airpop terminal 2 airpop terminal 2

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airpop terminal 2
airpop terminal 2
side a 01 charming - downtown 02 cinnamon - springtime of my life 03 birdie - let her go 04 eggstone - sheena 05 den baron - moving star
side c 01 notre-dame - les chemins de fer 02 subterfuge - teller leer 03 superheroes - see you at the railroads 04 neil armstrong - going for gold
side d 01 spearmint - sweeping the nation 02 notre dame - sur ton respondeur (new version) 03 shermans - girl 04 charming - you were not meant for me 05 norman bates - together
side e 01 cinnamon - stars collide 02 eggstone - tema version 2 03 birdie - she can‘t lose 04 jordans- strongman 05 insta - sydney
an apricot records compilation
side b 01 norman bates - television (saved my life) 02 jordans - she’s my water 03 shermans - make believe 04 spearmint - this is green, this is grey 05 insta - nite-lite
side f 01 subterfuge - blind 02 den baron - she is everything (since she walked away) 03 superheroes - travelling into space 04 neil armstrong - we all knew
airpop terminal 2
aprivin015
27365-1
also available on double cd EFA 27365-2
aprivin015
apricot records · walkmühlstrasse 87 · 6 5195 wiesbaden · germany · fax +49-611-718972 · info@apricot-records.de · www.apricot-records.de
aprivin015
cover_neu.qxd
19.12.2000 21:23 Uhr
Seite 2
compiled and organized by apricot, (p) + (c) apricot records 2001.
mastered at zentralstudio mainz. cover concept apricot, design by mariko.
photograph of the cover booklet used with kind permission of jetBLUE.
thank you...
air avianca (frau klaussner), air malta (simone berg), andreas knauf, annikki kretschmer, banessa and pablo, bernie komet, björn brauer, bungalow, christoph dallach, dorthe hansen,
ed & jill, george dreghorn, helmut heuer, herjulv (tuba), hiromi araki, icelandair (frau schuster), james and chandra agren (darla), jan kühn, jan wigger, jean wernheim, jet blue airways
(gareth edmondson-jones), jörg winzer, kalle angenvoort, karrera klub, katja eckert, luis calvo soler, mariko neumeister, mark cohen, martin theander, masako kato, masayasu kurimoto, mikael matsson, mikki masaka, neale harmer, nick hobbs, oliver goetzl, paul kelly (birdie), pelle (border), peter galanek, rhodri marsden, ryan lewis, sadato, sean (rtd shop), tim
schneck, shibuyahot, tobias paldauf, tomohiro fujii, tricatel, tris penna, ulli hahndorf, uwe jähnichen, uwe weigmann, william lautenbag, wolfgang thoma, yebo & jessica, zwen keller
...and of course all the bands who contributed to this compilation.
all songs remain copyright of the bands
track A.2, A.4, E.1, E.2 licensed with kind permission from MNW Music Network (Sweden)
track A.3 and E.3 licensed with kind permission from it records (U.K.)
track B.4 and D.1 licensed with kind permission from hitBACK Records (U.K.)
track C.3 and F.3 licensed with kind permission from Crunchy Frog Records (Denmark)
all rights of the producer and of the owner of the works reproduced reserved. unauthorized copying, hiring, lending, electronic storage, public performance and broadcasting of this record prohibited.
I grew up listening to the Pale Fountains and Aztec Camera and Ben Watt. This was in the early eighties, and it rained a lot and looking back I suppose it was rather a feeble moment for music.
I had always seen myself as hanging around on a yacht then, espadrille-shod, sailing the Aegean sea, lying on my stomach, spooning vanilla ice cream with Drambuie into the mouth of a girl
who would have been written about by Stephen Spender, had she been a boy. The cliffs of Santorin would drift by above us, and the girl would slip out of her Pucci wrap and jump into the glittering ocean, quite naked, and I’d turn over on my back and die, grinning, of happiness.
But actually, it was dreary music then, you know. The kind of music that I really wanted to listen to just did not exist. The anorak stuff not only evoked boys in terribly cut jackets and Doc Martens running around, desperately trying to emulate the guy on the cover of that old Orange Juice album (and failing), no, all the people in those bands that I forced myself to like then actually
looked the way their music sounded, too: Dreary, spotty and a whole lot too effete for their own good. A bit the way Belle and Sebastian are now, had the anorak lyrics been better then. There
was no elegance at all in wimpyness.
So I threw all my albums out and kept the things on EL, which were different, and then, fifteen years later, I discovered this record, which you have now bought. If you listen carefully to Airpop 2,
you’ll discover quirky and wonderful things, bass lines which are lifted from the likes of Haircut 100, odd little licks and spins and marvellously coy and stylish stuff, and the supreme chewy
gooeyness of Subterfuge, Insta and Eggstone, too! And the divinely droll Neil Armstrong should just about, well, floor you.
These are songs that will paint twentyeight different kinds of smiles on your face. And, come to think of it, I never did end up buying that yacht. I never needed to, you see. It was always there.
Christian Kracht
Bangkok, January 2001
airpop terminal 2
apricot records · walkmühlstrasse 87 · 6 5195 wiesbaden · germany · fax +49-611-718972 · info@apricot-records.de · www.apricot-records.de