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This album is an escape from that.\"From it's opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: \"We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done.\"The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk (\"Drop Me Out,\" \"Mob DLA\") to jangling indie sneer (\"Worth The Wait,\" \"Deserve It\") to heavy alt (\"Feeling Bless,\" \"Fill The Gap\") to shoegazey spoken word (\"Untethered\"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: \"For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places.\"Nowhere is this sentiment flexed more boldly than on \"Mind's A Lie,\" a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths (\"Face to face with all I've known \/ I can't call these thoughts my own\"). 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The front man for American bands Ceremony and SPICE realized his solo recording project initially as a challenge, to write songs from the ground up, learning the instrumentation and excavating his subconscious in the process. The point was not fluency in musicianship as much as vulnerability; to pull something honest from a moment, unguarded, unpolished, unapologetically amateur and pure. The collection finds Farrar engaged in open-ended poetic dialogue, crossing drum patterns and found sounds with stabs of guitar, bass, and keys. After over twenty years in the comfort and chaos of collaboration, Farrar sheds it all as a test. The results are distinctive and stirring. Farrar's punk pathos is present in traces of Cleaning, while his clearest cues come from music built more through repetition: drone, no-wave, Avant-jazz, and beyond. His plainspoken prose nods to Lou Reed, Rowland S. Howard and other weirdo greats. His lyrics riff on love, addiction, fatherhood, and life in the modern world. \"I wanted to make images that people can see clearly,\" he says. Farrar used to teach writing and literature, and here he applies the simple principle he encouraged his students to follow: don't overthink it. \"I was just saying to myself, these songs should be fun. They shouldn't be stressful. Do a couple of different takes and call it, you know, don't obsess over the sounds of everything. Do whatever comes out naturally, and if you feel it, then print it.\" Selected from hundreds of freeform songs he's recorded on borrowed gear in recent years, the album presented itself over time. \"It just kept coming.\" 'Cleaning's tone has a way of bending time, displacing the listener through a hall of songs, each opening a different door into rooms that often feel eerily familiar. The gurgling bass of opener \"Advance\" returns elsewhere, haunting tracks like \"Ovidian,\" a reference to Metamorphoses by the Roman poet Ovid, where Farrar waxes on the wonder of change over distant chimes. Instrumentals \"Gravity Hill,\" a flutter of buzzing synth and static, and \"Frogs,\" all strums and pots n' pans percussion, serve as trance-inducing interstitials, adding to the power of the prose that surrounds. \"Exile\" looks back on fallouts he can no longer repair; \"So much of your heart caught in my exile,\" he sings with tender resignation, looping a lone piano refrain with ambling guitar chords for the collection's most structured arrangement, a reminder of Farrar's knack for melodic phrasings. The album ends on \"Traveling Light From Afar,\" a full step faster than anything that precedes it. Here, over a backbone of motorik pulses, Farrar addresses the crux of the project head-on. \"I've been so young in my old age \/ Selfish \u0026amp; self-pitying \/ But that's just narcissism-man.\" It is this balance, between gritty self-interrogation and the clarity of self-awareness that comes with getting older, that the artist can make space for progress, emptying out the building, one line at a time.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdvance\u003c\/li\u003e\n\u003cli\u003eThe Solitude Of Victory\u003c\/li\u003e\n\u003cli\u003eOvidian\u003c\/li\u003e\n\u003cli\u003eGravity Hill\u003c\/li\u003e\n\u003cli\u003eIn Your City\u003c\/li\u003e\n\u003cli\u003eExile\u003c\/li\u003e\n\u003cli\u003eHere Again W\/ Birdy\u003c\/li\u003e\n\u003cli\u003eFrogs\u003c\/li\u003e\n\u003cli\u003eStrawberry\u003c\/li\u003e\n\u003cli\u003eTraveling Light From Afar\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558557\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.15.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"R.J.F.","offers":[{"title":"Default Title","offer_id":58253779828817,"sku":"22975","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4435444-3406415.jpg?v=1759466176"},{"product_id":"drab-majesty-completely-careless-2012-15-cd","title":"Completely Careless (2012-15) [CD]","description":"\u003cp\u003eCapturing the early years of Los Angeles ethereal rock entity Drab Majesty, DAIS pulls together \"Completely Careless\". A compact disc collections featuring Drab Majesty's self-released Unarian Dances, the collaborative split release with legendary Eleven Pond, Drab Majesty's cryptic EP \"Unknown to the I\" and debut full length album \"Careless\". 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Recorded in a roof space attic during the summer of 1968 by Genesis P-Orridge (then a 18 year old Neil Andrew Megson) and friends, and later pressed to a single acetate in 1969. This recording is probably the most documented, yet never heard, missing piece of musical history in the legacy of COUM Transmissions, Throbbing Gristle, and Psychic TV. Sounds of clattering instruments, vocal experiments and the innocent absurdity of youth channeling influences of psychedelia, Fluxus, John Cage and beatnik Bohemia which draws a loose sketch of the panoramic life to come for Genesis Breyer P-Orridge. Remastered and preserved in a limited vinyl pressing, with liner notes written by Genesis Breyer P-Orridge recalling the zeitgeist of the late 60's UK underground.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJoint Effort\u003c\/li\u003e\n\u003cli\u003eFiresong\u003c\/li\u003e\n\u003cli\u003eMourning to Thee Dusk\u003c\/li\u003e\n\u003cli\u003eWaltz of Thee Newt\u003c\/li\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eClockwork Cloud\u003c\/li\u003e\n\u003cli\u003eRather Hard to Libel\u003c\/li\u003e\n\u003cli\u003eA Very Short Middle\u003c\/li\u003e\n\u003cli\u003eBalloon\u003c\/li\u003e\n\u003cli\u003eLament\u003c\/li\u003e\n\u003cli\u003eBreakfast\u003c\/li\u003e\n\u003cli\u003eThee Early Worm\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 638126003652\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.11.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Genesis P-Orridge","offers":[{"title":"Default Title","offer_id":58253841498193,"sku":"59299","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3656906-3393275.jpg?v=1759466890"},{"product_id":"body-of-light-time-to-kill-indie-exclusive-clear-vinyl-red-indie-exclusive","title":"Time To Kill (Indie Exclusive) [Clear Vinyl] (Red) [Indie Exclusive]","description":"\u003cp\u003eBirthed from Arizona's regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics. Their music is not only individually personal, but drawn from experiences shared between the two brothers - and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion. On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single \"Time to Kill\" kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove that invites you to \"let the memories fade.\" The follow up single \"Don't Pretend\" invokes sparkling nostalgia and innocence over a dark and driving beat paired with vintage electronic movements. The haunting \"Dangerous\", slows the pace with it's pendulum-like rhythm and ominous intonation, falling between a hopeful synth pop ballad and shadowy dirge - a slow dance for the sunrise set. 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After releasing the debut album, Careless, Drab Majesty split time between touring and studios, piecing together the ideas for the follow-up album, \"The Demonstration\", an album depicting Deb Demure as only one part of Drab Majesty's overall being and storytelling saga.With \"Induction\", Drab Majesty sets up an ethereal backdrop for which the rest of the album follows. Tracks such as \"Dot In The Sky\" and \"39 By Design\" (a song pointing to the doomsday Heaven's Gate cult) use lush, shoegaze approach to portray the fragility of humanity's loss of self, looking only to the heavens for answers. \"Cold Souls\" flawlessly executes Drab Majesty's arpeggiated finger picking signature, complete with washes of hazy noise and atmospheric reverb. With the addition of Mona D. to Drab Majesty's mysterious portfolio, songs from The Demonstration perpetually create new meanings and depth with every listen. After Drab Majesty wraps up The Demonstration with \"Behind The Wall\", one is left wondering what kind of identity is truly their own.Compact disc features two bonus tracks plus four exclusive remixes by Cold Cave, Drew McDowall, Silent Servant and Martial Canterel.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eInduction\u003c\/li\u003e\n\u003cli\u003eDot in the Sky\u003c\/li\u003e\n\u003cli\u003e39 By Design\u003c\/li\u003e\n\u003cli\u003eNot Just a Name\u003c\/li\u003e\n\u003cli\u003eHath No Form\u003c\/li\u003e\n\u003cli\u003eToo Soon to Tell\u003c\/li\u003e\n\u003cli\u003eCold Souls\u003c\/li\u003e\n\u003cli\u003eA Spire Points at the Heavens\u003c\/li\u003e\n\u003cli\u003eKissing the Ground 1\u003c\/li\u003e\n\u003cli\u003eForget Tomorrow 1\u003c\/li\u003e\n\u003cli\u003eBehind the Wall 1\u003c\/li\u003e\n\u003cli\u003eToo Soon to Tell (Cold Cave Remix) 1\u003c\/li\u003e\n\u003cli\u003eHath No Form\/Forget Tomorrow (Drew McDowall Remix) 1\u003c\/li\u003e\n\u003cli\u003e39 By Design (Martial Canterel Remix) 1\u003c\/li\u003e\n\u003cli\u003eKissing the Ground (Silent Servant Remix)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 646263945490\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 1.20.17\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Drab Majesty","offers":[{"title":"Default Title","offer_id":58253882753105,"sku":"99050","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3559272.jpg?v=1759467342"},{"product_id":"coil-musick-to-play-in-the-dark-2-uk-cd","title":"Musick To Play In The Dark 2 (Uk) [CD]","description":"\u003cp\u003eAfter leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter \"Sleazy\" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick Is To Play In The Dark, widely hailed as an artistic zenith upon it's release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed \"moon music\" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy.Opener \"Something\" is stark and incantational, a spoken word experiment for windswept voids. \"Tiny Golden Books\" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. \"Ether\" is an exercise in funeral procession piano and intoxicated wordplay (\"It's either ether or the other\"), while \"Where Are You?\" and \"Batwings - A Liminal Hymn\" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight.As a whole the collection skews more muted and remote than it's predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination \"Paranoid Inlay\" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. \"It seems concussion suits you,\" he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: \"On a clear day I can see forever \/ that the underworld is my oyster.\"RELEASE CUSTOMER FACING SYNOPSISMARKETINGINTERNAL MARKETING NOTES\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSomething\u003c\/li\u003e\n\u003cli\u003eTiny Golden Books\u003c\/li\u003e\n\u003cli\u003eEther\u003c\/li\u003e\n\u003cli\u003eParanoid Inlay\u003c\/li\u003e\n\u003cli\u003eAn Emergency\u003c\/li\u003e\n\u003cli\u003eWhere Are You?\u003c\/li\u003e\n\u003cli\u003eBatwings (A Limnal Hymn)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672130\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.29.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Coil","offers":[{"title":"Default Title","offer_id":58253910736977,"sku":"109348","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4069191-2800690.jpg?v=1759467668"},{"product_id":"soisong-xaj3z-lp","title":"Xaj3z [LP]","description":"\u003cp\u003eSoiSong is the bright, stunning, and short-lived project conceived in 2007 by Ivan Pavlov (CoH) and Peter \"Sleazy\" Christopherson (of Coil). The duo combined Pavlov's uncompromisingly-visceral digital aesthetics with Sleazy's decadent, dark and whimsical approach to creation. Primarily located on the Eastern Pacific Rim, the two named the project after the Thai word for 'two' (song), as well as the seedy red-light quarters (\"gloomy Soi's, or alley-ways\") of Bangkok. Together, they developed a unique, elegant, yet rather cryptical musical language.SoiSong's debut full-length 'xAj3z' is a digital reference to jazz: seemingly acoustic, effervescent, boundary breaking, digital-era entertainment where light rays and tropical heat are backed up by zeroes and ones. The album is a defining statement, and an arbiter of the possibilities in the (then-)developing late-2000s music landscape. Without the desire to be commercial, or convenient, SoiSong was not beholden to the conventions of easily defined tagging, and, in their own, \"new, as-yet-un-categorizable genre,\" with xAj3z being it's masterwork.'xAj3z' freely mixes musical styles and combines various approaches to music-making: artificial vocalists are accompanied by real drums, jazz-noir arrangements meet the delicate melodics of the South Seas, and computers are made to sound warm and organic. The album shows no apparent respect for genre-definition and aims at communicating with the listener at highest levels of emotional intensity, often lyrical, sometimes dark, on occasions amusing and even uplifting. \"Our songs, like Angels, are largely Mathematical.\"Within the album's clear emphasis on bass, a distinct element are also the artificial vocalists: beautiful, otherworldly, organic yet distinctly alien. Utilizing an image of a bespoke virtual singer created by the external members of the collective Han LI Chiou and Yuu Soijinsan Omiya, as Pavlov noted in 2025, \"the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless.\" In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: \"I wouldn't say that SoiSong really resembles anything that's come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It's a progression from the past to the future.\" On the original liner notes, Peter Christopherson provides \"Melodic Primitives and vocalists\" with Ivan Pavlov on \"instruments and Pentium jazz processing.\"As 'xAj3z' ends, there's warmth from the sun: a new dawn on the horizon line, where possibilities are endless.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAmkhapaa\u003c\/li\u003e\n\u003cli\u003eJ3z\u003c\/li\u003e\n\u003cli\u003eT-Hu Ri Toh\u003c\/li\u003e\n\u003cli\u003eMic Mo\u003c\/li\u003e\n\u003cli\u003ePaer Tahm\u003c\/li\u003e\n\u003cli\u003eDtorumi\u003c\/li\u003e\n\u003cli\u003eLom Tum Lai Kwee\u003c\/li\u003e\n\u003cli\u003eTi-Di-Ti Naoo\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558335\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.30.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Soisong","offers":[{"title":"Default Title","offer_id":58253922467921,"sku":"139642","price":32.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4418433-3378720.jpg?v=1759467814"},{"product_id":"spice-better-treatment-clear-black-splatter-blk-lp","title":"Better Treatment (Clear \u0026 Black Splatter) (Blk) [7\" Vinyl]","description":"\u003cp\u003eSpice singer Ross Farrar speaks of the band's ambition to forge a sort ofaesthetic patois: a mode of expression as strikingly regional as it isrecognizable. Last year's self-titled debut, released in the depths of thepandemic, fully achieved this goal, distilling decades of North Bay punkand post-hardcore into an urgent, artful set of emotive unrest. Their latestsingle, A Better Treatment b\/w Everyone Gets In, further refines thegroup's singular mix of weathered melody and abrasive poetics, equalparts bracing, bruised, and cryptic.\"A Better Treatment\" began as a song about a friend who died butthrough the turmoil of collaboration transformed into something moremacroscopic and opaque, blurring the boundary between hopeful anddefeated (\"I thought loving someone would cure my self-hatred\"). Bassand drums build against walls of guitar while the violin threads it's ownmelancholy within the noise; Farrar is blunt about the intention: \"The violinis an instrument of death you know.\"\"Everyone Gets In\" is both poppier and more pained, an anthem for angstaging into the reverie of regret: \"We lose our strength \/ along the way \/ welose each other \/ the funeral sways.\" The tempo sways too, graduallyslowing to an anxious crawl before finally revving back into a storm ofshimmering guitar and splashing drums, fighting against the dying of thelight. It's music of raw truths and rejected pedestals, storied butunswerving, a revolt against the great regress: \"and my \/ my time is spent\/ adoring seasons \/ that I \/ I never should've.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Better Treatment\u003c\/li\u003e\n\u003cli\u003eEveryone Gets in\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671775\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.19.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Spice","offers":[{"title":"Default Title","offer_id":58253961461841,"sku":"153768","price":10.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4011405-2757166.jpg?v=1759468197"},{"product_id":"xeno-oaklander-hypnos-indie-exclusive-colored-vinyl-indie-exclusive","title":"Hypnos (Indie Exclusive) [Colored Vinyl] [Indie Exclusive]","description":"\u003cp\u003eEight new songs of sparkling electronics from duo Liz Wendelbo and Sean McBride (Martial Canterel) blur the lines between 60's French Pop, 80's wave and contemporary modular synth pop. Romantic and mythic, a dreamlike journey through dense harmonies and complex polyphonic compositions...  As a musical act, Xeno \u0026amp; Oaklander conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFire and Smoke\u003c\/li\u003e\n\u003cli\u003eHypnos\u003c\/li\u003e\n\u003cli\u003eAngélique\u003c\/li\u003e\n\u003cli\u003eInsomnia\u003c\/li\u003e\n\u003cli\u003eThe Light, the Whisper\u003c\/li\u003e\n\u003cli\u003eAltamira\u003c\/li\u003e\n\u003cli\u003eA World Without Sun\u003c\/li\u003e\n\u003cli\u003eAthena\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e*** Indie Exclusive ***\u003cbr\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 638126003256\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.3.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Xeno \u0026 Oaklander","offers":[{"title":"Default Title","offer_id":58253982269521,"sku":"167643","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3905481.jpg?v=1759468394"},{"product_id":"adult-becoming-undone-putrid-colored-vinyl","title":"Becoming Undone - Putrid [Colored Vinyl]","description":"\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eUndoing \/ Undone\u003c\/li\u003e\n\u003cli\u003eOur Bodies Weren't Wrong\u003c\/li\u003e\n\u003cli\u003eFools (We Are...)\u003c\/li\u003e\n\u003cli\u003eNormative Sludge\u003c\/li\u003e\n\u003cli\u003eI Am Nothing\u003c\/li\u003e\n\u003cli\u003eShe's Nice Looking\u003c\/li\u003e\n\u003cli\u003eI, Obedient\u003c\/li\u003e\n\u003cli\u003eTeeth Out Pt. II\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556157\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 3.11.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ADULT.","offers":[{"title":"Default Title","offer_id":58253995081809,"sku":"183399","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4168123-2932521.jpg?v=1759468547"},{"product_id":"drab-majesty-modern-mirror-lp","title":"Modern Mirror [LP]","description":"\u003cp\u003eDrab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like \"The Other Side\", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.  The first single, \"Ellipsis\", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on \"Long Division\", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in \"Oxytocin\", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.  Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eA Dialogue\u003c\/li\u003e\n\u003cli\u003eThe Other Side\u003c\/li\u003e\n\u003cli\u003eEllipsis\u003c\/li\u003e\n\u003cli\u003eNoise of the Void\u003c\/li\u003e\n\u003cli\u003eDolls in the Dark\u003c\/li\u003e\n\u003cli\u003eOxytocin\u003c\/li\u003e\n\u003cli\u003eLong Division\u003c\/li\u003e\n\u003cli\u003eOut of Sequence\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 758475506908\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.12.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Drab Majesty","offers":[{"title":"Default Title","offer_id":58254070448209,"sku":"229917","price":23.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3750348-2513783.jpg?v=1759469468"},{"product_id":"cindytalk-camouflage-heart-blk-lp","title":"Camouflage Heart (Blk) [LP]","description":"\u003cp\u003eCindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980s Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. In 2021, Cinder partnered with Dais Records to release several new projects alongside a series of long-awaited back catalog reissues, starting with elusive albums Wappinschaw (1995) and The Wind Is Strong...(1990). Next, the focus shifts to Cindytalk's 1984 debut, 'Camouflage Heart', a fearless work that feels even more singular and prescient now forty-plus years beyond it's release. The other goal in 1983 was to land a record deal and develop the band's roving curiosities in a proper studio, something The Freeze could never do outside of two Peel sessions. Soon came their signing to Midnight Music and opportunities for Cinder to sing outside of the project, contributing to This Mortal Coil's Sixteen Days\/Gathering EP and It'll End In Tears album. These forays into a more pop-oriented structure allowed Cinder to see her voice in extremes, with Cindytalk drifting towards the dissonant end of the spectrum. Citing Brian Eno's use of the studio as a compositional tool, an instrument, Cinder and the band became immersed in the process at London's Gateway Studio. \"We were determined to take our time and try to learn how to use a studio and stretch ourselves.\" 'Camouflage Heart' plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like \"make the snake in your eye, pierce the camouflage heart\" on the slow-droning centerpiece \"The Spirit Behind the Circus Dream.\" In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. \"I still remember that person who was way too intense for their own good,\" Cinder reflects. \"I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior.\" For all the destruction and disintegration of 'Camouflage Heart', Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, \"It's Luxury\": \"Don't look down,\" the lyric pines through static and rhythm. Cinder extrapolates, \"I'm essentially saying, just keep fucking going. 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An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: \"new pathways always being uncovered.\" The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze - a hybrid palette Cinder characterized at the time as \"ambi-dustrial.\" Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).Long out of print, the album remains one of the most elusive and adventurous in the Cindytalk discography, a mix of musique concréte, haunted reverie, and desolate beauty. Even unaccompanied by their intended visuals, this is overtly cinematic music, conjuring forests at dusk and shadowed corridors, equal parts remote and reflective. Cinder cites a belief that \"all sound is music,\" which fully manifests here, utilizing tape hiss, ticking clocks, flicking flames, and distant whispers as evocative accents in tapestries of luminous negative space.Although Cinder included the subtitle \"A Cindytalk diversion\" in the sleeve notes, The Wind Is Strong... is crucial to the project's canon, demonstrating the depth and versatility of her unique ear and intuition. She describes each album as a direct response to the previous one, and in that sense The Wind marks a bold break from the coiled song-oriented post-punk of 1988's In This World, venturing into unknown, unnamed terrain, and finding foreboding new futures to call her own.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLanding\u003c\/li\u003e\n\u003cli\u003eFirstsight\u003c\/li\u003e\n\u003cli\u003eTo the Room\u003c\/li\u003e\n\u003cli\u003eWaiting\u003c\/li\u003e\n\u003cli\u003eThrough Flowers\u003c\/li\u003e\n\u003cli\u003eSecondsight\u003c\/li\u003e\n\u003cli\u003eThrough the Forest\u003c\/li\u003e\n\u003cli\u003eArrival\u003c\/li\u003e\n\u003cli\u003eIs There a Room for Hire\u003c\/li\u003e\n\u003cli\u003eChoked I\u003c\/li\u003e\n\u003cli\u003eChoked II\u003c\/li\u003e\n\u003cli\u003eDream Ritual\u003c\/li\u003e\n\u003cli\u003eMorning Bell\u003c\/li\u003e\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003eOn Snowmoor\u003c\/li\u003e\n\u003cli\u003eAngel Wings\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e*** Indie Exclusive ***\u003cbr\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671638\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.30.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Cindytalk","offers":[{"title":"Default Title","offer_id":58254077591633,"sku":"237244","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3975069-2712380.jpg?v=1759469556"},{"product_id":"r-j-f-ross-farra-j-cleaning-out-the-empty-administration-building-lp","title":"Cleaning Out The Empty Administration Building [LP]","description":"\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAdvance\u003c\/li\u003e\n\u003cli\u003eSolitude of Victory\u003c\/li\u003e\n\u003cli\u003eOvidian\u003c\/li\u003e\n\u003cli\u003eGravity Hill\u003c\/li\u003e\n\u003cli\u003eIn Your City\u003c\/li\u003e\n\u003cli\u003eExile\u003c\/li\u003e\n\u003cli\u003eHere Again W\/ Birdy\u003c\/li\u003e\n\u003cli\u003eFrogs\u003c\/li\u003e\n\u003cli\u003eStrawberry\u003c\/li\u003e\n\u003cli\u003eTraveling Light from Afar\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558540\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.22.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"R.J.F. ( Ross Farra J )","offers":[{"title":"Default Title","offer_id":58254192377937,"sku":"351734","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4437104-3408456.jpg?v=1759470924"},{"product_id":"spice-viv-opaque-pink-lp","title":"Viv [Opaque Pink LP]","description":"\u003cp\u003eThe second LP by California rock n roll unit Spice expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: \"We all got in a room and this is what came out.\" Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed\/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener \"Recovery\" captures Spice at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody (\"You sacrifice perfect days to laugh through the night \/ you have to get out of bed \/ and it's hard \/ and it's hard \/ it's so hard to admit\"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: \"The guitar says what we cannot.\" Other tracks embrace the group's shredded pop potential (\"Any Day Now,\" \"Dining Out,\" \"Live Scene\") and their speedway ripper mode (\"Threnody\"), with detours into oblique instrumentals (\"Melody Drive\") and orchestral balladeering (\"Ashes In The Birdbath\"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to it's narrative, still fighting, still slipping. Farrar calls \"Climbing Down The Ladder\" a \"relapse song - telling people you're okay but you're still fucking up.\" Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: \"I said it was the last time \/ but I was up so high \/ 100 miles \/ 1000 miles \/ no me in sight \/ I saw into the next life \/ I wasn't dead \/ I felt so vivid in the next life.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRecovery\u003c\/li\u003e\n\u003cli\u003eAny Day Now\u003c\/li\u003e\n\u003cli\u003eAshes In The Birdbath\u003c\/li\u003e\n\u003cli\u003eThrenody\u003c\/li\u003e\n\u003cli\u003eMelody Drive\u003c\/li\u003e\n\u003cli\u003eDining Out\u003c\/li\u003e\n\u003cli\u003eLive Scene\u003c\/li\u003e\n\u003cli\u003eVivid\u003c\/li\u003e\n\u003cli\u003eBad Fade\u003c\/li\u003e\n\u003cli\u003eClimbing Down The Ladder\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586674783\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.17.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Spice","offers":[{"title":"Default Title","offer_id":58254200701009,"sku":"332719","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4077765-2809293.jpg?v=1759471022"},{"product_id":"drab-majesty-unarian-dances-uk-lp","title":"Unarian Dances (Uk) [12\" Vinyl]","description":"\u003cp\u003eDrab Majesty's first ever release was the 2012 self-released cassette tape \"Unarian Dances\". Originally limited to 100 copies, tracks from this tape would eventually make their way onto the Completely Careless CD collection as bonus cuts. Now, along with the \"Unknown to the I\" 12\" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12\" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With it's combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco's previous stints as drummer in Marriages and Black Mare. Dubbed \"Tragic Wave\" and \"Mid-Fi\" by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality. A talented multi-instrumentalist, DeMure composes all of the elements of Drab Majesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project - it's a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure's imposing 6' 4\" figure assumes the stage, Deb's playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePragmagick\u003c\/li\u003e\n\u003cli\u003eIn a Hotel (Somewhere)\u003c\/li\u003e\n\u003cli\u003eY.K.E.D.A\u003c\/li\u003e\n\u003cli\u003eWrecking Ball\u003c\/li\u003e\n\u003cli\u003ePole Position\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671287\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.21.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 12\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Drab Majesty","offers":[{"title":"Default Title","offer_id":58254298710097,"sku":"443268","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3963883-2705842.jpg?v=1759472172"},{"product_id":"tor-lundvall-yule-indie-exclusive-clear-green-vinyl-clear-vinyl-grn-indie-exclusive","title":"Yule [Indie Exclusive] (Clear Green Vinyl) [Clear Vinyl] (Grn) [Indie Exclusive]","description":"\u003cp\u003eUpstate New York artist Tor Lundvall's music often evokes a sense of soft-focus autumnal melancholia but nowhere is this atmosphere more explicit and evocative than his self-released 2006 holiday album, Yule, newly reissued by Dais Records. Inspired by childhood memories of \"cold, dark evenings\" waiting for his mother outside shops and supermarkets while seasonal songs drifted faintly on the frozen air, the collection feels appropriately hushed and hypnagogic, half-remembered melodies heard through falling snow.Steady muted rhythmic pulses wind through wintry landscapes of icy synthetic textures, glass bells, and distant metallic echoes, occasionally framed by Lundvall's soft, dazed vocals, narrating scenes of \"slushy, illuminated train stations\" and \"the lonely trees of January, still entangled with blue lights long after the season has ended.\" It's a music of barren branches, crescent moons, and willowy figures shuffling and shivering on their way somewhere, viewed from a fogged window passing by, or high above.As with Lundvall's signature oil paintings, Yule's sonic vignettes are works of observation, poetic glimpses rendered in gradients of color and quiet. He has referred to his music in the past as \"ghost ambient\" and, although his songwriting here skews more foreground than background, the phrase aptly captures the haunted, half-light quality of these fragile tracks. 10 miniatures of wreathed streets and silent woods, of twinkling store windows seen from a distance, the sensation of being outside of life looking in - the sentiments that seeded Lundvall's vision remain undimmed: \"There was a special melancholic beauty about these moments that has never left me.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBusy Station\u003c\/li\u003e\n\u003cli\u003eThe Train Home\u003c\/li\u003e\n\u003cli\u003eChristmas Eve\u003c\/li\u003e\n\u003cli\u003e12:00 AM\u003c\/li\u003e\n\u003cli\u003eSnowy Morning\u003c\/li\u003e\n\u003cli\u003eYule Song\u003c\/li\u003e\n\u003cli\u003eFading Light\u003c\/li\u003e\n\u003cli\u003eJanuary\u003c\/li\u003e\n\u003cli\u003eWhite on Grey\u003c\/li\u003e\n\u003cli\u003eThe Falling Snow (Full Length Version)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e*** Indie Exclusive ***\u003cbr\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586670785\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.13.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Tor Lundvall","offers":[{"title":"Default Title","offer_id":58254305165393,"sku":"413539","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3870262-2626700.jpg?v=1759472261"},{"product_id":"cindytalk-wappinschaw-indie-exclusive-clear-red-vinyl-colored-vinyl-clear-vinyl","title":"Wappinschaw [Indie Exclusive] (Clear Red Vinyl) [Colored Vinyl] [Clear Vinyl]","description":"\u003cp\u003eCindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: \"new pathways always being uncovered.\" Across decades of activity Cinder's body of work has forever followed it's own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as \"a call to arms\" inspired by Scotland and it's struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.Opening with an aching solo vocal rendition of the British folk standard \"The First Time Ever (I Saw Your Face),\" the album then surges into the Cindytalk classic, \"A Song Of Changes,\" sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on \"Wheesht\"), bagpipe drone, and apocalyptic post-punk. Given it's aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a \"precarious\" process, composed from \"scraps\" with abruptly shifting personnel - a situation only compounded by the impending dissolution of their label at the time, Midnight Music.Despite, or perhaps because of, these factors, the collection stands as a testament to Cinder's belief that \"so-called experimental can only remain so if you keep challenging yourself.\" This is singular and challenging music, texturally jagged and emotionally conflicted, swimming through shivering darkness into fragile pockets of light. At the time of it's recording, Cinder was attempting to leave London after many years in the city, dreaming of an ancestral return. But as much as \"ideas of homecoming were percolating,\" there remained unfinished business, old ghosts to exorcise, culminating in Wappinschaw's heady, harrowing voyage: \"An invocation of spirits of resistance - as much a declaration of war as a declaration of love.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe First Time Ever\u003c\/li\u003e\n\u003cli\u003eA Song of Changes\u003c\/li\u003e\n\u003cli\u003eEmpty Hand\u003c\/li\u003e\n\u003cli\u003eReturn to Pain\u003c\/li\u003e\n\u003cli\u003eWheesht\u003c\/li\u003e\n\u003cli\u003eSnowkisss\u003c\/li\u003e\n\u003cli\u003eSecrets and Failing\u003c\/li\u003e\n\u003cli\u003eDisappear\u003c\/li\u003e\n\u003cli\u003eTrämlose Nachte\u003c\/li\u003e\n\u003cli\u003eAnd Now in Sunshine\u003c\/li\u003e\n\u003cli\u003ePrince of Lies\u003c\/li\u003e\n\u003cli\u003eHush\u003c\/li\u003e\n\u003cli\u003eMuster\u003c\/li\u003e\n\u003cli\u003eThe Moon Above Me\u003c\/li\u003e\n\u003cli\u003eIn Sunshine\u003c\/li\u003e\n\u003cli\u003eOld Jack Must Die\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e*** Indie Exclusive ***\u003cbr\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671577\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.30.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Cindytalk","offers":[{"title":"Default Title","offer_id":58254508326993,"sku":"622887","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3975066-2712377.jpg?v=1759475481"},{"product_id":"hide-interior-terror-indie-exclusive-bile-vinyl-colored-vinyl-indie-exclusive","title":"Interior Terror [Indie Exclusive] (Bile Vinyl) [Colored Vinyl] [Indie Exclusive]","description":"\u003cp\u003eHide's third album, Interior Terror further abandons traditional concepts of song structure in favor of splintered rhythms and fevered, immediate release. Expanding on previous themes of autonomy and empowerment, Interior Terror addresses and questions the corporeal and immaterial body in a physical and metaphysical sense. Turning to the dread inside, reflecting on the world around us, Hide gives voice to the power of destruction as a catalyst for hope, and to the collective experiences of those who've come before us as a wellspring of our own power. Raw vocal delivery of mantra-like prose issued forth yields a raging, plaintive wail that lulls, mocks, questions, proclaims and decries. A dearth of collected field recordings give way to more fluid arrangements while retaining a scathing urgency. The result is minimal, spacious, and jarring; a distant knocking grown into the pulse of a hypnotic dirge, drones emerge from shards of decomposed sound, bending, seething their way through your body.\"Do Not Bow Down\" loops the driving, off kilter rhythm of a skipping Depeche Mode CD with the twisted trill of a sampled composition by quarter note pianist and composer Mildred Couper to produce a madly spinning otherworld where self-immolation serves as your most positive contribution to society. \"Nightmare\" explodes, unrelenting; conflating time and space to the beat of repeated blows to the head. A reflection on perpetual suffering, generational traumas and the transformative action of release. Title track \"Interior Terror\" belies a new brand of body horror informed by the systemic enforcement of a contemporary Western gender binary, touching on experiences of dysphoria and disassociation. \"Fear\" answers the question 'Where do cops come from' in the opening line 'Straight from God's cunt to the death cult', belittling the pathetic and repeated attempts of man to access power only to use it to terrorize others. \"Daddy Issues\" recontextualizes the text of a letter written and read by Brock Turner's father to the judge presiding over his son's rape trial to nauseating effect. Finally, \"This Blood\" closes the album with determined acceptance and solemn reverence, acknowledging our own intrinsic natures, our own electrified and beating hearts.Previous releases from Hide include 2016's Black Flame ep which is dedicated to the memory of Reyhana Jabbari, a 27 year old Iranian woman who was hung for allegedly killing someone who was trying to rape her, and deals with various human rights violations in Iran. Hide's 2017 debut album for Dais, \"Castration Anxiety\", addresses issues of power dynamics and representation, an album that calls for personal autonomy and the destruction of anything barring the way. A single on Sub-pop for the label's singles club followed, with two unhinged tracks touching on the phenomenon of internalized misogyny, motherhood and child abuse. In 2019, Hide's second full-length album \"Hell is Here\" finds the artists trading more traditional compositions for a far more incongruous and disjointed approach. 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Each song tells a piece of the story, in which the listener's own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities. Setting the stage as a romantic saga of antiquity, \"A Dialogue\" asks the listener if they are truly in love amid a building wash of guitars and reverb. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like \"The Other Side\", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.The first single, \"Ellipsis\", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on \"Long Division\", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in \"Oxytocin\", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.Modern Mirror is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world.Produced by Josh Eustis (Telefon Tel Aviv) and mastered by Dave Cooley, with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air). Cover photo by Nedda Afsari. 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Album includes 8 tracks recorded between '96-'02, for fans of Current 93, Nurse With Wound, Loscil, Halfer Trio, and Flying Saucer Attack...For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams - the real ghosts of time and sound.\"No Tracks in the Snow\" is a collection of tracks from the early days of Drekka's history; the third offering for Dais Records and an appendix between the second and third parts of the 'Tarwestraat' trilogy of LPs for the label.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 638126003225\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.22.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Drekka","offers":[{"title":"Default Title","offer_id":58291247087697,"sku":"7880","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3896794.jpg?v=1760727071"},{"product_id":"tick-tick-tick-black-in-red-lp","title":"tick tick tick [Black in Red LP]","description":"\u003cp\u003e\u003cspan\u003eCabaret Voltaire co-founder Stephen Mallinder’s second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and “wonky disco” into a riveting rhythm suite ripe for our age of escalation: tick tick tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at MemeTune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond “cowbell on every track, and entirely no reverb.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom the first coiled cybernetic groove of opener “Contact,” the album’s spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, “rhythm is the default, the bedrock, the building block –even the melodies are rhythmic.” Across 40-plus years of electronic musicianship, Mallinder’s sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial (“ringdropp,” “Shock to the Body”) crossfade into no wavy punk-funk (“Guernica Gallery,” “Galaxy,” “The Trial”), bad trip IDM (“Wasteland”), and jittery vapor house (“Hush”), at the threshold of modes both familiar and foreign.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder’s main muse: “Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation.” This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: “I will be a constant figure \/ Flickering a moving picture \/ Turning in your head forever \/ Split apart but held together.”\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eContact\u003c\/li\u003e\n\u003cli\u003eRingdropp\u003c\/li\u003e\n\u003cli\u003eGalaxy\u003c\/li\u003e\n\u003cli\u003eWasteland\u003c\/li\u003e\n\u003cli\u003eHush\u003c\/li\u003e\n\u003cli\u003eShock to the Body\u003c\/li\u003e\n\u003cli\u003eGuernica Gallery\u003c\/li\u003e\n\u003cli\u003eThe Trial\u003c\/li\u003e\n\u003cli\u003eTick Tick Tick\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672864\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.15.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Stephen Mallinder","offers":[{"title":"Default Title","offer_id":58291248562257,"sku":"11828","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4096859-2833182.jpg?v=1760727096"},{"product_id":"new-signs-of-life-clear-vinyl-clear-vinyl","title":"New Signs Of Life (Clear Vinyl) [Clear Vinyl]","description":"\u003cp\u003eAfter swapping hemispheres, Australian outfit Death Bells have found a new home in Los Angeles, emerging with a new album of fervent guitar-driven rock, stripped of gloom and punching through with a new sense of positivity. New Signs of Life, their debut for Dais Records, finds Death Bells using a DIY pedigree to plunder the conventions of \"rock music\" with a saxophone along for the mission. Rather than leaping genres or formats, New Signs of Life is refined and nuanced-a methodology built on process, craft, and perspective. Following their 2017 debut, Standing at the Edge of the World, and follow-up single \"Echoes,\" Death Bells left their hometown of Sydney for the United States. Energized by impulse, extensive touring and exploration led to the formation of an ambitious six-piece band that eventually coalesced as a collaboration between founding members Will Canning and Remy Veselis. With Canning and Veselis becoming the engine, Death Bells began to employ several underground mainstay musicians to complete their live presentation, including Cortland Gibson (Dock Hellis), Colin Knight (Object of Affection), and on occasion Brian Vega (Fearing). Revitalized and centered, Death Bells released the single \"Around the Bend\" in 2019, before workshopping material that would eventually comprise their second full-length effort. As much as Standing at the Edge of the World was an energized disclosure informed by fresh naivete, New Signs of Life harnesses those initial sparks, cloaking the threads of Death Bells with authority, allowing each of the nine tracks which embody New Signs of Life to become lush streamlined vehicles. The eponymous lead single is a grandiose statement, influenced by the theme song of HBO's classic television program Six Feet Under. The lyrics are a shopping list of personal neuroses butted against self-help clichés, dressed with jagged guitars, brass, and percussion providing a deliberate pace for Death Bell's new chapter. As method gives way to melody, New Signs of Life exudes an urgent hope laced with drive and verve. The first track for New Signs of Life, \"Heavenly Bodies,\" signals Death Bells' point-blank delivery of a laconic truth: \"We all vanish, anyway.\" Somber and cool, it eases into hushed staccato hypnosis while still finding the tenets of guitar-driven rock. \"A Different Kind of Happy\" and \"Alison\" push the edge of convention, speaking to the power of love in a world gone mad. A nod to their homeland and new city's surf heritage, \"Shot Down (Falling)\" pivots playful to a sun-soaked beach strum, layered with shimmer before the horizon fades. 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Praised for their complex and rich pop sound, strong vocal delivery and thoughtful compositions with impeccable production values, Sonoio's \"Red\" and \"Blue\" made heavy use of Cortini's expert manipulation of the Buchla synthesizer and releasing the single \"Enough\". As activity with Nine Inch Nails, the demands of touring, and his other solo endeavors began to pick up, production on the third and final Sonoio installment was delayed. In 2014 however, after years of silence, Sonoio posted the single and video for the song \"Thanks For Calling\" exclusively on Sonoio. Org and quickly reignited rumors and hope for the release of the third album. Fine is the first Sonoio full length to be released on vinyl, with art direction and package design by Caspar Newbolt and photography by Matt Sundin. Personal, layered and complex, \"Fine\" achieves greatness as both a singular example of deep and inspiring pop music, and as the final album - the closing chapter in the story of Sonoio.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 669439870914\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.27.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"SONOIO","offers":[{"title":"Default Title","offer_id":58291267371089,"sku":"19500","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3807948.jpg?v=1760727465"},{"product_id":"yule-lp","title":"Yule [LP]","description":"\u003cp\u003eUpstate New York artist Tor Lundvall's music often evokes a sense of soft-focus autumnal melancholia but nowhere is this atmosphere more explicit and evocative than his self-released 2006 holiday album, Yule, newly reissued by Dais Records. Inspired by childhood memories of \"cold, dark evenings\" waiting for his mother outside shops and supermarkets while seasonal songs drifted faintly on the frozen air, the collection feels appropriately hushed and hypnagogic, half-remembered melodies heard through falling snow.Steady muted rhythmic pulses wind through wintry landscapes of icy synthetic textures, glass bells, and distant metallic echoes, occasionally framed by Lundvall's soft, dazed vocals, narrating scenes of \"slushy, illuminated train stations\" and \"the lonely trees of January, still entangled with blue lights long after the season has ended.\" It's a music of barren branches, crescent moons, and willowy figures shuffling and shivering on their way somewhere, viewed from a fogged window passing by, or high above.As with Lundvall's signature oil paintings, Yule's sonic vignettes are works of observation, poetic glimpses rendered in gradients of color and quiet. He has referred to his music in the past as \"ghost ambient\" and, although his songwriting here skews more foreground than background, the phrase aptly captures the haunted, half-light quality of these fragile tracks. 10 miniatures of wreathed streets and silent woods, of twinkling store windows seen from a distance, the sensation of being outside of life looking in - the sentiments that seeded Lundvall's vision remain undimmed: \"There was a special melancholic beauty about these moments that has never left me.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBusy Station\u003c\/li\u003e\n\u003cli\u003eThe Train Home\u003c\/li\u003e\n\u003cli\u003eChristmas Eve\u003c\/li\u003e\n\u003cli\u003e12:00 AM\u003c\/li\u003e\n\u003cli\u003eSnowy Morning\u003c\/li\u003e\n\u003cli\u003eYule Song\u003c\/li\u003e\n\u003cli\u003eFading Light\u003c\/li\u003e\n\u003cli\u003eJanuary\u003c\/li\u003e\n\u003cli\u003eWhite on Grey\u003c\/li\u003e\n\u003cli\u003eThe Falling Snow\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586670808\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.13.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Tor Lundvall","offers":[{"title":"Default Title","offer_id":58291272024145,"sku":"30121","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3858297-2602883.jpg?v=1760727565"},{"product_id":"guided-tour-lp","title":"Guided Tour [LP]","description":"\u003cp\u003eSince first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: \"It's trying to be a hopeful record, while also being incensed.\" Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, \"Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that.\"From it's opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: \"We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done.\"The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk (\"Drop Me Out,\" \"Mob DLA\") to jangling indie sneer (\"Worth The Wait,\" \"Deserve It\") to heavy alt (\"Feeling Bless,\" \"Fill The Gap\") to shoegazey spoken word (\"Untethered\"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: \"For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places.\"Nowhere is this sentiment flexed more boldly than on \"Mind's A Lie,\" a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths (\"Face to face with all I've known \/ I can't call these thoughts my own\"). 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Their debut double-A vinyl single for Dais Records, Don't take the light away \/ Remember me captures Kite at their most urgent, thrilling and apocalyptic.\"Don't take the light away\" is a song about \"the war between energies,\" with singer Stenemo's wounded croon leading a rising tide of stabbing strings, pulsing percussion, and looming bass orchestrated by keyboardist Hutchinson Berg, surging to a mass-chanted chorus both desperate and triumphant (\"dance, let them dance into me \/ people versus people can't see \/ hands should be holding hands\"). \"Remember me\" was written following the band's 2017 US tour, capturing the intense feelings of burnout and exhaustion. \"Remember me, Won't you remember me, Promise you'll remember me.\"Words only tell half of the story; smoke spills across the stage, and the melodies become a battle cry. Our worst fears eventually boil over, turning into hope and resilience. Like the best of Kite's music, \"Don't take the light away\" and \"Remember me\" fuse theater and catharsis into anthems of universal yearning, born of \"the struggle to keep a flickering candle lit in a very dark space.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDon't Take the Light Away (7\" Mix)\u003c\/li\u003e\n\u003cli\u003eRemember Me (7\" Mix)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556911\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 12.1.23\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Kite","offers":[{"title":"Default Title","offer_id":58291314196561,"sku":"47928","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4246696-3039676.jpg?v=1760728458"},{"product_id":"bitter-reflection-lp","title":"Bitter Reflection [LP]","description":"\u003cp\u003eThe latest by Arizona desert brotherhood Alex and Andrew Jarson aka Body of Light further hones their smoldering strain of tempestuous synth-pop into a transformative suite of anthems, reveries, and reckonings: Bitter Reflection. Written in the wake of 2019's neo-EBM classic, Time To Kill, they sifted inspiration from hidden moments within their own arcana - childhood tapes, home movies, abandoned demos - asking themselves the question: \"How can we make this grow?\"Sampled snippets of voice, noise, synth, and field recordings flicker in the periphery of these 11 tracks, murmuring like nostalgias half-forgotten, or displaced memories. It's music pulled between twin flames of truth and desire, romanticization and reality, catharsis and control, born of a bond sealed by years, dreams, and blood.Working with Telefon Tel Aviv co-founder Josh Eustis in Los Angeles, the brothers incorporated an expanded array of live instrumentation - piano, bass, saxophone, acoustic guitar - in addition to vintage Akai samplers, Moogs, and archaic hardware, giving the album an eclectic, unpredictable palette. Opener \"Get It Right\" showcases their impressive refinement: sleekly cold drum machinery builds to a swooning chorus of synths and piano, then suddenly slips into a dream sequence bridge of strummed guitar and echo-shrouded vocals, before surging back to the main melody. Throughout, the songs shift gears and moods in evocative ways, as if bending to fleeting thoughts or lengthening shadows. Simmering synth lament \"Strike The Match\" captures the Jarsons' unique technique of co-crafted lyrics, accruing meaning as the world turns; though written long before, the track ended up being recorded the day Russia invaded Ukraine (\"I fall asleep to the candlelight \/ things will be different but not tonight \/ it wouldn't be like you to strike the match \/ over and over, I can't understand\").A trio of intriguing instrumentals deepen the album's scope, echoing the duo's early experimental era as part of the influential Ascetic House collective. \"Fortia,\" \"Hyena,\" and \"Deepcolorlights\" drift in a prismatic gauze of whispered synths and oblique minutia, in the spirit of Boards of Canada at their most hushed and haunted. Elsewhere the record spins through a gallery of the band's ongoing fascinations: Depeche Mode-esque declarations of dread and excess (\"This Conversation\"), brooding dance floor epiphanies (\"Out Of Season\"), smooth Thomas Dolby city skyline melancholias (\"Never Ever\"), lovesick looking glass ballads laced with Art Of Noise orchestral stabs (\"On This Day\"). A new age demands new waves, and Body of Light belongs at the forefront of a resurgent generation fusing modern methods with the sounds of futures past. Singer Alex Jarson sees their muse clearly, at the axis of anguished transition, temporal collapse, and, just possibly, the brink of hope: \"Time is dysphoric. The dream breaks down. Everyone's beginning to panic, but in the end something will come from it.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGet It Right\u003c\/li\u003e\n\u003cli\u003eStrike the Match\u003c\/li\u003e\n\u003cli\u003eThis Conversation\u003c\/li\u003e\n\u003cli\u003eFortia\u003c\/li\u003e\n\u003cli\u003eBitter Reflection\u003c\/li\u003e\n\u003cli\u003eOut of Season\u003c\/li\u003e\n\u003cli\u003eNever Ever\u003c\/li\u003e\n\u003cli\u003eOn This Day\u003c\/li\u003e\n\u003cli\u003eHyena\u003c\/li\u003e\n\u003cli\u003eLast Repose\u003c\/li\u003e\n\u003cli\u003eDeepcolorlights\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556379\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.30.23\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Body of Light","offers":[{"title":"Default Title","offer_id":58291315343441,"sku":"45715","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4210556-2974269.jpg?v=1760728484"},{"product_id":"private-life-lp","title":"Private Life [LP]","description":"\u003cp\u003eNew York based duo Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have been diligently carving out their own unique niche within dark indie, electronica and synth-pop circles since their formation. After a series of digital singles in 2013, Tempers began solidifying their singular identity of rigorous electronic production blended with instinctual, unleashed vocals. Following well received tours in Europe and the United States, Tempers saw the release of their debut album entitled Services, released in Germany via the highly regarded cult imprint Aufnahme + Wiedergabe and quickly became a staple in the synth- pop\/post punk scenes in both the States and in Europe. Since the release of Services, Tempers have regularly appeared at a number of international festivals and venues, including Test Pressing Festival and Berghain to name a few, and ambitiously created a concept album entitled Junkspace in 2018, in collaboration with famed architect REM Koolhaas, about the deconstructed banality and overlooked grace of 20th century shopping mall culture. Tempers third full-length album, Private Life, successfully progresses their cinematic aesthetic into a moodier and more introspective landscape. Private Life opens with \"Capital Pains\", a lonely incantation that echoes the human desire to envy other people's lives and endlessly chase our own insecurities. Surreal, isolated atmosphere backed by upbeat rhythm and melancholy refrain projected from \"Capital Pains\" perfectly set the tone expectation for Private Life. \"Peace of Mind\" crawls along as a dramatic dirge with Golestaneh imparting matters of loneliness and solitude, always looking from the outside and complemented with Cooper's haunting resonance. The character behind songs such as \"Sleep\" and \"Push\/Pull\" break from Tempers signature synth-laden post punk notoriety, instead switching to a more somber songwriting style that settles down between downtempo dream pop and despondent soundtracks. Behind the backdrop of driving electronics and magnetic verse, Private Life deconstructs and reimagines the ideas behind despair, love, loneliness, and hope. While most people would simply reflect on nostalgia, Tempers stands alone in their unique methods, fictionalizing their ideas through sound and vision to create soundtracks for everyday affliction.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCapital Pains\u003c\/li\u003e\n\u003cli\u003eLeonard Cohen Afterworld\u003c\/li\u003e\n\u003cli\u003ePeace of Mind\u003c\/li\u003e\n\u003cli\u003eFilters\u003c\/li\u003e\n\u003cli\u003eDaydreams\u003c\/li\u003e\n\u003cli\u003eGuidance\u003c\/li\u003e\n\u003cli\u003ePush\/Pull\u003c\/li\u003e\n\u003cli\u003eMore Than You Realized\u003c\/li\u003e\n\u003cli\u003eSleep 1\u003c\/li\u003e\n\u003cli\u003eExit\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 758475506809\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.8.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Tempers","offers":[{"title":"Default Title","offer_id":58291316818001,"sku":"56949","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3719186-2507254.jpg?v=1760728516"},{"product_id":"death-is-bigger-1984-1985-uk-lp","title":"Death Is Bigger 1984-1985 (Uk) [LP]","description":"\u003cp\u003eIt's testament to how fertile England's mid-80's musical landscape was that the splintering of short-lived post-punk pioneers Southern Death Cult seeded so many memorable but divergent groups - from widescreen rock legends The Cult to romantic pop duo Into A Circle to \"the Asian Public Enemy,\" Fun-Da-Mental. But the band's most potent subsequent cross-pollination was undoubtedly Getting The Fear, formed by The Southern Death Cult rhythm section of Barry Jepson, David 'Buzz' Burrows, and Aki Haq Nawaz Qureshi, joined by Temple Ov Psychic Youth associate Paul 'Bee' Hampshire on vocals.Galvanized by Margaret Thatcher's \"iron fist\" austerity policies and the cultural liberation of punk, the group blazed to creative fruition, quickly landing a lucrative deal with RCA. But immediately after recording their 1984 debut single, Last Salute, a shake-up at the label left them stranded and without support. Rather than stall in music industry purgatory they chose to dissolve, escaping their restrictive contract. Bee's lyrics on \"Last Salute\" are fitting final words: \"If this must end let it pass me by \/ I'll remain your friend, only flowers die.\"But this is of course only part of the story. Death Is Bigger: 1984-1985 rectifies history's error, collecting the group's entire vault of demos and unreleased songs alongside liner notes and a photo gallery capturing Getting The Fear in all their high libertine glory. The compilation's 10 tracks are alternately brooding, spiky, and sneering, fixated on dreams, sex, and Charles Manson (the sleeve of Last Salute famously features a detail from Manson's embroidered waistcoat, unbeknownst to label execs). Razor wire guitars slice across tense rhythms, veering between minimal and melodic, occasionally flowering into psychedelic poetry, revealing Bee's deep affinity with Psychic TV.Taken as a whole, the album showcases the breadth of forking paths facing UK post-punk in 1984: pop eating itself, new wave while still new, transgression as alternative not affectation. Getting The Fear's music feels eclectic and unfettered, following whim, lust, and impulse, glinting with darkness against the fires of youth: \"The earth is still beneath my feet, I start to sink to lose myself \/ Friends and lovers stand around unconcerned, their eyes in flames.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eRise (Demo Version)\u003c\/li\u003e\n\u003cli\u003eDune Buggy Attack\u003c\/li\u003e\n\u003cli\u003eLast Salute (Demo Version)\u003c\/li\u003e\n\u003cli\u003eAgainst the Wind\u003c\/li\u003e\n\u003cli\u003eWe Struggle\u003c\/li\u003e\n\u003cli\u003eSometimes\u003c\/li\u003e\n\u003cli\u003eYurune (Demo Version)\u003c\/li\u003e\n\u003cli\u003eFatal Date\u003c\/li\u003e\n\u003cli\u003eGetting the Fear\u003c\/li\u003e\n\u003cli\u003eSwell (Demo Version)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671386\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.18.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Getting The Fear","offers":[{"title":"Default Title","offer_id":58291353223249,"sku":"47302","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3974547-2712410.jpg?v=1760728753"},{"product_id":"hypnos-lp","title":"Hypnos [LP]","description":"\u003cp\u003eEight new songs of sparkling electronics from duo Liz Wendelbo and Sean McBride (Martial Canterel) blur the lines between 60's French Pop, 80's wave and contemporary modular synth pop. Romantic and mythic, a dreamlike journey through dense harmonies and complex polyphonic compositions...  As a musical act, Xeno \u0026amp; Oaklander conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFire and Smoke\u003c\/li\u003e\n\u003cli\u003eHypnos\u003c\/li\u003e\n\u003cli\u003eAngélique\u003c\/li\u003e\n\u003cli\u003eInsomnia\u003c\/li\u003e\n\u003cli\u003eThe Light, the Whisper\u003c\/li\u003e\n\u003cli\u003eAltamira\u003c\/li\u003e\n\u003cli\u003eA World Without Sun\u003c\/li\u003e\n\u003cli\u003eAthena\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 638126003249\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.3.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Xeno \u0026 Oaklander","offers":[{"title":"Default Title","offer_id":58291430785105,"sku":"71281","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3905480.jpg?v=1760729271"},{"product_id":"ever-crashing-lp","title":"Ever Crashing [LP]","description":"\u003cp\u003e\u003cspan\u003eEver Crashing, the second LP by Kennedy Ashlyn aka SRSQ [pronounced ‘seer-skew’], is the summation of a nearly three-year journey of soul searching, songwriting, and self-discovery: “I became myself in the process of making this record.” From the first choral swells of opener “It Always Rains,” it’s clear this collection exists on an ascendant plane, capturing an artist in super bloom. Every song hits like a single, heaving with guitar, synth, strings, live drums, and oceans of Ashlyn’s astounding voice, balletic and illuminated. The tracks gleam with detail, often assembled from as many as 100 separate tracks, all of which were written and played solely by Ashlyn –a feat of world-building as daunting as it is devastating.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor her, however, the process is intrinsic and intuitive –even a matter of survival. Her 2018 solo debut emerged in response to the tragic Ghost Ship fire in Oakland, which took the life of her bandmate and best friend Cash Askew. Similarly, Ever Crashing began materializing in the wake of an ADHD and bipolar disorder diagnosis, prompting a profound personal overhaul. Ashlyn cites such periods of turmoil as a muse of sorts, when “songs begin to echo within me,” gradually reverberating clearer and more vividly. As melodies and arrangements come into focus, the songs act like containers, vessels in which to externalize and exorcise tumultuous emotions, a transformation she memorializes in the climax of “Élan Vital:” “Reeling in and out of deep despair \/ I am saved by song.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom swooning end credits balladry (“Dead Loss”) to orchestral slow-burn torch songs (“Abyss”) to dizzying shoegaze heavens (“Someday I Will Bask In The Sun”), the album exudes a sense of aching grandeur and bewildered joy, rich with triumphs hard won and lost loves never forgotten. Melodies pirouette and crescendo in dazzling, elevated acrobatics, somewhere between Kate Bush and The Sundays, threaded with ethereal undercurrents of shimmering shadow. Riffs brood and sparkle over crystalline synths, buoyant bass, and patient percussion, steadily building to holy moments of tidal power, finessed to perfection by producer Chris Coady (Beach House, Slowdive, Zola Jesus). Ashlyn’s is a dream-pop of questing catharsis, vulnerable but orchestral, as dense with hooks as heartbreak.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eIt Always Rains\u003c\/li\u003e\n\u003cli\u003eSaved for Summer\u003c\/li\u003e\n\u003cli\u003eDead Loss\u003c\/li\u003e\n\u003cli\u003eUsed to Love\u003c\/li\u003e\n\u003cli\u003eEver Crashing\u003c\/li\u003e\n\u003cli\u003eFear\u003c\/li\u003e\n\u003cli\u003eWinter, Slowly\u003c\/li\u003e\n\u003cli\u003eAbyss\u003c\/li\u003e\n\u003cli\u003eÉlan Vital\u003c\/li\u003e\n\u003cli\u003eSomeday I Will Bask in the Sun\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672758\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.19.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"SRSQ","offers":[{"title":"Default Title","offer_id":58291460407377,"sku":"72248","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4106933-2845257.jpg?v=1760729503"},{"product_id":"moons-milk-in-four-phases-3lp","title":"Moon's Milk (In Four Phases) [3LP]","description":"\u003cp\u003e\u003cspan\u003eFirst compiled as a double CD in 2002, \u003c\/span\u003e\u003cem\u003eMoon’s Milk (in Four Phases)\u003c\/em\u003e\u003cspan\u003e is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter \"Sleazy\" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eArranged sequentially in tribute to the equinoxes and solstices, \u003c\/span\u003e\u003cem\u003eMoon's Milk\u003c\/em\u003e\u003cspan\u003e captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. \"Moon's Milk or Under an Unquiet Skull\" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs (\"Bee Stings\"), purgatorial spoken word (\"Glowworms\/Waveforms\"), sultry chamber pieces (\"Summer Substructures\"), and falsetto ravings (\"A Warning From The Sun (For Fritz)\").\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAutumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung neofolk ballad \"Rosa Decidua\" (\"I hear your voice sing near to me \/ I've put away the poisoned chalice (for now) \/ And lie down amongst the flowerbeds\") to hall-of-lords hallucination \"The Auto-Asphyxiating Hierophant” to the liminal string-plucked classic \"Amethyst Deceivers,\" featuring excellent alien guitar by Breeze layered with Balance’s oft-quoted couplet: \"Pay your respects to the vultures \/ For they are your future.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe album’s final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener \"A White Rainbow\" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. \"North\" oscillates bleakly, a ghost in the machine murmuring opaque prophecy (\"This black dog has no owner \/ This black dog has no odour\"), while \"Magnetic North\" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics (\"Red rose filling the skull \/ Yellow cube in the lower pelvis \/ Silver moon crescent below the navel\"). The suite fades to grey with a traditional English carol (\"Christmas Is Now Drawing Near\"), rendered like an executioner's song by Rose McDowall’s doomed, beautiful voice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe DAIS box set includes the entirety of the rare \u003c\/span\u003e\u003cem\u003eMoon's Milk\u003c\/em\u003e\u003cspan\u003e Bonus Disc CD-R \/ 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals (\"Copal\") to dissonant electronic recitations of visionary Angus Maclise poetry (\"The Coppice Meat\") to ominous classical melancholia (\"Bankside\"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation – both sonic and bodily. 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After performing in revered acts Nocturnal Projections and This Kind of Punishment, The Cakekitchen emerged as an amalgamation of gloomy and introspective post-punk, producing some of the most expressive and unique music to come out of New Zealand during the early 90's.Originally released in 1991, \"World of Sand\" is the second full length album by The Cakekitchen, highlighting the first live line-up of the band. This formation existed for roughly two and a half years and these compositions were considered by many to be the height of the groups' creative potential, with musical comparisons to the early material by This Kind of Punishment pounding piano, maddening viola, numerous tape splices and oddball musical passages - along with several pieces recorded at home on a four track, lending a lo-fi, dark, and intimate feel to the album.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 636225990972\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.24.16\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Cakekitchen","offers":[{"title":"Default Title","offer_id":58291472957521,"sku":"86592","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3913366.jpg?v=1760729654"},{"product_id":"break-through-in-grey-room-lp","title":"Break Through In Grey Room [LP]","description":"\u003cp\u003eInspired by the original Industrial Records release of William S. 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Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.For the 2023 reissue, Dais Records has collaborated with the Estate of William S. 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Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartès spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartès truly sparked when artist Steve Stapleton included his follow up album, Tazartès' Transports, in his famed \"Nurse With Wound List,\" thus adding endless curiosity to the folklore behind Tazartès and his mystical entrée. From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartès. In almost a prayer-like decree, Tazartès chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartès unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartès' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stéphane Mallarmé and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion. Since it's initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. 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From the defiant scream that kicks off opening cut \"Gorgeous,\" the album rips in what singer and principal songwriter Matthew Wainwright describes as \"go for it\" mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren't booked until March of 2024, which allowed ample time to refine and distill the music's hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like \"Portland,\" \"All My Life, My Heart Has Yearned For A Thing I Cannot Name,\" and \"Malibu Beach House\" sound as dynamic as they do dialed-in, soaked into the bones of the players. The lyrics came last, written by Wainwright a week before recording. Moods of surreality (\"I can hear the blood in my fingers \/ nothing tunes out \/ the world's too loud\"), infatuation (\"I will follow \/ everywhere you go \/ any way to feel \/ how you glow\"), and melancholy (\"God kept me around \/ for no good reason\") flicker and fade within a fog of memory and reverb.As on 2022's 'God Get Me The Fuck Out Of Here', Cold Gawd's contemporary vision of shoegaze manifests intriguingly in outlier moments, like the hushed, whirlpool reverie of \"Tappan,\" or the vaporous, slow-grind downtempo of \"Nudism\" (complete with regal piano outro). Theirs is a muse as vivid as it is varied, from Loveless, to Drake, post-hardcore and Beach House. Drown evocatively captures the expanding canon of Cold Gawd, dense with riffs and raptures, escape and revelation, channeled from stacked amps and hidden powers: \"Give praise \/ to whatever \/ I got time for \/ hallelujah.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGorgeous\u003c\/li\u003e\n\u003cli\u003ePortland\u003c\/li\u003e\n\u003cli\u003eAll My Life, My Heart Has Yearned for a Thing I Cannot Name\u003c\/li\u003e\n\u003cli\u003eDuchamp Is My Lawyer\u003c\/li\u003e\n\u003cli\u003eMalibu Beach House\u003c\/li\u003e\n\u003cli\u003eTappan\u003c\/li\u003e\n\u003cli\u003eNudism\u003c\/li\u003e\n\u003cli\u003eBird in Space\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950557888\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.30.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Cold Gawd","offers":[{"title":"Default Title","offer_id":58291525943377,"sku":"94943","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4356410-3199357.jpg?v=1760730220"},{"product_id":"last-light-lp","title":"Last Light [LP]","description":"\u003cp\u003e\u003cspan\u003eOriginally released as a hand-numbered CD on New Year’s Eve of 2004, \u003c\/span\u003e\u003cem\u003eLast Light\u003c\/em\u003e\u003cspan\u003e captures Tor Lundvall’s hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived of as “a piano album with sparse electronics” (with the working title November), Lundvall’s palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals. A journal entry from the spring of 2002 proved formative to his evolving vision: “I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe album’s 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low- lidded plod – it’s a mode both austere and seductive, lulling the listener into its landscapes of deepening dusk. Lyrically, Lundvall’s language skews observational and depressive (“through lace curtains \/ grey light falls \/ dark clouds gather \/ in my soul”), with each song like a gauzy glimpse into a different tableau framing winter’s descent: rust-colored leaves, frozen ponds, cold crescent moons.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLundvall has long considered \u003c\/span\u003e\u003cem\u003eLast Light\u003c\/em\u003e\u003cspan\u003e a “personal favorite” in his discography, and it’s easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in his iconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. 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Their debut double-A vinyl single for Dais Records, Don't take the light away \/ Remember me captures Kite at their most urgent, thrilling and apocalyptic.\"Don't take the light away\" is a song about \"the war between energies,\" with singer Stenemo's wounded croon leading a rising tide of stabbing strings, pulsing percussion, and looming bass orchestrated by keyboardist Hutchinson Berg, surging to a mass-chanted chorus both desperate and triumphant (\"dance, let them dance into me \/ people versus people can't see \/ hands should be holding hands\"). \"Remember me\" was written following the band's 2017 US tour, capturing the intense feelings of burnout and exhaustion. \"Remember me, Won't you remember me, Promise you'll remember me.\"Words only tell half of the story; smoke spills across the stage, and the melodies become a battle cry. Our worst fears eventually boil over, turning into hope and resilience. 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The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in it's most elevated and compelling form, from and for the body as much as the mind.The album's unique immediacy stems from Younger's instinctual muse, reactivating raw methods with fresh energy. \"I tuned back in to working with noise techniques again: more primitive equipment, cheap FX, contact mics, noise boxes.\" Key guest contributions by Lucy Railton (cello), Mark Morgan of Sightings (guitar), Alex Tucker (vocals), and the late, legendary John Hannon (violin) further enrich the record's bristling palette. Although half the tracks were begun pre-Covid at Hannon's Essex studio, the rest were finished in Younger's kitchen and living room during lockdown. The final tracks were then relayed to veteran mix specialist Randall Dunn, who further honed the material, adding a vivid spatial quality.From the hellscape metronome of \"Moskito\" to the insectoid warzone pulse of \"Repellent\" to the seething orchestral undertow of \"Axis,\" this is music of ominous gravity and worlds in peril. But it's the closing cut, \"Tower,\" which Younger calls \"perhaps the most dramatic piece of music I've ever made.\" A lurking, blackened descension conjured on keys, guitar, and wormhole wah, the melody simmers and swells until suddenly exploding in a chaos of distorted blast beats. 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Written in the wake of 2019's neo-EBM classic, Time To Kill, they sifted inspiration from hidden moments within their own arcana - childhood tapes, home movies, abandoned demos - asking themselves the question: \"How can we make this grow?\"Sampled snippets of voice, noise, synth, and field recordings flicker in the periphery of these 11 tracks, murmuring like nostalgias half-forgotten, or displaced memories. It's music pulled between twin flames of truth and desire, romanticization and reality, catharsis and control, born of a bond sealed by years, dreams, and blood.Working with Telefon Tel Aviv co-founder Josh Eustis in Los Angeles, the brothers incorporated an expanded array of live instrumentation - piano, bass, saxophone, acoustic guitar - in addition to vintage Akai samplers, Moogs, and archaic hardware, giving the album an eclectic, unpredictable palette. Opener \"Get It Right\" showcases their impressive refinement: sleekly cold drum machinery builds to a swooning chorus of synths and piano, then suddenly slips into a dream sequence bridge of strummed guitar and echo-shrouded vocals, before surging back to the main melody. Throughout, the songs shift gears and moods in evocative ways, as if bending to fleeting thoughts or lengthening shadows. Simmering synth lament \"Strike The Match\" captures the Jarsons' unique technique of co-crafted lyrics, accruing meaning as the world turns; though written long before, the track ended up being recorded the day Russia invaded Ukraine (\"I fall asleep to the candlelight \/ things will be different but not tonight \/ it wouldn't be like you to strike the match \/ over and over, I can't understand\").A trio of intriguing instrumentals deepen the album's scope, echoing the duo's early experimental era as part of the influential Ascetic House collective. \"Fortia,\" \"Hyena,\" and \"Deepcolorlights\" drift in a prismatic gauze of whispered synths and oblique minutia, in the spirit of Boards of Canada at their most hushed and haunted. Elsewhere the record spins through a gallery of the band's ongoing fascinations: Depeche Mode-esque declarations of dread and excess (\"This Conversation\"), brooding dance floor epiphanies (\"Out Of Season\"), smooth Thomas Dolby city skyline melancholias (\"Never Ever\"), lovesick looking glass ballads laced with Art Of Noise orchestral stabs (\"On This Day\"). A new age demands new waves, and Body of Light belongs at the forefront of a resurgent generation fusing modern methods with the sounds of futures past. Singer Alex Jarson sees their muse clearly, at the axis of anguished transition, temporal collapse, and, just possibly, the brink of hope: \"Time is dysphoric. The dream breaks down. Everyone's beginning to panic, but in the end something will come from it.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGet It Right\u003c\/li\u003e\n\u003cli\u003eStrike the Match\u003c\/li\u003e\n\u003cli\u003eThis Conversation\u003c\/li\u003e\n\u003cli\u003eFortia\u003c\/li\u003e\n\u003cli\u003eBitter Reflection\u003c\/li\u003e\n\u003cli\u003eOut of Season\u003c\/li\u003e\n\u003cli\u003eNever Ever\u003c\/li\u003e\n\u003cli\u003eOn This Day\u003c\/li\u003e\n\u003cli\u003eHyena\u003c\/li\u003e\n\u003cli\u003eLast Repose\u003c\/li\u003e\n\u003cli\u003eDeepcolorlights\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556409\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.30.23\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Body of Light","offers":[{"title":"Default Title","offer_id":58291635781713,"sku":"141703","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4210555-2974270.jpg?v=1760731568"},{"product_id":"threads-lp","title":"Threads [LP]","description":"\u003cp\u003eThe saga of composer Tim Story's 1982 debut is a case study in the shifting sands of the early progressive music industry. Recorded on a Tascam 4-track reel-to-reel in his basement bedroom in Whitehouse, Ohio using a ragtag array of equipment - salvaged vibraphone, pawn shop Les Paul, his mother's spinet piano, a PAiA synth kit assembled by his girlfriend's father, and a Yamaha CS-30 - Story optimistically dubbed six cassettes and sent them around the world. Following a polite rejection from Klaus Schulze, the French avant-garde label Atem (This Heat, Univers Zero, Art Zoyd) reached out with an offer to release Threads via their new instrumental electronic subdivision, Labyrinthes. After several letters confirming terms of the arrangement as well as multiple rounds of test pressings, correspondence suddenly ceased. Some months later the label folded, never having begun.Synchronistically, however, Schulze's copy ended up in the glovebox of an engineer associate, who happened to play it for a couple visiting journalists with contacts at a newish Norwegian imprint, Uniton Records (Popul Vuh, Harold Budd). Impressed, they connected Story to the label head, but by then he'd already recorded a follow-up, the more neoclassical-leaning In Another Country, which became his inaugural release. Finally, 40 years later, Dais Records is rectifying history's error by properly issuing Threads on vinyl for the first time. It's a beautiful, beguiling work, exploratory but emotive, documenting, as Story puts it, \"the path not taken... like the first chapter of a book that was set aside to begin another.\"Despite only being in his early twenties at the time of it's creation, Threads feels finessed and considered, weaving through a diverse spectrum of moods and minimalist melodies. From sunburst synthesizer devotionals (\"Tethered By A Thread\") to shadowy cosmic drift (\"Without Waves,\" \"Iso\") to fragile piano vignettes (\"Burst,\" \"Scene And Artifact\"), Story's compositional instincts skew subtle and sophisticated, carving gemstones of fluctuating radiance. He cites his discovery of tape loops as a central tool in the process, allowing him to generate recurring patterns of echoes and texture, decaying in volume and fidelity as desired: \"A whole new and inspiring world opened up.\"As both time capsule and discographical fountainhead, Threads vividly captures the threshold sensation of early 1980's electronic music: post-kosmische, pre-new age, before ambient became codified, just as synthesizers began slipstreaming into the underground. It's an album of beginnings and forking paths, inner space voyaging towards limitless horizons, born of \"youthful dedication to something one loves, in a world that feels uncertain.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTethered By a Thread\u003c\/li\u003e\n\u003cli\u003eThe Moors\u003c\/li\u003e\n\u003cli\u003eBurst\u003c\/li\u003e\n\u003cli\u003eA Thousand Whispers\u003c\/li\u003e\n\u003cli\u003eScene and Artifact\u003c\/li\u003e\n\u003cli\u003eWithout Waves\u003c\/li\u003e\n\u003cli\u003eIso\u003c\/li\u003e\n\u003cli\u003eReprise\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671195\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 1.15.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Tim Story","offers":[{"title":"Default Title","offer_id":58291637649489,"sku":"142801","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3891689-2652270.jpg?v=1760731599"},{"product_id":"transdimensional-system-color-vinyl-lp","title":"Transdimensional System (Color Vinyl) [LP]","description":"\u003cp\u003ePod Blotz began in 2002 and has released over 25 cassette and vinyl releases via labels such as L.I.E.S., Difficult Interactions, Clan Destine, Chocolate Monk, and Dungeon Taxis. Over the years the project has included a number of guest members and performance artists, but has solely remained the brainchild of Suzy Poling. The prolific experimentalist now makes her Dais debut with the emotionally crushing Transdimensional System. The record was recorded at Poling's studio in Downtown Los Angeles, primarily using sounds and samples collected from the Vintage Synthesizer Museum in Oakland, CA. The record twists and turns throughout space like a writhing exorcism unfurling upon the unsuspecting listener. It's a journey about beauty, and the complexity of post-human existence through a cathartic lens of churning rhythms and haunting vocal work. The aptly titled 'Pain Is A Door' presents a perfectly chilling introduction to the record. A steadily trudging bassline provides an unwavering foundation for the dissonant, bell-like melody to uneasily drift back and forth creating an uncomfortable sense of, somehow satisfying, disharmony. Heavily textured noise weaves in and out of the foreground fighting for the listener's attention as ominous choral sounding vocals begin to gradually bubble to the surface. Lead single 'Life Like An Electric Surge' unfolds like a twisted wave-tinged track with pulsing rhythm, percussion and noise elements that are dead set on pummeling the unwitting listener into complete submission - the culmination of which effectively embodies it's title. Intertwined within the rushing wall of driving rhythm sits Poling's washed out vocals, wrapped in a haze of distortion. Chanting \"Life like an electric surge, no conceptions, straight to the void\" the listener gains insight into the otherworldly, post-human, resolve of Suzy's proposed future.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePain Is A Door\u003c\/li\u003e\n\u003cli\u003eIndustrialized Living Effects\u003c\/li\u003e\n\u003cli\u003eExtrasensory\u003c\/li\u003e\n\u003cli\u003eUnified Totality\u003c\/li\u003e\n\u003cli\u003eLife Like An Electric Surge\u003c\/li\u003e\n\u003cli\u003eDouble Helix\u003c\/li\u003e\n\u003cli\u003eLights In The Middle Of Nowhere\u003c\/li\u003e\n\u003cli\u003eTransforming DNA\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 758475506915\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 1.24.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Pod Blotz","offers":[{"title":"Default Title","offer_id":58291678740561,"sku":"156136","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3757584-2602292.jpg?v=1760732376"},{"product_id":"tick-tick-tick-lp","title":"tick tick tick [LP]","description":"\u003cp\u003e\u003cspan\u003eCabaret Voltaire co-founder Stephen Mallinder’s second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and “wonky disco” into a riveting rhythm suite ripe for our age of escalation: tick tick tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at MemeTune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond “cowbell on every track, and entirely no reverb.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFrom the first coiled cybernetic groove of opener “Contact,” the album’s spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, “rhythm is the default, the bedrock, the building block –even the melodies are rhythmic.” Across 40-plus years of electronic musicianship, Mallinder’s sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial (“ringdropp,” “Shock to the Body”) crossfade into no wavy punk-funk (“Guernica Gallery,” “Galaxy,” “The Trial”), bad trip IDM (“Wasteland”), and jittery vapor house (“Hush”), at the threshold of modes both familiar and foreign.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder’s main muse: “Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation.” This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: “I will be a constant figure \/ Flickering a moving picture \/ Turning in your head forever \/ Split apart but held together.”\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eContact\u003c\/li\u003e\n\u003cli\u003eRingdropp\u003c\/li\u003e\n\u003cli\u003eGalaxy\u003c\/li\u003e\n\u003cli\u003eWasteland\u003c\/li\u003e\n\u003cli\u003eHush\u003c\/li\u003e\n\u003cli\u003eShock to the Body\u003c\/li\u003e\n\u003cli\u003eGuernica Gallery\u003c\/li\u003e\n\u003cli\u003eThe Trial\u003c\/li\u003e\n\u003cli\u003eTick Tick Tick\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672840\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.15.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Stephen Mallinder","offers":[{"title":"Default Title","offer_id":58291713900625,"sku":"195086","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4096857-2833181.jpg?v=1760732999"},{"product_id":"object-in-motion-uk-lp","title":"Object In Motion (Uk) [12\" Vinyl]","description":"\u003cp\u003eCloudy red vinyl. The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic\/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into \"flow states,\" letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal-Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motionis true to it's title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVanity (Feat. 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Technology was meant to be humanity's tool to combat famine, disease, confusion, and to facilitate life, culture, and innovation. Instead, we're mired in a digital labyrinth that few care to navigate or even solve. Perhaps it's not a ruse and the matrices coded by keyboard maestros are a path to liberation, but without querying the constructs we cannot ruminate on their affectations on humanity. VR SEX are audio\/visual provocateurs who transpose the identifiers of death rock, synth punk, post-punk, ambient, and ethereal soundscapes into an audit on technology and it's imprint on our collective psyche. Comprised of visionary mercenaries Noel Skum (Andrew Clinco of Drab Majesty), Z. Oro (Aaron Montaigne of Antioch Arrow\/Heroin\/DBC) on vocals and drums, and Mico Frost (Brian Tarney) on synths and electric bass. Their debut tome, Human Traffic Jam, focuses on lyrical themes that probe the possibilities of loss of autonomy through social media, the decline of human interaction, and celebrity favoritism. Skum believes in the stabilization of society and preservation of our planet by reducing it's amount of procreators. Through PSRS or Procreation Simulation Reproduction Stimulation, humans can act on their hedonistic desires and not face the responsibilities and consequences that come with being an ill-prepared guardian. The future of our offspring will exist in virtual realms and population growth in turn will be stabilized. VR SEX is the cure to most societal ills. Thematically condensed into an eight song album, Human Traffic Jam was written and demoed by Skum in a flat in Athens, Greece during the winter of 2017. During a rigorous week long session at Figure 8 studios with experimental and dimensional production extraordinaire Ben Greenberg (Uniform\/The Men), Skum solely committed all the instrumentation present on Human Traffic Jam. Rather than being emblematic of influences, each song on the LP infuses a dire tension that cuts shimmer with fetid frequencies, never establishing an aural hierarchy or urgency. Instead, we're lead into punchy capsules of \"dour pop\"; the balance of saccharine and sour so emblematic of the VR SEX hive mind. DAIS Records releases VR SEX's debut album \"Human Traffic Jam\" on May 10, 2019 on digital, vinyl LP (packaged in a thick matte stock jacket with a printed inner eurosleeve with lyrics and download card in various colored vinyl variants), as well as compact disc, housed in a matte digipack with lyric insert and features the bonus track \"Corridor (Epilogue)\". 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Frantic and fast punk anthems like Nerve Ends In Power Lines, Isn't That Strange, and In Purgatory are a shot in the gut, while slower, more introspective tracks like Difficult Days and You'll Never Know reveal what the band had in store later with This Kind of Punishment. 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