (Merge)

Das Damen- 1986- Keeps Me Wild (Dromedary)

Heavenly -Le Jardin de Heavenly (Skep Wax) 

The Verlaines- Bird Dog (Schoolkids Records) 

The Toms- S/T (Feel It) 

Celibate Rifles  Kiss Kiss Bang Bang (Bang!)

MY 15 FAVORITE EPS OF 2023 

Lightheaded- Good Good Grief (Slumberland)

Minor Threat-  Out of Step outtakes (Dischord)

The Cucumbers- Old Shoes (self released)

The Reds, Pinks & Purples- Unloveable Losers (digital) 

The Vapour Trails- On a Beautiful Day (Futureman)

Blues Lawyer- Sight Gags on the Radio (Dark Entries)

Deary- S/T (Sonic Cathedral)

The Wends- Better Will (WWNBB) 

Te Vista- S/T  (Cripes) 

Red Sleeping Beauty- From Sarah With Love (Matinee)

Letting Up Despite Great Faults- Crumble (S/T) 

The Prize- Wrong Side Of Town   (Anti Fade) 

Touch Girl Apple Blossom- S/T (self released)

Galore- Blush (Paisley Shirt) 

Lost Tapes- Crossing Towns (Shelflife)

MY 5 FAVORITE COLLECTIONS OF 2023 

The Particles- 1980’s Bubblegum (Chapter Music)

Primal Scream- Reverberations (Travelling in Time) (Acid Jazz/XTRM/Young Tiki)

The Shapiros- Gone by Fall: the Collected Works of (World of Echo) 

Dot Dash- 16 Again (Country Mile)

Comet Gain- The Misfit Jukebox (Tapete) 

Eric "Eggman" Eggleson's favorite records of 2023!

A Colossal Waste Of Light - Eyelids

Aeterna - Vinyl Williams

Away From The Castle – Video Age

Babydoll – Rat Columns

Bananasugarfire – Golden Apples

Careless By The Coast - Marvin Powell

Cartwheel - Hotline TNT

Colored Lights

Compact Trauma – Ulrika Spacek

Continue As A Guest – The New Pornographers

Disenchanter - Alaska Reid

EP IV – Yumi Zouma

Flowers Telegraphed To All Parts Of The World – The Garment District

Henry St. - The Tallest Man On Earth

Hindsight is 50/50 – Ghost Woman

I Held The Shape While I Could – Bodywash

Javelin – Sufjan Stevens

Left Hand - Becca Mancari

Life and Life Only - The Heavy Heavy

Love as Projection – Frankie  Rose

May Cause Dizzy Ness - The Musical Chairs

My Entire Life – SUSTO

Pearlies – Emma Anderson

Perennial - Woods

Pictures – Dean Owens

Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) - Yves Tumor

Prize - Rozi Plain

Radio Red – Laura Groves

So Soon Now – Trillion

Strange Loops and Outer Psyche – Andy Bell

Suntub – ML Buch

The Greater Wings - Julie Byrne

The Natural Lines

The Queen Is Not Dead – Spiritual Front

the record – boygenius

The Sunshine Convention

The Twits - bar Italia

This Candle Is For You - Spearmint

Waiting Here – Tough Age

We Live In Strange Times – Ian M Bailey

When Horses Would Run - Being Dead

[theapollus]

Foto/reprodução: Internet

Britney Spears: jornada da 'princesa do pop' à liberdade

03/01/2024 Por Ian Mamédio

Apesar de ter sua vida exposta ao público desde a infância, muitos não sabem sobre a vida de Britney Spears desde seus anos na Disney, os terríveis anos 2000 até hoje.

Dona de uma voz única, desde muito pequena Britney sempre chamou atenção por se portar como uma verdadeira popstar tendo uma de suas primeiras aparições no Clube do Mickey, um programa de TV norte americano da Disney.

Foi em 28 de setembro de 1998 que o mundo conheceu a cantora através de um de seus maiores hits, o lead-single "...Baby, One More Time" escrito por Max Martin e produzido por Martin e Rami.

O sucesso de seu primeiro single foi seguido de recordes e dezenas de outros hits como "Oops! I Did It Again", "Womanizer", "Lucky", "Break The Ice" e muitos outros.

Mas muito se engana quem pensa que a vida de Britney era feita apenas de glamour e tapetes vermelhos. Alvo de diversas controvérsias, como a suposta traição noticiada após o término de seu relacionamento com o cantor Justin Timberlake, Britney conviveu por anos com rumores e informações tendenciosas que a pintavam como uma mãe desleixada e uma mulher descontrolada.

2008 e a conservadoria

Se o início dos anos 2000 já foram difíceis para Spears, nada se compara com o período entre junho de 2008 e 2009. Mãe de primeira viagem, Britney teve que conviver com paparazzis a perseguindo para todos os lados apenas esperando um deslize para provar com um único clique a sua incapacidade em criar uma criança.

Toda essa pressão foi o suficiente para levá-la ao famoso episódio do "surto", onde Britney aparece em um salão de beleza raspando seus cabelos e atacando paparazzis com um guarda-chuva.

Após esse episódio a vida pessoal de Britney entrou em uma espiral de declínios que anos mais tarde descobriu-se ter sido orquestrada por seu pai, Jamie Spears, com objetivo de colocá-la como incapaz e conseguir passar um pedido de conservadoria, que consiste em passar todas as responsabilidades de uma pessoa para um responsável legal que vai agir como seu representante e cuidador.

Com o pedido de conservadoria aprovado, Britney não perdeu o direito de dirigir, se casar, ter filhos e cuidar do seu próprio dinheiro, todas essas as decisões passaram a ser tomadas por seu pai.

O movimento #FreeBritney

Logo que a informação veio a público vários fãs se mobilizaram

(Reportagem incompleta)

[dealgemeneverwarring]

De Algemene Verwarring #108 - 4 March 2024

Episode one hundred and eight of De Algemene Verwarring was broadcast on Monday, March 4, 2024, and you can listen to it by clicking on the link below that will take you directly to the Mixcloud page:

Pictured below is Bärchen Und Die Milchbubis! They are a band from Hannover, Germany, they released one album and two singles between 1980 and 1982, and now, in 2024, they are touring again! But that's not why I played them in the show, I played them because they are one of the bands that are featured in the fantastic Inner World 033 podcast, by the World Of Echo label, and compiled by the Famous Mammals. It's a three hour long feast of great great music, and I wanted to direct my listeners to this podcast, go listen and enjoy. Also, this episode of De Algemene Verwarring is a digital one, so as always I'm playing some tracks that I don't own on a physical lp or cd. Some of them are just ripped off the youtubes because unavailable on other places, and some others are from the Bandcamp vaults. Links below in the playlist when available. I particularly enjoyed making this episode, I think there are some real bangers in there. Oh and by the way sorry for the delay with the update here. And beneath the photo you can find the playlist for this show. Enjoy!

Playlist:

The Gories: Nitroglycerine (7” “Nitroglycerine/Makin’ Love” on New Rose Records, 1990)

Snooper: Company Car (digital release on Bandcamp, 2023)

Personal & The Pizzas: (Don’t Trust No) Party Boy (7” “I Want You” on Trouble In Mind Records, 2010)

Cuir: Gast (cassette “Promo Tape” on Offside Records & Forty Tapes, 2024)

Big Black: Rema-Rema (one-sided 7” “Rema-Rema” on Forced Exposure, 1985)

Geo: Elasticate (cassette “Geo”, self-released by the band, 2021)

Onyon:  Alien Alien (LP “Last Days On earth” on Trouble In Mind Records, 2023)

I.L.L.O.: Roses (cassette “10 Ill Songs” on Spared Flesh & U-Bac, 2024)

Dilemmas: Bomb The Clock (cd-r “Zero Work” on You Need To Practice More, 2017)

Bärchen Und Die Milchbubis: Muskeln (7” Muskeln” on Schalter Records, 1982, also on LP “Dann Macht Es Bum” on No Fun Records, 1981 and the compilation “Endlich Komplett Betrunken” on Tapete Records, 2021)

Would Be Goods: Cecil Beatons Scrapbook (7” “The Camera Loves Me” on Cherry Red Records, 1988) - UK indie pop rond zangeres Jessica Griffin, nu solo project

Pletyka: Aug. 31 (cassette & digital release on Szégyen Kazetták, 2023)

Desinteresse: Ver Weg Van Hier (Cassette “Voor Altijd” on Decadence, 2023)

Chalk: The Gate (12” “Conditions II” on Nice Swan Records, 2024)

番長 Taste: Fireflies In The Shrine (CD “Summer Nights” on Carbon Records, 2023)

LSD Fundraiser: Industrial Jazz Hands (Cassette “Fashionably Late For The Apocalypse” on Knotwilg Records, 2022)

Modelbau/Steffan De Turck: Kitchen Sink Realism (Bukhansan) (cd-r “Zweites Treffen (undefiniert)” on Kirigirisu Recordings, 2023) 

[noloveforned]

my yo la tengo triple-header drew to a close last night, just in time to get ready for my show tonight on wlur from 8pm to midnight. tune in live or check out last week's show at your convenience!

no love for ned on wlur – march 10th, 2023 from 8-10pm

artist // track // album // label the replacements // god damn job // for sale- live at maxwell's, 1986 // rhino the tubs // illusion, part two // dead meat // trouble in mind rizzo // spin this // phoning it in // sympathy for the record industry mhaol // bored of men // attachment styles // tulle qinqs // edgar allan poe // qinqs 7" ep // goodbye boozy yo la tengo // outsmartener // today is the day ep // matador carambolage // fußgängerzone // carambolage // tapete new bloods // oh, deadly nightshade! // the secret life // kill rock stars peter ivers // terminal love // terminal love // warner bros. gina birch // i am rage // i play my bass loud // third man ono // i wonder why // kate cincinnati // american dreams mogwai // take me somewhere nice // rock action // matador mess esque // liminal space // armour your amor 7" // (self-released) zander raymond // park // separate in space // (self-released) lucy 22 and lawrence lui // formosa // formosa digital single // (self-released) sun ra and walt dickerson // space dance // visions // steeplechase malcolm jiyane tree-o // umkhumbi kama // umdali // mushroom hour half hour theo croker featuring ego ella may and jeff parker // somethin' (extended take) // by the way ep // sony masterworks julius brockington // in the back of the churchyard // the united chair // barely breaking even mach-hommy featuring left lane didon and big cheeko // wellness cheques // notorious dump legends, volume two // (self-released) maxo featuring keiyaa // one day at a time // even god has a sense of humor // def jam u.s. girls // just space for light // bless this mess // 4ad free love // all the same to me // inside // lost map kate fagan // come over // i don't wanna be too cool (expanded edition) // captured tracks dot dash // lonesome sound // madman in the rain // the beautiful music the reds, pinks and purples // ghosts again // heaven's dreaming ep // (self-released) screen prints // words can't really say // european jeans // fastcut

[moochilatv]

Jean Poly presents: Wir sind zurück

Some industrial, some pop.- It's music

Jean Poly is an artist from the Stuttgart area.

With sound, image and word art, he takes a stand on a fast-moving and uncertain world. His debut "England" was released in 2009 by Tapete Records. Poly's sound sounds like self-built spaceships over cities, suburbs and industrial areas. Fragile and warm, an electronic sun rises.

Poly works at night, far away from the music world, between keyboards and crayons. Jean Poly has not yet been interested in public appearances. Should it come to that, he would design a separate stage set for each song. It will be interesting to see what the future holds.

Listen the single Wir sind zurück in YouTube:

[bandcampsnoop]

11/3/24.

I know I've said this before, but I remember my first order with Prefect Records like it was yesterday. That initial order in 2021 had Mt. Misery, The Tubs and Ex-Vöid. Right around that same time I was posting about EggS (London, England).

All those bands are releasing albums: Mt. Misery and EggS for Prefect Records (EggS is co-released with Howlin' Banana Records). The Tubs will be releasing their LP on Trouble in Mind and Ex Void on Tapete Records. The bands share members and a definite aesthetic.

"Crafted Achievement" sounds like the EggS of old - maybe a little more produced. So, I'll remind us of my older comparisons - The Verlaines and Big Dipper. I'll add Nothing Painted Blue, Pop Filter and The Replacements (late 1980s version).

[schoje]

Foto: Ricardo Trida/Arquivo/Secom As vendas do comércio catarinense no Dia dos Pais de 2024 foram marcadas por recorde histórico no setor. A conquista é fruto de índices elevados de emprego e renda em Santa Catarina, que estimulam o aquecimento da economia, maior faturamento das lojas e fomento à produção. Em 2024, o Dia dos Pais no estado registrou um ticket médio, que representa o valor médio gasto por cliente em cada compra, de R$ 399, o maior da série histórica. Segundo a Fecomércio/SC, entidade que compilou os dados, o aumento foi de 22% em relação a 2023 (R$ 328), ano que detinha o recorde até então. O resultado demonstra o alto poder de compra do catarinense. “O governo de Santa Catarina tem dado prioridade para atração de investimentos e geração de emprego e renda, essa é uma determinação do governador Jorginho Mello. O recorde nas vendas de Dia dos Pais indica que esse trabalho tem dado resultado, mantendo a nossa economia aquecida e estimulando novos negócios”, disse o secretário da Indústria, do Comércio e do Servi��o, Silvio Dreveck. A pesquisa apontou os principais itens comprados pelos consumidores. A lista tem artigos para a casa, como móveis, mesas e tapetes, jóias e relógios, eletroeletrônicos, artigos automotivos, vestuário, calçados e perfumes, entre outros presentes. O setor registrou bom volume de vendas tanto em lojas físicas como pela internet. De acordo com a Fecomércio/SC, o faturamento global cresceu 5,5% neste ano. A entidade também mediu a contratação de funcionários temporários. Historicamente, o Dia dos Pais não tem grande volume de contratações e o panorama não se alterou neste ano de 2024. “Apesar desse cenário, o mercado de trabalho catarinense permanece aquecido. No primeiro semestre deste ano, o comércio no estado gerou 6,5 mil vagas de emprego, o que pode justificar a menor necessidade de contratações temporárias, já que muitas empresas podem estar aproveitando a força de trabalho existente para suprir a demanda sazonal”, diz o relatório da Federação. A pesquisa apontou ainda que o empresário do comércio em Santa Catarina apostou em mais ações de divulgação pelas redes sociais, além do foco na qualidade do atendimento e estratégias de preço e promoções para atrair os clientes. “O catarinense tem uma vocação empreendedora muito forte. Isso se reflete na menor taxa de desemprego do país, na geração de emprego e renda e no fomento a novos negócios. Os números mostram que o estado está crescendo em ritmo forte”, acrescenta o secretário Silvio Dreveck. Evolução ticket médio em Santa Catarina – Dia dos Pais:2019 – R$ 2592020 – R$ 1692021 – R$ 1852022 – R$ 3212023 – R$ 3282024 – R$ 399 Texto: Murici Balbinot/Ascom – SICOS Fonte: Governo SC

[musikblog]

https://www.musikblog.de/2024/07/levin-goes-lightly-neues-album/ Levin Goes Lightly veröffentlicht demnächst ein neues Album. “Numb” ist der Titel seines mittlerweile fünften Longplayers, der am 18. Oktober via Tapete Records erscheint. View this post on Instagram A post shared by Levin Goes Lightly (@levingoeslightly) Bereits Ende Juni hat Levin Stadler, wie Levin Goes Lightly bürgerlich heißt, die Vorabsingle “Numb”, der Titeltrack des […]

[tonguesofdestruction]

The Robocop Kraus auf Tour 2023

The Robocop Kraus auf Tour 2023

Die Band The Robocop Kraus gründete sich Ende der Neunziger in einer fränkischen Kleinstadt. Die Band veröffentlichte über auf Labels wie L’Age D’Or, Epitaph und Anti. Im Jahr 2023 kommt die Band wieder auf Tour und arbeitet auch an neuen Stücken. Am 25. November 2022 erschien die Ansammlung von Raritäten „Why Robocop Kraus Became The Love Of My Life“ bei Tapete Records. Das Release 28 Songs. Von…

[dustedmagazine]

Penny Arcade — Backwater Collage (Tapete)

Since the abrupt and somewhat mysterious end of Ultimate Painting in 2018, James Hoare has been recording sporadically as Proper Ornaments (with Max Oscarnold) but this is his first solo album under the name Penny Arcade.  Fans of any of Hoare’s projects, from Veronica Falls on down, will find much that is familiar in this softly psychedelic set of songs, which engage gently but leave an indelible mark. 

One can infer considerable tension for Hoare over the last several years, from the break-up so bitter that the last Ultimate Painting album was withdrawn after recording, mixing and sending out to likely reviewers. (I have a copy somewhere.  It was good.)  He left London for the West of England soon after, seeking whatever one seeks in wilder, less populated places, and shortly after that, COVID happened.  It’s been a shitty time for everyone, and Hoare may have gotten an extra dollop.  And yet, if you’re looking for strife in the music, you’ll have to probe well below the surface.  The sun-dappled exteriors of these preternaturally pretty tunes are serene and calming, though there are some rough, cold currents underneath. 

“Jona,” for instance, haunts its space weightlessly, a silvery electric keyboard piercing its hum while looping electric guitar licks lace through its quietude.  And yet there’s an unease in its cool, well-lighted interior, a restlessness in the words.  “Hey, hey, hands are by his side, hey, hey, counting alibis,” murmurs Hoare (with Nathalia Bruno shadowing him sweetly), and there’s something troubling in the works. 

These songs feel wispy because of the vocals, which sigh and shush through languid melodies, but the instruments are often more emphatic.  “Want You Around,” drifts and dreams, despite its hard, anchoring beat, lost in reverie, even as a carnival keyboard erupts in the break.   “Prodigal Son,” slips the grinding friction of feedback into its fluid guitar lines, just enough to catch your ear, and “Don’t You Cry No Tears,” maybe the second best song after “Jona,” hides a searing guitar and keyboard break under the murmur and swoon. Yet other cuts hang like smoke unspooling, evanescent and hard to pin down.  “Mister Softie” is like a Kinks song nodding off in the car, a strong melody wrapped in clouds and indefiniteness. 

But let it all wash over you, waves and eddies of pretty sound, tinged with regret and inevitability, but still very, very sweet.  Backwater Collage makes a gorgeous, still place for itself if you let it in, and why wouldn’t you?

Jennifer Kelly