• Limited Anniversary Edition: embossed, reverse board, hand numbered, limited edition yellow vinyl, 500 copies available! • Conrad Schnitzler (1937–2011), composer and concept artist, is one of the most important representatives of Germany’s electronic music avant-garde. A student of Beuys, he founded Berlin’s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums • The yellow album appeared in 1981, yet it contained recordings from the year 1974, originally released in a limited run on cassette (“The Black Cassette”)

With their unpredictable live performances and songs such as ‘Zurück zum Beton’ and ‘Industriemädchen’, S.Y.P.H. caused a ruckus at the end of the 70s - as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. On December 6th 2024, Tapete Records releases the „Pure Freude Singles“ including previously unreleased songs and the self-titled album „S.Y.P.H.“ (including ‚Zurück zum Beton‘). Three further re-releases, two of them produced by CAN's Holger Czukay, will follow in 2025. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby Düsseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorise. In the intensive years that followed, S.Y.P.H.’s productions often featured guests from the Düsseldorf scene around Ratinger Hof or CAN’s Holger Czukay. While around 1980, punk and Neue Deutsche Welle (German New Wave) were solidifying as supposedly clear-cut concepts, S.Y.P.H.'s music testified to the blurriness of genre boundaries: already on the first, self-titled LP, the band belts out short punky songs like “Zurück zum Beton” and “Lachleute und Nettmenschen”, while the B-side surprises with more than ten-minute long Kraut-inspired pieces.

The enigmatic and expressive Chikiss breaks a three-year silence with Between Time and Laziness, a brand-new LP of dramatic and dreamlike synthpop perfectly suited to Hamburg’s unfaltering Bureau B. Written in St. Petersburg, Berlin, and Athens, and co-produced by Finnish multi-instrumentalist Jaakko Eino Kalevi, the album renders the existential, psychological, and philosophical in song form. Exploring motivation and self-doubt, the long shadow of the Soviet Union, and collective empathy with a cinematic flair, Chikiss weighs darkness and light, landing on the side of hope in her most considered and polished vocal album to date

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 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, 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. Halo Moon is The Telescopes 17th studio album, the 6th for Tapete Records.

Das Debüt-Album einer der erfolgreichsten Indie-Pop-Bands der 00er Jahre. Erstmals auch auf Vinyl.

After dipping into the archive to deliver a series of essential reissues, Bureau B continues to encourage the chaotic brilliance of Faust with an LP of brand new music curated by originator Zappi Diermaier and a band of musical friends, including Uwe Bastiansen, Elke Drapatz, Dirk Dresselhaus, Jochen Arbeit, Sonja Kosche, Andrew Unruh, and fellow founding member Gunther Wüsthoff. Over the years, Faust has become many things, each as separate as the fingers but as together as the hand that makes up their eponymous fist. From 1971 to 1974, the Hamburg band blazed a bold sonic trail, helping to create the distinct and delirious strand of German music we've come to know as Krautrock. Uncompromising, innovative, and experimental, their releases in that period and the stories accompanying their creation are nothing short of legendary, and the fact that after a hiatus, the band returned and remained active in a variety of separate and simultaneous incarnations is entirely fitting for these musical revolutionaries. On Blickwinkel, Diermaier's incarnation embraces synchronicity and chance in order to capture the moment in a six-track snapshot of industrial churn, unsettling ambience, and psychedelic motorik.

Zusammen mit Bands wie Hans-A-Plast und Der Moderne Man gehören Rotzkotz Anfang der 80er zum Umfeld von No Fun Records, einem hannoverschen Label aus der linksalternativen Szene. Zunächst spielen sie klassischen Punk-Sound, den sie auf ihrem zweiten Album um elektronische Sounds und teils dadaistisch anmutende Texte ergänzen: Mit Lebensfroh + Farbenfroh veröffentlichen sie so 1981 eines der spannendsten Alben der alternativen deutschsprachigen Musik der 80er Jahre. Gute 40 Jahre später wird das Album jetzt inklusive der zwei Songs der „Kein Problem“-Single (ein kurzer Ausflug zum Major EMI) wiederveröffentlicht – neu gemastert und ergänzt um ausführliche Linernotes sowie bisher unveröffentlichtes Bildmaterial.

Warning! This EP is full of sociopathic grooviness. If you want to put some wacky, wild, “blink and you’ll miss it”-style nerd-punk in your ear holes, PRISON AFFAIR is probably what you’ve been craving. With vocals echoing back and forth between the shrieking and megaphone-assisted to deep and menacing reverberations, there seems to be a chaotic balance in place here but just barely. Technically, you’re told that you’re listening to four sub-two-minute tracks, but the experience is more of a singular six-minute-plus manic dream. It’s as positive as it is sweaty and uncomfortable. It’s impossible to recommend a single track when they’re all tied together like a perfect knot and the whole experience is so yummy and easy to digest. If you’re sad that you never got to see DEVO live, get in on this Barcelona-based experience and fill that need. Deep, psychotic bass lines plus the most heavily dubbed synth mayhem. On the first track “Big Bottom Baby,” you get the feeling of descending into the prison of an internet tube. Addictive eggy, thrashy synth trances are here, with steady, monotonous vocals jumping through the fast-paced melodies, achieving complexity and implying layers in their sound as they mix theme songs with crazy catchy tracks. This gives them the title of the current kings of the eggy situation.

Berlin’s Benzin brings us a blistering barrage of blazing beats and breakneck bursts of brio on Treibjagd, their debut vinyl for Static Age Musik. While Benzin rips through their songs at hardcore tempos (Treibjagd’s 12 songs fly by in a mere 15 minutes), they’re a punk rock band at heart, with songs built around hooky riffs with eruptions of surf-tinged melody a la East Bay Ray from the Dead Kennedys. But while both the songs and the dry, punchy production recall proto-hardcore punk from the US west coast, the vocalist’s German-language speak-singing infuses Benzin’s sound with the icy cool of their country’s rich art-punk tradition (Bärchen und die Milchbubis). Songs range from the spiky minimalism of “Freundschaft” (which sounds like a long-lost Group Sex outtake) and “Traumaspirale” to more fleshed-out, garage-y tracks like “Zeichen Der Zeit” and “Treibjagd,” whose sassy, hip-swinging rhythms and big riffs could win over any Hives fan. Aficionados of artsy and agitated contemporary punk bands like Warm Bodies and Spread Joy are bound to fall for Benzin’s charms, but Treibjagd is a treat for any punker with an ear for a hyperactive hook. (Daniel Lupton)

Second EP from Bristol indie pop six piece, Hamburger. ‘Beat Back The Ghouls’ sees the band take their sound in a more lush, subtle and layered direction, developing skillfully on the raw songwriting ability offered in their debut. On this record Hamburger create a more complex and sophisticated sound, flitting masterfully between driven guitar hooks, emotive lilting melodies, singalong angst-fuelled hits, and warm dreamy fuzz. ‘Beat Back The Ghouls’ is a record packed with songwriting craft. Each track is a finely-tuned pop song, with catchiness, beautiful melodic turns and delicate harmonic progressions at its heart. The soft, layered vocals add a wonderful contrast to the distorted, driven guitars, as they explore themes such as longing, want and alienation. If you’ve heard Hamburger before, ‘Beat Back the Ghouls’ will mark a new, more refined experience, a band finding itself fully-grown. If you haven’t heard them before, this record is an opportunity not to be missed.

During the holidays of 2023, Brigid Dawson and I got together at my house in Los Angeles and started transcribing a nice list of songs. Some new some very old that I've never been played live ever and put together a holiday set list which we performed two nights in a row at Permanent Records Roadhouse in Los Angeles and did a bit of ti at a charity event at the Lodge Room. Seven tunings later... It was a lot of fun and there was a lot of libation and celebration. We surrounded ourselves with good friends and came up with this charming off kilter set of recordings. I think they capture the casual energy of the evening in the mood of the crowd.

Using only a scavenged MIDI keyboard and sounds plundered from a wide swath of archaic media (90's sampler CDs, 80s VHS docs, 70s student films) musician Jonathan Orr creates startlingly accomplished slabs of thick, lo-fi electro that shimmer and pounce like nothing else on the Vancouver scene. As on his previous release (2023's 'Bulk Order') the spiritual template here is the early unreleased tapes of Scotland's Boards of Canada, particularly the twin holy grails of 'A Few Old Tunes Vol 1 & Il', but this time around things feel noticeably weirder and more destabilized, as if that template were cracking apart under the weight of older, less definable influences. The title of the album is taken from the Gospel According to Thomas: "Give not that which is holy to dogs, in case they throw it onto the dunghill." Reading the text on the verge of sleep, Orr had mistakenly understood it as pertaining not to 'holy things,' but instead to things which were specifically 'holy to dogs. What would such things be? Orrpictured a shrine of objects not valued by the world; garbage, refuse, decay, the discarded. Things forgotten or only half-remembered, like the rusted bones of ancient cities or the clips of dead media entombed on his hard drive. 'Holy to Dogs' charts a weaving course through this narcoleptic vision, from the bright epiphany of 'Petroglyph Park' to the blackened repetition of 'Roman Concrete' the eerie momentum of 'Split Foot,' and the rhythmic hypnosis of 'Far Speak'; each track building on the last in a series of audio snapshots of lost worlds, forgotten rituals, and discarded histories. An absolutely essential release from one of Vancouver's brightest (and darkest) lights.

First released in 1981 on Blue Chip Records / Cygnet Records, they called themselves THE KICKS for this record. Good luck and a lottery jackpot if you find a copy out in the wild. Reissued by 1977 Records (Japan) in 2002, also very rare, if you see one for 50 Euros you should jump on it!

Song about my own Super-Hero-Beer: Bird Pipistrello! As also two Songs for the best roller derby team in the whole wide world: The Salzburg Knockouts!

We saw that Toyozo Toyoshima, the guy who seems to be a key figure in the current japanese garage rock scene, and player in many many bands such as THE FADEAWAYS, ANGEL FACE, THE RHYTHM ACES, NERVOUS HEARTS, NIKKI AND THE TOKYO CORVETTES, PAUL COLLINS BEAT, LYRES TOKYO,… posted something about a CD his new band FALLING SUGAR put out on a label called FUZZY PALS RECORDS. We asked him to send us the tracks – and they were amazing! Our expectations were high, but these songs even topped them. An album full of cozy sugary pop songs with a lot of uuhs and aaaahs and earworms galore! We were more than happy when we came to an aggreement to put this out on vinyl!

Yep, I think it was about 5 years ago, or maybe 10, when we started working on the reissue of this classic Budget Rock (TM) record, THE KA-NIVES – Get Duped LP came out on Lance Rock Records in 2006. Lance Rock was a household name back then, they released a bunch of not so bad records (Mono Men, Gas Huffer, McRackins, The Onyas, Bum, A-Bones, Subsonics et cetera…), but they only did 300 copies of before mentioned album! Crazy! So here you have 500 more copies! WHY??? Well, we want to show the younger generation of garage punks whats it like to have fun in a band without havin any clue how to hold an instrument, tune a guitar / bass or hold a note. Listen to classics like “Moses” (Where was Moses when the lights went out – He’s in the dark!”, “Gitchy-Gitchy-Goo”, “Heebie Jeebies”, “Katobi Rock n Roll” and “Balla Balla” like you never heard them before, i promise! 13 ripped off rippers ranging from Houston rockers Sugar Shack to Japan’s own Yokohama Ginbae, and a bunch of holy CRAP in between. True replica of the OG pressing, including the BIG insert / zine – we did not work on the audio quality of course! It’s still the same messy, loud and beersoaked NOISE like it was intended to be! We even had to pay the pressing plant to do their workst job ever!

THE (INCREDIBLE) KIDDA BAND! Maybe it is the best one that never gained much attention, neither way back then, because they were few months too early, nor today, as they always had some kind of DIY ethos running in the band. Maybe the bandmembers or the chemistry in the band wasnt the best, to many missed opportunities, to many about-to-break-through moments that went by without having any effect on record sales, money or lenghty touring… anyways, here we have our pocket band, the one that ONLY has great hit songs that make everone dancing – and no one really knows… Released in 1983 on VC Records unter the WE’RE ONLY HUMAN moniker with a generic sleeve. A solid 250+ Euros record in OG.

Finally, a new 7 inch single from the worlds greatest superhero, with not only ONE hit song, nope, there are four (1-2-3-4!) fantastic garage punk compositions to shake your tailfeathers. It was in 2007 when we put out the first single of Batman, way back then he was just a noisy duo, with is comrade Robin. With this recording he has gathered a smelly group of people around him who call themselves MIGHTY ANTI-HEROS. It’s no less than GREEN HORNET on guitar, WONDERWOMAN on bass and GHOST RIDER pounding the skins. What you get is no surprise of course, talentless as they are, you get get your ears cleaned with loud and sloppy punk tunes! Are they „Good-Bad“, Bad-Good“, „Good-Good“ or „Bad-Bad“ – you decide, but I couldnt care less, as we onlee did 300 copies of this, worldwide! All other BATMAN vinyl records sold out in a wink, so why should this not be happening here as well? You guys and gals NEED nasty primitive garage punk like this, and you KNOW it! Many bands prove that long hours of practice and hard work pay off with their crisp, clean sound. Other ones, like BATMAN AND THE MIGHTY ANTI-HEROES combine great punk rock and roll songs with incredibly noisy recording techniques and are still on top! Every track is just better than the other one, and vice versa! It is crazy!

"Teenline" is one of the best power pop songs ever, THE SHIVVERS LP with all their hits is a must have for every powerpop enthusiast... the only thing thats kinda sad about this band is: they only existed from 1980 - 1982... so whats on the LP (and okay, on the Hyped to Death CD) is all we ever will get from them... UNTIL NOW!!! We could not believe our eyes when Jill Kossoris told us she has two new songs... and here they are! To be honest, they are different to the uptempo tunes from the early 80ties BUT they open up a different dimension of this group. There is so much 80ties vibe in these two songs, it's just unbelievable, it's like a soundtrack to a John Hughes movie that was never made...

NYC duo Straw Man Army return with their third LP, “Earthworks”, to complete a trilogy of records begun with 2020’s “Age of Exile,” and 2022’s “SOS”. Whereas “Age of Exile” dealt with the haunted landscapes of colonial history in the Americas, and “SOS” gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024’s “Earthworks” signals the band’s attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, “Earthworks” finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like “Turn the Wheel” and “Second Nature” mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP Disk. “Earthworks” is an album that holds and subverts many contradictions—juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track “Spiral” — “Is this all that’s left for us these days? / Apathy and rage?”— Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace.

SECOND DEATH debut with a 9 track MLP. Following the steps of London bands NO and PERMISSION from which the band shares half its members with additions from local bands SUBDUED and LAST AFFRONT. Pulling similar musical threads as their previous groups, their distinctive dissonant brand of hardcore is dense and claustrophobic, like there are too many notes crammed into too small a space, riffs poking out at odd, uncomfortable angles like the corners of a hand-me-down bureau in a cramped London bedsit. SECOND DEATH’s manic rhythms are littered with unexpected accents that disrupt any slide into safety, comfort, or convention, and while moments in “Sycophant” or “Caving” threaten to break into a mosh, there’s invariably an oddly timed accent that derails the choreography like a feral tweaker wandering into the pit. Ben from LAST AFFRONT handles vocals, and their voice and lyrics reflect the music’s sense of tortured isolation: short, clipped lines from a nerve rubbed raw, torn between fighting and fleeing, sparks of anguish flying in the direction of everyone and no one in particular. Life isn’t easy, and neither is SECOND DEATH’s music, but there’s poetry to how these nine tracks charge fitfully toward a resolution that never comes, a resonant echo of life’s self-perpetuating, ever-escalating cycles of anxiety and torment.

Trust Fund, the musical project of singer-songwriter Ellis Jones, returns this year with a fifth album, Has It Been A While?, recorded earlier this year in Sheffield by producer and close friend Joe Mackenzie Todd,