Records Made at Tapetown: Release Credits

Most of what we do never gets a studio credit online. Streaming services do not list engineers, and a lot of the records we worked on only came out digitally. This is the list we keep ourselves: releases recorded, produced or mixed at Tapetown, with what we did on each one. Rasmus Bredvig is the engineer on all of them unless another name is given.

It sits next to our session credits, which cover the live sessions on YouTube. Where a public page states the credit, we link to it. The rest comes from Rasmus, who made the records.

Recorded and mixed at Tapetown

Abdomen, Yes, I Don't Know (2025). Produced, recorded and mixed by Rasmus Bredvig at Tapetown. Stereogum. The single Dazed was also produced by Rasmus. Bandcamp

Sauna Senere, EP (2021) and EP 2 (2023). Every song on both was recorded and mixed at Tapetown.

Twin Dive, Lavish Material (2022). Recorded and mixed. Also the single Joy Will Follow (2019).

Hollow Birds, Murder of Crows (2020). Recorded and mixed by Rasmus Bredvig at Tapetown, mastered by Emil Thomsen at ET Mastering. Bandcamp

Flowers, Doom City (2019, Luik Records and Meduse MagIQ). Recorded and mixed. Bandcamp

why sun, Traffic (2019, 7-inch single). Recorded and mixed.

Catch The Breeze, Glow (2018, Kundalini Records). Recorded at Tapetown, engineered and mixed. Bandcamp

Shocking White, Ghosting (2017, Tapetown Records). Recorded and mixed. Sound of Aarhus

Lessons in Sailing, Tapetown Sessions (EP). Recorded and mixed.

Tin Can Telescope, Born To Rule The Uy Scuti (2015). Produced and mixed, recorded at Tapetown Studio. Discogs

Recorded at Tapetown

Soon, Soon (2022, Subroutine Records). Recorded by Rasmus Bredvig at Tapetown Studio. Discogs

Phosphor Kid, All The Usual Strangers (EP). Recorded.

Catch The Breeze, Into the Wide (2022). Most of the album was recorded live at Tapetown. Mixed by Christian Alex Petersen at Grapehouse Studios. Radar

Tales of Murder and Dust, Fragile Absolutes (2020, HPNG Records). Partly recorded at Tapetown. Destroy//Exist

The Telescopes, Radio Sessions 2016-2019 (2024, Tapete Records). Two tracks recorded at Tapetown in 2017. Discogs

Produced

Cloudwalk, Rise Again; My Sun, My Mind. Produced by Rasmus Bredvig, mixed by Sebastian Wolff. Bandcamp

A Mess, Woman (2021, Puffin Artlab). Produced tracks 1, 2 and 5. Discogs

Love Talk, Her Name Is Jenny (2017). Produced by Rasmus Bredvig at Tapetown. Discogs

Tin Can Telescope, Winding Up The Reeling Sensation (2016). Produced and mixed at Tapetown, with Rasmus producing tracks 4 and 5. Discogs

Moon Loves Honey, Apart (2016). Produced by Nikolai Fuglsang and Rasmus Bredvig. Discogs

John Alcabean, Real Time Fiction (2016, Tapetown Records). Produced by Nikolai Fuglsang and Rasmus Bredvig. Discogs

Mixed

Lukas Vanggaard, Håndspillede Hits and Frisk Prins (both 2020). Mixed. Bandcamp

Bonnie Cried, We Were Lovers (2019, Final 500 Records). Tracks 6 and 7 mixed at Tapetown Studio. Bandcamp

The Survivalists, Breakfast Is A Scam (2017, Tapetown Records). Mixed.

Broken, Eternal Fallout (2013). Mixed and mastered. Discogs

Rasmus Bredvig, earlier and outside the studio

These credits are Rasmus's own. Some are from before Tapetown had its own rooms.

Squaresville, Not If You Were The Last Square On Earth (2011, EP, Birds With Records). Produced, engineered and mixed. Recorded at The Factory Studios and Feedback Recording. Discogs

Squaresville, Hush, Here Comes The Whizbang (2010, 7-inch). Mixed by Rasmus Bredvig and Jesper Jungløw. Bandcamp

Er De Sjældne, Lyserød Lyseblå Beige (2009, Geiger Records). Recorded by Rasmus, who also mixed tracks 7 and 8 and produced track 7.

Captain Casanova, If You Come Around Here (2013, 7-inch, Für Records). Rasmus's own band. He sings and plays guitar.

Why we keep this list

A credit is the only proof a studio has. If nobody writes down who recorded and mixed a record, the work disappears the day the band changes its Bandcamp page. So we write it down here, and we only list what we did.

The list is not complete. If we worked on your record and it is missing, write to us and we will add it. More about who we are on our About page.

A lot of what we mix was recorded somewhere else. If you have a record that needs mixing or mastering, this is how we work.

FAQ

Who is the engineer on these records?

Rasmus Bredvig, founder of Tapetown and our head producer, unless the entry names someone else.

Where were these records made?

At Tapetown in Aarhus. We started in 2011 at the old Feedback studio in Viby, and from 2012 we had our own studios at Lydhavnen. Lydhavnen has since closed; our mix studio in Aarhus is open, we record at our recording studio on Djursland, and our new studio, The Reserve at Friland on Djursland, opens in 2027.

Why are some of these credits missing on Discogs and streaming services?

Streaming services do not show who recorded or mixed a record, and Discogs only lists what someone has submitted. Many of these releases were digital only and nobody entered them.

Does Tapetown mix records that were recorded somewhere else?

Yes. Mixing and mastering are done online, and several records on this list were recorded elsewhere and mixed by us.

Is this list complete?

No. We add releases as we confirm them.

Recording on Djursland: Why Tapetown Is Building Its New Studio at Friland

Tapetown is building its new home at Friland on Djursland, about 30 minutes outside Aarhus, opening in 2027: a 400 square metre complex called The Reserve, with around 200 square metres of studios plus art space and accommodation for visiting bands. Djursland is the peninsula east of Aarhus that reaches into the Kattegat; Friland is an experimental, debt-free community near Rønde where the houses are built from straw, clay and wood fibre. We bought a large part of a former warehouse and workshop building there, inside a Danish nature reserve, and we are turning it into rooms built for acoustics first. Until it opens we record at our recording studio on Djursland, mix at our mix studio in Aarhus, and mix and master online for artists anywhere.

Where Djursland is

Djursland is a hilly lowland peninsula of about 1,400 square kilometres in eastern Jutland, split between Syddjurs and Norddjurs municipalities, with around 80,000 people. Its largest towns are Grenaa, a seaport with ferries to Sweden and to the island of Anholt, and Ebeltoft, a tourist town with a ferry to Zealand. Mols Bjerge National Park, established in 2009, covers part of the south, including coast, seabed and open hills kept clear by grazing. Aarhus Airport is on Djursland, about 41 kilometres from the city. For a band, that means an airport, two ferry ports and Denmark's second city within reach, and mostly fields and coast in between.

What Friland is

Friland sits at Ravnen 4, 8410 Rønde. It is an experimental community where residents cannot borrow against their land or houses, where price caps stop speculation, and where each household is expected to run a business or have a workplace at home. Houses are built from straw bales plastered with clay and insulated with wood fibre, sheep's wool, flax or hemp, some on foundations of mussel shells. Residents treat their own wastewater and aim to produce very little waste. Visitors are welcome to walk around the houses and gardens.

Part of the area is zoned for business, which is how a recording studio ends up there. A studio that hosts bands for days at a time fits a place built around people working where they live, and the quiet is the point: there is no traffic to mix around and no neighbour above the control room.

Why recording moved out of the city

Tapetown started in 2011 at Feedback in Viby, the Aarhus studio that closed that year, and in 2012 we co-founded Lydhavnen, a community of twelve music businesses in a former meatpacking district that opened with local-authority support. Our Lydhavnen recording studio, above a 300-capacity venue, has since closed; the Tapetown mix studio in Aarhus is open and operating, and recording has moved to our studio on Djursland. Ten years of live sessions in the city taught us what the next room needed: space, quiet, control over the building, and the chance to build rooms for acoustics from the floor up rather than adapting someone else's walls. Friland gives us a building we own a large part of, in a nature reserve, with, as the build page puts it, a lot of space to record.

What we are building

A 400 square metre complex, The Reserve, with around 200 square metres of studios, plus art space and accommodation. The old floor tiles from the building's warehouse years have been taken up and are being reused as storage along the side of the building and as the base of a small outdoor stage. Under the new concrete floor goes underfloor heating. An engineer has to assess the roof's load capacity before we take roofing quotes. Insulation and floors were the first work after a long planning phase on materials, budget and people; dividing the rooms, built for acoustics, comes next. The acoustic consultant, who posts as @hterkel, has built several studios and venues and advises on construction and treatment. Meanwhile the mix room has a new equipment rack, and several compressors, including 7110 units, have moved into the recording setup. The studio build page carries the diary in order: the announcement, removing the floor, roof planning, materials arriving.

What it means for bands

Recording away from a city changes a session. Nobody leaves at six, there is no load-in through a bar, and the room is yours for the length of the record. Our recording studio on Djursland already works this way; the Friland building will do it with rooms designed for it, and accommodation on site so a band can stay for the length of the record. We will publish travel details and the opening date on the studio page as they are fixed. Mixing and mastering do not wait for 2027: we mix remotely now, hybrid analogue, with attended sessions across time zones.

Who is building it

Rasmus Bredvig, owner and manager, has run Tapetown for about 15 years, recording and mixing the Tapetown Sessions with Iceage, The Murder Capital, Elias Rønnenfelt and others, and well over 100 releases. Troels Damgaard Holm is lead recording engineer, with credits including First Hate, Blaue Blume, When Saints Go Machine and Turquoise Sun. Gustav Scheel mixes indie, folk and Americana. Together the team has worked with more than 150 artists.

FAQ

Where is Friland?

On Djursland in eastern Jutland, Denmark, at Ravnen 4, 8410 Rønde, about 30 minutes outside Aarhus by car, in a nature reserve, and roughly 40 kilometres from Aarhus Airport, which is also on Djursland.

When does the new Tapetown studio open?

In 2027. The Reserve is a 400 square metre complex with around 200 square metres of studios, art space and accommodation. Insulation and floors are underway and the rooms are built next. The build diary on the studio build page is updated as each stage finishes.

Can we record at Tapetown before 2027?

Yes. We record at our recording studio on Djursland while The Reserve at Friland is built, and the Tapetown mix studio in Aarhus is open. Write to us with your dates and song count through the contact page and we will quote the project; days in the studio and the number of songs set the price.

Does Tapetown still mix online while the studio is built?

Yes. Mixing and mastering are online for artists anywhere, hybrid analogue, with attended remote sessions. The build does not change that.

Follow the build

The studio build page has the diary and photos, and the studio page describes the current setup and the team. If you want to record on Djursland before or after the opening, the contact page is the place to start.

How We Counted: The Method Behind Our Press-Archive Report

This note documents how every number in How Music Blogs Cover Live Sessions: Data from 328 Independent Articles was produced. The count date is 27 October 2026. One script reads the files described below and writes every table the report uses, so the numbers can be rerun on the same files and checked. We publish the method so that anyone citing the report can see what was counted, what was left out, and where the soft edges are.

The sources

• The research log. Every article, page and mention we found about our sessions, the records we have worked on and the studio: 732 entries, each with its outlet, date, coverage type, what the article names, and a verification status.

• The reviewed link list behind our press page. 424 links that went through two review rounds. 328 of them are marked as counted; that set is what the report analyses, and it is the same set behind the headline on the press page.

• An automatic link check from October 2026: whether each link was live, whether an archive copy exists, and whether the page text names Tapetown.

• The list of sessions and records with their release years. We store years, not dates.

• The 32 fully verified pieces shown as featured on the press page, with publication dates and a note on whether the article links to our site.

The research log and the link list are joined on the article URL, normalised so that www, mobile and tracking variants of the same address match. Every one of the 424 links matches a research entry.

What counts

The 328 counted articles follow the rules we use for the press page:

• Independent editorial coverage only, checked by hand or by the automatic page check.

• Syndicated copies count once.

• A submission network counts once.

• Paid placements and press-release copies never count.

• Coverage of our founder's own band never counts.

• Organisations, festivals and artist sites are listed on the press page but not counted.

• An outlet's country is where the outlet is based, not the language it writes in. Eighteen outlets, with 46 articles between them, have no known country. They count as outlets, never as countries.

An article is one counted link. An outlet is one publication. A session or record is one entry in our list; one entry can hold two songs or two releases by the same artist. Three entries are about the studio itself, with 11 articles between them, and appear as "studio" in the tables.

Why not all 732 entries

The research log is a record of everything we looked at, not a list of coverage. Each entry falls into exactly one of these buckets, the first rule that applies:

Bucket	Entries
Counted: independent editorial coverage of a session, record or the studio	328
Paid or submission-network placement	62
Coverage of our founder's own band	22
Press-release or publicity copy	40
Possibly automated content	6
Syndicated copy or duplicate page	3
Not editorial press: artist, label, platform, database, retailer, venue, festival or institution page	110
Dead link with no archive copy	13
Reviewed and left out: not about the session or record	55
Editorial or unclassified, but outside the press page's sessions and records	93

The last bucket is left out on purpose. Those entries concern artists and releases without a page on our press section, or are still unclassified. They have not been through the press-page review, so they are neither counted nor analysed.

How coverage types were assigned

The research log holds more than 300 free-text descriptions of what each article is. Each counted article was given one of six categories, matched in this order on the description, the kind of evidence recorded, and the article title:

1. Roundup or list: flagged as a roundup in the link list, or described as a roundup, list, playlist, selection, ranking, year-end list, picks, weekly, mixtape, column or song of the day.

2. Premiere: described as a premiere or an exclusive.

3. Review: described as a review, in English, Danish, Italian or German.

4. Feature or interview: an interview, Q&A, profile, studio visit, feature, spotlight, editorial or credit piece.

5. News: news, an announcement, an advance, a preview, a brief, a report, a partnership or a mention.

6. Post built on the session video: the remaining session, embed, video and stream posts.

The line between a feature and a post built on the video follows the labels used during research and is soft. Read the two together where it matters: 163 articles, or 49 per cent.

Who the article names

This classification is built from what was recorded when each page was opened during research; the pages were not re-read for the report.

• An engineer or producer is named when the research notes say the article credits, names, quotes or interviews one of the people who recorded, mixed or produced for us, or when the evidence recorded for the article is a named engineer or explicit personnel. Who those people are is listed in Tapetown Session Credits. Notes saying that a credit came from a release page, a database, the artist or our own credits post are not counted, and neither are filming credits or tags.

• Tapetown is named, but no engineer when the automatic page check found "Tapetown" or "Bredvig" in the page text, or the title or notes say the page names Tapetown or the Tapetown Sessions.

• Only the artist or release when neither applies.

The "engineer named" share is a lower bound. A page that names an engineer without the notes saying so is counted lower, and the automatic check can also find "Tapetown" in a tag or a sidebar.

Outlet country

The country is the outlet's own, as recorded in the link list. The report's "outside Denmark" share uses only the 282 articles with a known country: 223 of them, 79 per cent, came from outlets outside Denmark.

Dates and timing

A publication date to the day comes from the research log first, then from the featured pieces, then from a year-month-day pattern in the article's own address. 257 of the 328 articles have one. Year-only and month-only dates are not used for the week counts.

Because we store release years and not release dates, no article can be timed against a release date. The report uses two measures instead:

• Year lag: the article's year against the session's or record's release year, for entries with a single release year. 242 articles qualify; 94 per cent were published in the release year.

• Weeks after the first article: for each entry with a single release year and at least two dated articles, the clock starts at the first dated article published in the release year. Articles dated before the release year, such as pre-release singles or older band news, are left out. Every later dated article is measured in days and then whole weeks. That gives 38 sessions and records and 149 follow-up articles. The first article is usually the premiere or the release-day post, so this approximates time from release, but it is not the same thing.

Entries whose releases span two years are left out of both timing measures, because the clock cannot know which release an article follows.

How long the articles last

For the 328 counted articles, a link is archive copy only when the link on our press page is a web-archive copy, or the review recorded it as archived. It is live when the automatic check returned the page, and for the hand-reviewed links when the reviewer saw it. Three articles were blocked or down at the automatic check and were confirmed by hand.

Whether an article links to our site is recorded only for the 32 featured pieces, 25 of which are in the counted set. Four of those 25 link to tapetownstudio.com. The link was not checked for the other articles, so the report gives only that figure.

Rounding

Percentages are rounded down to whole numbers, so shares can add up to less than 100. The headline counts are rounded down in the report as they are on the press page, "more than 120 outlets"; the tables keep exact numbers. Medians are exact.

Known limits

1. One article is probably misfiled. A 2018 article counted under a record released in 2025 concerns, according to the research notes, an earlier recording made elsewhere, and names Tapetown only through a showcase. It adds one article to that record's count and changes nothing else.

2. Paid submissions. One counted article carries a note that it may have come through a paid submission category, and 11 of the counted outlets also accept paid submissions. Until our full submission records are matched against the archive, the headline outlet count has a worst case of "more than 110".

3. Unknown countries. Eighteen outlets with 46 articles, 14 per cent, have no known country.

4. The counted articles run from August 2015 to 2026. The research log holds entries back to 2009, from before the studio existed and about our founder's own band, and two entries from 2013 that are news items about band competitions. None of them is counted, so the report and the press page both count from 2015.

5. A few year values are missing in the research log; none of them belongs to a counted article.

Where to go from here

The report itself is How Music Blogs Cover Live Sessions: Data from 328 Independent Articles (2015–2026). Every counted article is listed, with a link, on Tapetown in the press. The script and the tables behind the report are kept with the archive, and we share them on request.