{"title":"Dais \/l\/","description":null,"products":[{"product_id":"modern-mirror-blk-colored-vinyl-wht","title":"Modern Mirror (Blk) [Colored Vinyl] (Wht)","description":"\u003cp\u003eSince the 2015 release of Drab Majesty's debut \"Careless\", and the release of the acclaimed sophomore album \"The Demonstration\" the following year, artist Deb Demure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious, constantly-evolving presence.Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: Modern Mirror.Blowing the dust off the antiquarian myth of Ovid's \"Narcissus\", Drab Majesty uses it's premise as groundwork for a modern reinterpretation. 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. Packaging and design by Juan Mendez (Jealous God\/Silent Servant).\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 683950558410\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":45455616475334,"sku":"5133","price":25.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4441784-3415238.jpg?v=1768498430"},{"product_id":"blending-cd","title":"Blending [CD]","description":"\u003cp\u003e\u003cspan\u003eHigh Vis were formed in 2016 from the ashes of some of the UK’s best hardcore bands. Gild-toothed frontman Graham Sayle’s anguished lyrics about life in working class Britain were familiar to fans of Tremors’ full-throttle thrash, but alongside his former bandmate Edward ‘Ski’ Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLike scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis’ 2019 debut album, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eNo Sense No Feeling \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eshowed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020’s synth-driven EP, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSociety Exists\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, was further evidence of the band’s restless creative MO.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHigh Vis’ second album \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBlending\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e sees them open their view finder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album 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\u003eTalk for Hours\u003c\/li\u003e\n\u003cli\u003eE0151\u003c\/li\u003e\n\u003cli\u003eOut Cold\u003c\/li\u003e\n\u003cli\u003eBlending\u003c\/li\u003e\n\u003cli\u003eTrauma Bonds\u003c\/li\u003e\n\u003cli\u003eFever Dream\u003c\/li\u003e\n\u003cli\u003eMorality Test\u003c\/li\u003e\n\u003cli\u003eJoin Hands\u003c\/li\u003e\n\u003cli\u003eShame\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672833\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.30.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"High Vis","offers":[{"title":"Default Title","offer_id":45455628828870,"sku":"3761","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4119438-2864818.jpg?v=1768498601"},{"product_id":"guided-tour-cd","title":"Guided Tour [CD]","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\"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGuided Tour\u003c\/li\u003e\n\u003cli\u003eDrop Me Out\u003c\/li\u003e\n\u003cli\u003eWorth the Wait\u003c\/li\u003e\n\u003cli\u003eFeeling Bless\u003c\/li\u003e\n\u003cli\u003eFill the Gap\u003c\/li\u003e\n\u003cli\u003eFarringdon\u003c\/li\u003e\n\u003cli\u003eMob Dla\u003c\/li\u003e\n\u003cli\u003eUntethered\u003c\/li\u003e\n\u003cli\u003eDeserve It\u003c\/li\u003e\n\u003cli\u003eMind's a Lie\u003c\/li\u003e\n\u003cli\u003eGone Forever\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558052\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.18.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"High Vis","offers":[{"title":"Default Title","offer_id":45455647178950,"sku":"18466","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4368015-3229846.jpg?v=1768498916"},{"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\"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGuided Tour\u003c\/li\u003e\n\u003cli\u003eDrop Me Out\u003c\/li\u003e\n\u003cli\u003eWorth the Wait\u003c\/li\u003e\n\u003cli\u003eFeeling Bless\u003c\/li\u003e\n\u003cli\u003eFill the Gap\u003c\/li\u003e\n\u003cli\u003eFarringdon\u003c\/li\u003e\n\u003cli\u003eMob Dla\u003c\/li\u003e\n\u003cli\u003eUntethered\u003c\/li\u003e\n\u003cli\u003eDeserve It\u003c\/li\u003e\n\u003cli\u003eMind's a Lie\u003c\/li\u003e\n\u003cli\u003eGone Forever\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558045\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 10.18.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"High Vis","offers":[{"title":"Default Title","offer_id":45455705145542,"sku":"45382","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4368014-3229845.jpg?v=1768499514"},{"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":45455740371142,"sku":"56949","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3719186-2507254.jpg?v=1768500087"},{"product_id":"eternal-stalker-lp","title":"Eternal Stalker [LP]","description":"\u003cp\u003eOn their first official collaboration, Japanese noise pioneer Masami Akita aka Merzbow and Australian sound sculptor Lawrence English present a harrowing, surrealist portrait of nocturnal industrial activity, spawned by field recordings made in a sprawling factory complex seven hours north of English's home in Brisbane. He characterizes the area as \"uneasy and unsettling,\" awash in the sickly glow of smelters and refinement machinery, somehow not of this world - a liminal quality vividly captured in Andrei Tarkovsky's sprawling purgatorial opus, Stalker, to which the title alludes. Akita, too, described early drafts of Eternal Stalker as feeling \"like the soundtrack to a dystopian science fiction opera.\" A mood of mechanical dread and ruined futures permeates each of the album's seven potent compositions.Opener \"The Long Dream\" sets the stage with steady rain on sheet metal, punctured by thunder and metallic echoes, reverberating to the rafters in a collapsing warehouse. Quickly the tempest rises. \"A Gate Of Light\" and \"Magnetic Traps\" both convulse in churning furies of electric demolition and rattling chains, roaring and relentless. \"The Visit\" and \"Black Thicket\" operate more at a distance, surveying the topography of steam, rust, and liquid metal from above, their flickers of violence like gunfire swallowed by blankets of darkness. This is noise at it's most elemental and unknowable: brooding, bristling, and opaque, stalking forbidden peripheries of chaos and creation.Discussing Akita's music, English refers to it's \"intense substrata that is purely psychedelic; it consumes and confounds.\" The seasick swells of friction and fracture subsume the listener, forcing an auditory surrender: \"this saturation of the senses can be a euphoria.\" Proof comes halfway through \"The Golden Sphere,\" when the howling mayhem subtly recedes, revealing an eerie siren drone hovering in the void, like the resonance of a dead star galaxies away. Slowly a seething, venomous wall of volume returns, shredding the signal until it's frequencies fray, whipping away into the eye of the storm. 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Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in \"a continually mutating series of circulating musickal compositions\" upon it's initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes.The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: \"Return the book of knowledge \/ Return the marble index \/ File under \"Paradox\" \/ The forest is a college, each tree a university.\" As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a \"bliss out,\" static but shape-shifting, an amniotic drift towards an eternal vanishing point. 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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. 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Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase of their career. Utilising what was then the newest computer technology, digital and analog synthesis and the newly formed idea that something outside of themselves was steering the ship.During the studio sessions that developed into what would become \"Worship the Glitch\", Coil became aware of random compositions emitting from their equipment and were seemingly at odds with the constant \"accidents\" that were perpetually plaguing the recordings. The band blamed these unintentional emissions on \"ELpH\": a conceptual being that is one part physical equipment failure and one part celestial fiend constantly playing the role of trickster by throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band and the process of misusing audio software to create intentional \"errors\" was adopted as a musical technique. 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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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Recorded in Los Angeles, the songs seethe with dread, lust, reckoning, and abandon, backlit by the light pollution of a thousand dead end city streets. Alfons co-produced the collection with versatile composer and producer Nightfeelings, achieving a thick, smoky balance of eerie synths, fog machine low end, and bruised, crooning voice. The title alludes to a friend's offhand remark about Alfons' intrinsically performative nature. The opener, \"Soon,\" swells to life with hymnal electronics before kicking through the dance floor with a huge new wave hook, spiked with caustic kiss-off lyrics (\"Asleep I still say it aloud \/ Scared stiff it's all around \/ We never did call it off, now our organs dried \/ Scared stiff to stone, you liar\"). The music moves between beauty and bitterness, anthem and anguish, the sound of melancholia gone massive. 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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. As time went on, for me, that falling became flying. 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He characterizes the area as \"uneasy and unsettling,\" awash in the sickly glow of smelters and refinement machinery, somehow not of this world - a liminal quality vividly captured in Andrei Tarkovsky's sprawling purgatorial opus, Stalker, to which the title alludes. Akita, too, described early drafts of Eternal Stalker as feeling \"like the soundtrack to a dystopian science fiction opera.\" A mood of mechanical dread and ruined futures permeates each of the album's seven potent compositions.Opener \"The Long Dream\" sets the stage with steady rain on sheet metal, punctured by thunder and metallic echoes, reverberating to the rafters in a collapsing warehouse. Quickly the tempest rises. \"A Gate Of Light\" and \"Magnetic Traps\" both convulse in churning furies of electric demolition and rattling chains, roaring and relentless. \"The Visit\" and \"Black Thicket\" operate more at a distance, surveying the topography of steam, rust, and liquid metal from above, their flickers of violence like gunfire swallowed by blankets of darkness. This is noise at it's most elemental and unknowable: brooding, bristling, and opaque, stalking forbidden peripheries of chaos and creation.Discussing Akita's music, English refers to it's \"intense substrata that is purely psychedelic; it consumes and confounds.\" The seasick swells of friction and fracture subsume the listener, forcing an auditory surrender: \"this saturation of the senses can be a euphoria.\" Proof comes halfway through \"The Golden Sphere,\" when the howling mayhem subtly recedes, revealing an eerie siren drone hovering in the void, like the resonance of a dead star galaxies away. Slowly a seething, venomous wall of volume returns, shredding the signal until it's frequencies fray, whipping away into the eye of the storm. The combined effect merges obliteration and liberation, rapture and ravagement; it's the sound of dissolution as resolution, uprooted and unmoored, finally freed from form.\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 Long Dream\u003c\/li\u003e\n\u003cli\u003eA Gate of Light\u003c\/li\u003e\n\u003cli\u003eThe Visit\u003c\/li\u003e\n\u003cli\u003eMagnetic Traps\u003c\/li\u003e\n\u003cli\u003eThe Golden Sphere\u003c\/li\u003e\n\u003cli\u003eBlack Thicket\u003c\/li\u003e\n\u003cli\u003eA Thing, Just Silence\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672673\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.3.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Merzbow \/ Lawrence English","offers":[{"title":"Default Title","offer_id":45456098689222,"sku":"239736","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4081975-2815935.jpg?v=1768504754"},{"product_id":"lamina-box-cd","title":"Lamina (Box) [CD]","description":"\u003cp\u003eThis long-gestating box set of Scottish electronic pioneer Drew McDowall's solo work takes it's title from a technical term meaning 'plate' or 'layer' most often used in contexts either geological or anatomical: Lamina. He speaks of the compiling process similarly: \"Digging into my archives felt like a mix of psychoanalysis and archaeology - uncovering buried things.\" The six CD collection includes expanded editions of his four most recent Dais LPs (Collapse, 2015; Unnatural Channel, 2017; The Third Helix, 2018; and Agalma, 2020), alongside a disc of rarities (Undulations and Aberrations) and one of live performances (Entanglement). Taken together, it presents a definitive portrait of McDowall's cryptic, questing artistry, forever seeking \"that sense of stepping over a threshold.\"The bonus material in particular is revelatory, broadening both the context and complexity of it's respective full-length. \"Palisades,\" a Collapse outtake, patiently builds a mantric throb into a rippling cascade of head-nodding cosmic noise, like some glowing shrapnel splintered off the rest of the record. \"Tell Me The Name (Alt Version),\" a reworking of the eerie opener of Unnatural Channel, embodies McDowall's goal for the compilation as \"a window into the process of iteration.\" More emaciated and reptilian than the original mix, the track shivers and shimmers in a reverie of alien melancholy, a corrupted file of some interdimensional hymn. \"False Memory Demo,\" from The Third Helix sessions, showcases the textural trial-and-error behind these compositions - a wobbly collage of seasick scrapings, sine waves, and tectonic circuitry, tested like source material in a lab. Similarly, an unreleased Agalma vault cut, \"Cest,\" captures the artist at the brink of breakthrough - a time-stretched drone traced in muffled voices and phasered haze dilates across five lysergic minutes. It's the sound of a palette being refined, poised for deployment.The fifth disc spans two decades of stray recordings, from 90's studio experiments to lost comp tracks to sold-out tapes, modular oddities, and rhythmic sketches. Sequenced chronologically, it demonstrates the zig-zagging evolution of McDowall's sound, colored by formative years collaborating in Coil but extrapolated into freshly forking paths: industrial dub, icy downtempo, tonal devotionals, hexed gamelan, interstitial murk. The suite of live sets, too, is essential listening. He describes his inclusion criteria as performances that fuse \"the sacred and the feral, like you're in a cathedral but the floor is dirt.\" All four recordings are rich and unhinged: a spiraling, seething, somber voyage for Ascetic House and Mount Analog's's dark experimental series, Nuit Noire; a jagged, dissonant excerpt from his Collapse release show at New York venue Alphaville; a fractured, psychedelic rendering of \"Agalma III\" for Root Radio's Exist Festival live stream; and a delirious, magisterial take of \"Agalma I\" for the Agalma release party at Strange Editions produced by Quo Vadis (his ambition for which was \"to mirror the pandemic-related ontological feeling of being suspended in mid-air\").Despite it's duration, Lamina is a leanly plotted survey, devoid of dead weight. Few artists as omnivorous as McDowall are also as self-editing - his standards are rigorous, and revealing: \"While working, I'm always changing things, hacking them away, abandoning them when they don't work. When listening back I'm looking for a sense of awe and wonder. Otherworldly magic. If I'm not hearing that, I don't see the point.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLP1: The Chimeric Mesh Withdraws (Parts 1-3)\u003c\/li\u003e\n\u003cli\u003eHypnotic Congress\u003c\/li\u003e\n\u003cli\u003eThrough Is Out\u003c\/li\u003e\n\u003cli\u003eConvulse\u003c\/li\u003e\n\u003cli\u003eEach Surface of Night\u003c\/li\u003e\n\u003cli\u003eLiquids (Sketch)\u003c\/li\u003e\n\u003cli\u003eThrough Is Out (Demo)\u003c\/li\u003e\n\u003cli\u003eHypnotic Congress Palisades (Demo)\u003c\/li\u003e\n\u003cli\u003eConvulsed (\u003c\/li\u003e\n\u003cli\u003eAm Alternative Version)\u003c\/li\u003e\n\u003cli\u003eEach Surface of Night (Demo)\u003c\/li\u003e\n\u003cli\u003eArval LP2: Tell Me the Name\u003c\/li\u003e\n\u003cli\u003eHabitat\u003c\/li\u003e\n\u003cli\u003eThis Is What It's Like\u003c\/li\u003e\n\u003cli\u003eUnnatural Channel (Part 1)\u003c\/li\u003e\n\u003cli\u003eUnnatural Channel (Part 2)\u003c\/li\u003e\n\u003cli\u003eRecognition\u003c\/li\u003e\n\u003cli\u003eUnshielded\u003c\/li\u003e\n\u003cli\u003eTell Me the Name (Sketch)\u003c\/li\u003e\n\u003cli\u003eUnshielded (Demo)\u003c\/li\u003e\n\u003cli\u003eUnnatural Channel (Demo)\u003c\/li\u003e\n\u003cli\u003eHabitat (Demo)\u003c\/li\u003e\n\u003cli\u003eAlt Dark\u003c\/li\u003e\n\u003cli\u003eHidden World Lp3:Rhizome\u003c\/li\u003e\n\u003cli\u003eTendrils\u003c\/li\u003e\n\u003cli\u003eImpulse\u003c\/li\u003e\n\u003cli\u003eYll\u003c\/li\u003e\n\u003cli\u003eProximity\u003c\/li\u003e\n\u003cli\u003eFalse Memory\u003c\/li\u003e\n\u003cli\u003eNothing Is Hidden\u003c\/li\u003e\n\u003cli\u003eImmanent\u003c\/li\u003e\n\u003cli\u003eOpener\u003c\/li\u003e\n\u003cli\u003eMembrane\u003c\/li\u003e\n\u003cli\u003eProximity (Demo)\u003c\/li\u003e\n\u003cli\u003eArc Hand\u003c\/li\u003e\n\u003cli\u003eSVN SSTRS\u003c\/li\u003e\n\u003cli\u003eFalse Memory (Demo)\u003c\/li\u003e\n\u003cli\u003eProximity (Early Sketch) LP4: Agalma I (Folding)\u003c\/li\u003e\n\u003cli\u003eAgalma II\u003c\/li\u003e\n\u003cli\u003eAgalma III (Beacon)\u003c\/li\u003e\n\u003cli\u003eAgalma IV\u003c\/li\u003e\n\u003cli\u003eAgalma V\u003c\/li\u003e\n\u003cli\u003eAgalma VI\u003c\/li\u003e\n\u003cli\u003eAgalma VII (Toyor El Janeh)\u003c\/li\u003e\n\u003cli\u003eAgalma I\u003c\/li\u003e\n\u003cli\u003eAbandoned Object\u003c\/li\u003e\n\u003cli\u003eAgalma II (Demo)\u003c\/li\u003e\n\u003cli\u003eMBCST\u003c\/li\u003e\n\u003cli\u003eAgalma VII (Demo)\u003c\/li\u003e\n\u003cli\u003eAgalma V (Demo) LP5: Tongs\u003c\/li\u003e\n\u003cli\u003eVCDB\u003c\/li\u003e\n\u003cli\u003eBetween the Rains\u003c\/li\u003e\n\u003cli\u003eSummer Solstice 2012\u003c\/li\u003e\n\u003cli\u003eDeluge Pt. 1\u003c\/li\u003e\n\u003cli\u003eDeluge Pt. 2\u003c\/li\u003e\n\u003cli\u003eTekapo Ridge\u003c\/li\u003e\n\u003cli\u003eSlow Roll\u003c\/li\u003e\n\u003cli\u003eCascade (Verb)\u003c\/li\u003e\n\u003cli\u003eInters LP6: Live at Complex - Los Angeles, Ca 2015\u003c\/li\u003e\n\u003cli\u003eLive at Alphaville - Brooklyn, NY 2015\u003c\/li\u003e\n\u003cli\u003eAgalma III - Beacon (Live)\u003c\/li\u003e\n\u003cli\u003eFold (Live)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950565760\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.7.23\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Drew McDowall","offers":[{"title":"Default Title","offer_id":45456123101382,"sku":"258266","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4199102-2975235.jpg?v=1768505142"},{"product_id":"musick-to-play-in-the-dark-2-clear-blue-blue-lp","title":"Musick To Play In The Dark 2 (Clear Blue) (Blue) [LP]","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.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLP1: Something\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\u003eLP2: An 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 011586672093\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 Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Coil","offers":[{"title":"Default Title","offer_id":45456198762694,"sku":"280577","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4068947-2800688.jpg?v=1768506022"},{"product_id":"amends-lp","title":"Amends [LP]","description":"\u003cp\u003eThem Are Us Too was formed in the Bay Area by friends Kennedy Ashlyn and Cash Askew in 2012 after meeting at school. They quickly gained a cult following as word spread about their youthful, innocent and fresh take on the revered 80s dream pop and shoegaze sound. Kennedy Ashlyn's voice was immediately compared to Elizabeth Fraser and Kate Bush, while Cash Askew's washes of intricate guitar felt akin to Robin Guthrie and Kevin Shields. Tragically, Cash Askew passed away in the Ghost Ship fire in Oakland in December of 2016, sending a shockwave of loss through our community. While Kennedy Ashlyn would eventually emerge as a solo artist through her project SRSQ, there were unfinished Them Are Us Too recordings and demos that Kennedy and those close to Cash felt deserved be heard in her memory.Kennedy returned to the studio with producer Joshua Eustis (Telefon Tel Aviv), Sunny Haire (Cash's stepfather), Matia Simovich (INHALT), and Anya Dross (Cash's girlfriend) to complete unfinished demos and sketches, write new compositions, and honor Cash Askew. The result is \"Amends\", a collection of songs that would have been the second Them Are Us Too record, an amendment to a catalogue cut short.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAngelene\u003c\/li\u003e\n\u003cli\u003eGrey Water\u003c\/li\u003e\n\u003cli\u003eFloor\u003c\/li\u003e\n\u003cli\u003eNo One\u003c\/li\u003e\n\u003cli\u003eCould Deepen\u003c\/li\u003e\n\u003cli\u003eAmends\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 669439870785\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.29.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"m Are Us Too","offers":[{"title":"Default Title","offer_id":45456234053830,"sku":"296523","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3796621.jpg?v=1768506511"},{"product_id":"performance-cd","title":"Performance [CD]","description":"\u003cp\u003eThe 4th?full-length studio album by?Robert Alfons aka TR\/ST (fka Trust),?'Performance,' sinks even further into the nasty synth-pop psychodrama that the project has pioneered and, finally, perfected across over a decade of evolution. Recorded in Los Angeles, the songs seethe with dread, lust, reckoning, and abandon, backlit by the light pollution of a thousand dead end city streets. Alfons co-produced the collection with versatile composer and producer Nightfeelings, achieving a thick, smoky balance of eerie synths, fog machine low end, and bruised, crooning voice. The title alludes to a friend's offhand remark about Alfons' intrinsically performative nature. The opener, \"Soon,\" swells to life with hymnal electronics before kicking through the dance floor with a huge new wave hook, spiked with caustic kiss-off lyrics (\"Asleep I still say it aloud \/ Scared stiff it's all around \/ We never did call it off, now our organs dried \/ Scared stiff to stone, you liar\"). The music moves between beauty and bitterness, anthem and anguish, the sound of melancholia gone massive. On track after track, Alfons wields pop dynamics and brooding production wizardry like a weapon, spiraling through a roll call of singles - \"All At Once,\" \"The Shore,\" \"Dark Day,\" \"Boys of LA.\" Throughout, there's a sense of emotional turmoil elevated to strange heights, stained by guilt and ghosts and the memory of those wronged and those still unforgiven. As a world unto itself, 'Performance'?is persuasive, immersive, and intoxicating, at the threshold of stirring and disturbing. Alfons' voice is the anchor in the storm, singing a collage of impressions and confessions with a smeared, stream of consciousness logic. He's both observer and instigator, performer and playwright, liberated by the stage and the night: \"Now we see the rotten mind \/ It's eye to eye and mysteries\/ Sail your boat for shore \/ I sit by the window waiting for 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\u003eSoon\u003c\/li\u003e\n\u003cli\u003eRegret\u003c\/li\u003e\n\u003cli\u003eAll At Once\u003c\/li\u003e\n\u003cli\u003eThe Shore\u003c\/li\u003e\n\u003cli\u003eBoys Of LA\u003c\/li\u003e\n\u003cli\u003eClowned\u003c\/li\u003e\n\u003cli\u003eDark Day\u003c\/li\u003e\n\u003cli\u003ePerformance\u003c\/li\u003e\n\u003cli\u003eWarp\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950557949\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.13.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"TR\/ST","offers":[{"title":"Default Title","offer_id":45456237822150,"sku":"295248","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4359334-3205855.jpg?v=1768506577"},{"product_id":"nothing-here-now-but-the-recordings-cd","title":"Nothing Here Now But The Recordings [CD]","description":"\u003cp\u003eIn 1980, Genesis P-Orridge and Peter \"Sleazy\" Christopherson of (then-)Throbbing Gristle travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz. Genesis and Sleazy started the daunting task of compiling the experimental sound works of Burroughs, which, up until that point, had never been widely heard.During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word \"cut-ups\", collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Over the following year, P-Orridge, Christopherson and Grauerholz spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and experimental prowess for audio anomaly within technical limitations. In early 1981, Burroughs had relocated to Lawrence, KS to escape the violence and manias of New York City life. There, P-Orridge and Christopherson put the finishing touches on the record that would be known as Nothing Here Now but the Recordings.Released in Spring 1981, the album would end up as the final release on Industrial Records, brought about by the dissolution of Throbbing Gristle. It was quietly out of print until 1998, when John Giorno and the Giorno Poetry Systems included the album on a retrospective CD box set, which compiled the majority of Burroughs's seminal recordings. In 2015, Dais Records worked closely with the Estate of William S. Burroughs to finally re-release, for the first time in 36 years, a proper vinyl reissue of William S. Burroughs Nothing Here Now but the Recordings to celebrate the centennial anniversary of William S. Burroughs. For the 2023 edition, Dais has remastered the audio with renowned engineer Josh Bonati, and restored the original artwork with a new dedication to Genesis Breyer P- Orridge and Peter Christopherson.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eCaptain Clark Welcomes You Aboard\u003c\/li\u003e\n\u003cli\u003eThe Saints Go Marching Through All the Popular Tunes\u003c\/li\u003e\n\u003cli\u003eSummer Will\u003c\/li\u003e\n\u003cli\u003eOutside the Pier Prowed Like Electric Turtles\u003c\/li\u003e\n\u003cli\u003eThe Total Taste Is Here - News Cut-Up\u003c\/li\u003e\n\u003cli\u003eChoral Section, Backwards\u003c\/li\u003e\n\u003cli\u003eWe See the Future Through the Binoculars of the People\u003c\/li\u003e\n\u003cli\u003eJust Checking Your Summer Recordings\u003c\/li\u003e\n\u003cli\u003eCreepy Letter - Cut-Up at the Beat Hotel in Paris\u003c\/li\u003e\n\u003cli\u003eInching - Is This Machine Recording?\u003c\/li\u003e\n\u003cli\u003eHandkerchief Masks - News Cut-Up\u003c\/li\u003e\n\u003cli\u003eWord Falling - Photo Falling\u003c\/li\u003e\n\u003cli\u003eThroat Microphone Experiment\u003c\/li\u003e\n\u003cli\u003eIt's About Time to Identify Oven Area\u003c\/li\u003e\n\u003cli\u003eLast Words of Hassan Sabbah\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556195\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.28.23\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"William Burroughs S.","offers":[{"title":"Default Title","offer_id":45456248111302,"sku":"304354","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4190255-2953632.jpg?v=1768506730"},{"product_id":"chameleon-cd","title":"Chameleon [CD]","description":"\u003cp\u003eSince first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown Trauma Ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, 'Chameleon', captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says \"The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms.\"'Chameleon' opens with \"Ember,\" dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single \"Bishop\" perfectly encapsulates Trauma Ray's depth and dimension, ripping out of the gate with \"the biggest, baddest, saddest wall of sound.\" Lyrics about being burnt at the stake and \"tossed in the flame\" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. \"Spectre\" isa mysterious, introspective dirge, envisioned as a \"mellow, slowcore, Duster-thing,\" all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, \"to be a hymnal\" from the perspective of someone who won't let go - a ghost, an ex, a shadow self.Although the album is rich with subtleties, graceful lulls, and \"breaths of air,\" the band's three guitar attack is it's defining force, a power flexed to it's peak on \"Bardo.\" Perez's intentions were blunt: \"I wanted to write a riff that was hard as fuck.\" The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of Trauma Ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: \"Riff, verse, chorus, three guitar parts - that's all you need.\" This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death (\"A twisted face \/ Void of attention \/ An empty space \/ In your reflection\").\"U.S.D.D.O.S\" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to \"a dream within a dream,\" the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. 'Chameleon' is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. 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Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for 'two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon it's release a decade and a half ago. Pavlov characterizes Soisong as less a musical group than a \"utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority... more like a message from elsewhere that anyone is welcome to participate in and spread.\" Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. 'qXn948s' began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as \"unspoken and sincere, and very efficient.\" That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of it's creators.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eKabuki-Chop\u003c\/li\u003e\n\u003cli\u003eSoijin No Hi\u003c\/li\u003e\n\u003cli\u003eKoi Ru\u003c\/li\u003e\n\u003cli\u003eJam Talay Sai\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556041\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 12.2.22\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Soisong","offers":[{"title":"Default Title","offer_id":45456378921158,"sku":"361647","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4143572-2899004.jpg?v=1768508210"},{"product_id":"new-signs-of-life-lp","title":"New Signs of Life [LP]","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. As a new statement of purpose, New Signs of Life subverts the band's moniker, offering breath during suffocation; optimism in chaos with sound over sinking.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHeavenly Bodies\u003c\/li\u003e\n\u003cli\u003eTwo Thousand and Twenty\u003c\/li\u003e\n\u003cli\u003eNew Signs of Life\u003c\/li\u003e\n\u003cli\u003eWeb of Love\u003c\/li\u003e\n\u003cli\u003eThe Sun That Shines Forever\u003c\/li\u003e\n\u003cli\u003eA Different Kind of Happy\u003c\/li\u003e\n\u003cli\u003eAlison\u003c\/li\u003e\n\u003cli\u003eSacred\u003c\/li\u003e\n\u003cli\u003eShot Down (Falling) 10.\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586670587\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.25.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Death Bells","offers":[{"title":"Default Title","offer_id":45456511697094,"sku":"431817","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3842976-2585198.jpg?v=1768509906"},{"product_id":"between-here-everywhere-lp","title":"Between Here \u0026 Everywhere [LP]","description":"\u003cp\u003eAdopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here \u0026amp; Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury.The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here \u0026amp; Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated.Between Here \u0026amp; Everywhere sets out to map the potent mess of Los Angeles. Canning cites the \"vastness\" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over it's 35-minute runtime. The lyrics are categorized as \"narrative, but not autobiographical,\" born of intrigue, intimacy, and a sense of \"looking outward.\" From the highly-strung blast of \"Hysteria\", to the hypnotic rhythms of \"Lifespring\", and the staunchly resonant hope displayed in \"Last Days\", \"Space Without A Name\" and \"Eternity Street\", Between Here \u0026amp; Everywhere encompasses Death Bells' most captivating work to date.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePasserby\u003c\/li\u003e\n\u003cli\u003eHysteria\u003c\/li\u003e\n\u003cli\u003eLifespring\u003c\/li\u003e\n\u003cli\u003eIntruder\u003c\/li\u003e\n\u003cli\u003eA Better Resolution\u003c\/li\u003e\n\u003cli\u003eLast Days\u003c\/li\u003e\n\u003cli\u003eSpace Without A Name\u003c\/li\u003e\n\u003cli\u003eEternity Street\u003c\/li\u003e\n\u003cli\u003eHere ; Everywhere\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672925\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":"Death Bells","offers":[{"title":"Default Title","offer_id":45456523722950,"sku":"435272","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4101395-2838919.jpg?v=1768510119"},{"product_id":"unarian-dances-uk-12-vinyl","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. 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The music became more rhythmic, with a greater emphasis on beats: \"the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre.\" The sound of 'Black Antlers' is of an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a \"specifically commissioned\" electric variant, to merge into the band's \"strange and other-worldly music\"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized's live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk and balalaika. Initially released as an \"album-in-progress\" in June 2004, a post on the Threshold House website noted, \"Please remember that September will see Coil recording the album \"Black Antlers (Proper)\".\" Jhonn Balance passed away that November; Christopherson would reunite with 'Love's Secret Domain' collaborator Danny Hyde to complete 'Black Antlers' by May 2006.\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 Gimp (Sometimes)\u003c\/li\u003e\n\u003cli\u003eSex With Sun Ra (Part One - Saturnalia)\u003c\/li\u003e\n\u003cli\u003eThe Wraiths And Strays Of Paris\u003c\/li\u003e\n\u003cli\u003eAll The Pretty Little Horses\u003c\/li\u003e\n\u003cli\u003eTeenage Lightning (10th Birthday Version)\u003c\/li\u003e\n\u003cli\u003eBlack Antlers (Where's Your Child?)\u003c\/li\u003e\n\u003cli\u003eSex With Sun Ra (Part Two - Sigillaricia)\u003c\/li\u003e\n\u003cli\u003eDeparted\u003c\/li\u003e\n\u003cli\u003eThings We Never Had\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558151\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.27.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Coil","offers":[{"title":"Default Title","offer_id":45456589226182,"sku":"469738","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4424948-3388467.jpg?v=1768511080"},{"product_id":"gold-lp","title":"Gold [LP]","description":"\u003cp\u003e\u003cspan\u003eWest coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGold\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLike all the most elusive pop, Riki’s songcraft is simultaneously direct and oblique, dynamic and detached, shifting from sparkling chorus to elliptical outro according to its own poetic logic. She characterizes her lyrical muse as “very much what’s going on in my life, things I wanted to say but didn’t have the platform.” This subcurrent of dream fulfillment animates the melodies with a specificity and immediacy that transcends her pantheon of 80’s influences: from Saâda Bonaire and Strawberry Switchblade to Bryan Ferry, Bananarama, and beyond. \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGold\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e skews less dance floor than her instant classic 2020 debut but taken as a collection it’s equally stirring, stylish, and exquisitely produced. Evocatively layered arrangements of drum machinery, sequencer, fretless bass, grey sky guitar, saxophone, and FX, anchored by Riki’s singular voice, alternately widescreen and wounded, yearning beyond time for ecstasies both fleeting and forever: “Thought I knew you, but you’ve gone far away \/ it’s not in your nature to stay \/ but the thought that I need you, grows stronger every day \/ the colors begin \/ to change.”\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\u003eLo\u003c\/li\u003e\n\u003cli\u003eMarigold\u003c\/li\u003e\n\u003cli\u003eOil ; Metal\u003c\/li\u003e\n\u003cli\u003eIt's No Secret\u003c\/li\u003e\n\u003cli\u003eSonar\u003c\/li\u003e\n\u003cli\u003eLast Summer\u003c\/li\u003e\n\u003cli\u003eViktor\u003c\/li\u003e\n\u003cli\u003ePorque Te Vas\u003c\/li\u003e\n\u003cli\u003eFlorence ; Selena\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586672314\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 12.10.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Riki","offers":[{"title":"Default Title","offer_id":45456598139078,"sku":"476722","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4013494-2748129.jpg?v=1768511199"},{"product_id":"remain-colored-vinyl-pnk-can","title":"Remain [Colored Vinyl] (Pnk) (Can)","description":"\u003cp\u003eEmerging quietly from the California bay area through their limited edition demos and intimate performances, Them Are Us Too gained a cult following within independent music circles as a young, new take on the revered \"4AD sound\" of dreamy goth-pop anthems. With a nod to 80's shoegaze sensibilities, Them Are Us Too created songs about tragedy and loves-lost that draws devoted listeners to their nostalgic and innocent sound.Kennedy Ashlyn's vocals have been repeatedly compared to Kate Bush, Harriet Wheeler, and Elizabeth Fraser, with a pitch-perfect octave range carrying songs gracefully between optimistic joy down to undisturbed melancholia-all within one moment of verse.Late guitarist Cash Askew paints a layered and complex backdrop using signature reverberation and washes of stringed ambient tones, akin to Robin Guthrie, Ronny Moorings and Kevin Shields. Perfectly executed songwriting with effortless simplicity and vernal drive, Them Are Us Too's debut album, Remain, rivals the comparative magic behind the early 4AD catalog and zeitgeist of early Creation Records.Massive, seraphic sound and heartbreaking nostalgia crafted into 8 songs of uncompromising and immaculately orchestrated beauty.Recorded when both artists were only 21 years of age, Them Are Us Too masked their irrepressible youth underneath their limitless imagination and unparalleled talent, and dedicated themselves fully to their uncanny musical creation.The debut album \"Remain\" on Dais Records was recorded and produced by Joshua Eustis (Telefon Tel Aviv, Nine Inch Nails, Sons of Magdalene, Black Queen).\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEudaemonia\u003c\/li\u003e\n\u003cli\u003eThe Problem with Redheads\u003c\/li\u003e\n\u003cli\u003eUs Now\u003c\/li\u003e\n\u003cli\u003eMarilyn\u003c\/li\u003e\n\u003cli\u003eFalse Moon\u003c\/li\u003e\n\u003cli\u003eCreepy Love\u003c\/li\u003e\n\u003cli\u003e694 Mi\u003c\/li\u003e\n\u003cli\u003eFall\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950556188\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 3.24.15\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Them Are Us Too","offers":[{"title":"Default Title","offer_id":45456611836102,"sku":"480252","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4191291-2955744.jpg?v=1768511435"},{"product_id":"constant-shallowness-leads-to-evil-2lp","title":"Constant Shallowness Leads To Evil [2LP]","description":"\u003cp\u003e\u003cspan\u003eThe turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMusic To Play In The Dark\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, arcane drone summit \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eQueens Of The Circulating Library\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, and a malevolent hour-long synthesizer exorcism prophetically titled \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eConstant Shallowness Leads To Evil\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. 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It was here that Annie Anxiety established herself as a singular artist and voice with her debut 1981 single \"Barbed Wire Halo\" on seminal Crass Records and forging a creative alliance with Crass members Penny Rimbaud and Eve Libertine. As the landscape of punk in the United Kingdom was shifting towards a more diverse, multicultural focal point, artists such as Annie Anxiety found themselves exploring musical signatures in styles such as dub reggae and rocksteady. In the summer of 1983, Annie began work at Southern Studios on what would be her first full length endeavor which encompassed all of her creative assets at that time. 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A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, 'Chameleon', captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says \"The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms.\"'Chameleon' opens with \"Ember,\" dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single \"Bishop\" perfectly encapsulates Trauma Ray's depth and dimension, ripping out of the gate with \"the biggest, baddest, saddest wall of sound.\" Lyrics about being burnt at the stake and \"tossed in the flame\" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. \"Spectre\" isa mysterious, introspective dirge, envisioned as a \"mellow, slowcore, Duster-thing,\" all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, \"to be a hymnal\" from the perspective of someone who won't let go - a ghost, an ex, a shadow self.Although the album is rich with subtleties, graceful lulls, and \"breaths of air,\" the band's three guitar attack is it's defining force, a power flexed to it's peak on \"Bardo.\" Perez's intentions were blunt: \"I wanted to write a riff that was hard as fuck.\" The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of Trauma Ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: \"Riff, verse, chorus, three guitar parts - that's all you need.\" This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death (\"A twisted face \/ Void of attention \/ An empty space \/ In your reflection\").\"U.S.D.D.O.S\" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to \"a dream within a dream,\" the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. 'Chameleon' is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. 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Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original - \"Artifacts generated by your listening environment are an intrinsic part of the experience.\"Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for. 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An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. Since the release of their well-received 2016 debut Passive With Desire, of which Slug Magazine's Erin Moore declares to be \"... packed with songs that are infectious by way of their sound, as well as their emotion... \", and their 2018 single \"Sunday Light\", the band evolved from singer Adam Klopp's project accompanied by a rotating cast of players into a solidified, permanent lineup featuring long-time collaborator and bassist Chaz Costello, saxophonist and keyboardist Jeff Kleinman, and guitarist Michael Paulsen. Following a series of tours with such notable acts as Cold Cave, Snail Mail, and Ceremony, Choir Boy began writing their new album. Proving to be a worthy successor, Gathering Swans builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable Polish. The first single, Complainer, demonstrates Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Lyrically, the song poses a form of wounded optimism, declaring \"Oh my life, what a pitiful thing to hear... But it's not that bad... I'm just a complainer\". Tracks such as Toxic Eye undoubtedly present the touching \"choral-pop\" sound that has come to be a hallmark of Choir Boy. Repetitious, layered vocal hooks that fade into the background, allowing the absence between breaths to be filled with the serene melody that embodies the foundation of Choir Boy's appeal, demonstrating that the ethereal moments between the bright choruses and memorable hooks are as equally crucial and unforgettable as the lyrical content itself. A slightly more solemn ballad, Eat The Frog, skillfully adapts Choir Boy's taste for nostalgia and translates such desire into a fully mature statement. The propulsive drive behind Eat The Frog possesses the emotional equivalent to sitting atop a hillside, just outside of the city, gazing at the sunset on a warm Summer night. Creative, sincere, passionate and glaring with intention, Gathering Swans paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.\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's Over\u003c\/li\u003e\n\u003cli\u003eToxic Eye\u003c\/li\u003e\n\u003cli\u003eComplainer\u003c\/li\u003e\n\u003cli\u003eNites Like This\u003c\/li\u003e\n\u003cli\u003eSt. Angela Merici\u003c\/li\u003e\n\u003cli\u003eSweet Candy\u003c\/li\u003e\n\u003cli\u003eShatter\u003c\/li\u003e\n\u003cli\u003eEat the Frog\u003c\/li\u003e\n\u003cli\u003eHappy to Be Bad 1\u003c\/li\u003e\n\u003cli\u003eGathering Swans\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586670228\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.29.20\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Choir Boy","offers":[{"title":"Default Title","offer_id":45457070653638,"sku":"659947","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3797845-2563327.jpg?v=1768516687"},{"product_id":"black-light-district-lp","title":"Black Light District [LP]","description":"\u003cp\u003eDuring the transitional period in which Coil's primary leadership (Peter \"Sleazy\" Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil's \"real life\" members, as well as cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil's future exploration of otherworldly influence.Recorded during the Winter of 1995\/96, Black Light District leans more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory \"Unprepared Piano\", the tone is prepared in exactly the same way unpredictable. Conceptually abstract, Black Light District shows Coil's old guard disregarding the pop rhythms found on previous albums, such as Love's Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 669439871331\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.25.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Coil","offers":[{"title":"Default Title","offer_id":45457135337670,"sku":"1994855","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3791275.jpg?v=1768517654"},{"product_id":"demo-1-lp","title":"Demo 1 [LP]","description":"\u003cp\u003eBegging Dog is the indie punk project of Los Angeles-based artist Jeff Kleinman. An outlet for his work outside of the band Choir Boy, Begging Dog finds Kleinman embracing a raw, homespun sound with nods to garage punk and plain language lyricism.DEMO 1 is 26 minutes packed with rolling bass and synth lines, charismatic riffs, and motorik drum beats. Lyrically, the songs feature a range of lived-in observations, scenes, and characters: a pushy union rep; a mailman with a steady federal job; a compulsive gambler; a beloved neighborhood homeless man. Ex-loves become collaged together, haunting several tracks, out of context, with blunt, sharp-witted free verse. Kleinman cites Bruce Springsteen as an inspiration in how his songs are penned with plain ink, opting for direct simplicity over flowery prose.He taps into a shared loneliness, both universal and perhaps especially unique to living in Los Angeles, with no-frills nuance and vulnerability. On the title track, Kleinman sings, \"no one loves a begging dog,\" in a line borrowed from a friend that embodies the project's point of view: the world can make you feel like a begging dog in search of affection and security, but there is beauty in solitude and the buzzing monotony of it all.The synth-laced \"Laughing Boy\" contemplates the meaning of life, decrying high rent while noting the scent of jasmine trees in the same breath as the jarring police presence. On \"Common Place\", surrounded by urgent drum machine kicks and distortion, he sings about feeling truly alive at a 7-Eleven downtown, then darts between a tragedy he witnessed at a park and fond memories of living communally in Salt Lake City, before declaring his new mantra: \"It's over.\" The contrasts here are what make these songs human.Kleinman quickly recorded DEMO 1 without much more than himself. Live, Begging Dog's dynamic material translates to a seven-piece band.\"No matter how good or not good you have it, you're kind of like looking for something more,\" says Kleinman, stopping short of trying to find some larger meaning in his work. \"When I'm writing about these things, I don't try to make them more important than what they are.\" DEMO 1 benefits from this straightforward, everyman humility, crossing candor with grit and hooks.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBegging Dog\u003c\/li\u003e\n\u003cli\u003eCave in on Me\u003c\/li\u003e\n\u003cli\u003eMoney Tree\u003c\/li\u003e\n\u003cli\u003eThe Eel\u003c\/li\u003e\n\u003cli\u003eLaughing Boy\u003c\/li\u003e\n\u003cli\u003eClamshell Tune\u003c\/li\u003e\n\u003cli\u003eContinuing Education\u003c\/li\u003e\n\u003cli\u003eTell Me That You Love Me\u003c\/li\u003e\n\u003cli\u003eCommon Place\u003c\/li\u003e\n\u003cli\u003eHere for a Good Time\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558632\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 12.12.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Begging Dog","offers":[{"title":"Default Title","offer_id":45457197334726,"sku":"39350308","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4465300-3463797.jpg?v=1768518810"},{"product_id":"demo-1-red-colored-vinyl-red","title":"Demo 1 - Red [Colored Vinyl] (Red)","description":"\u003cp\u003eBegging Dog is the indie punk project of Los Angeles-based artist Jeff Kleinman. An outlet for his work outside of the band Choir Boy, Begging Dog finds Kleinman embracing a raw, homespun sound with nods to garage punk and plain language lyricism.DEMO 1 is 26 minutes packed with rolling bass and synth lines, charismatic riffs, and motorik drum beats. Lyrically, the songs feature a range of lived-in observations, scenes, and characters: a pushy union rep; a mailman with a steady federal job; a compulsive gambler; a beloved neighborhood homeless man. Ex-loves become collaged together, haunting several tracks, out of context, with blunt, sharp-witted free verse. Kleinman cites Bruce Springsteen as an inspiration in how his songs are penned with plain ink, opting for direct simplicity over flowery prose.He taps into a shared loneliness, both universal and perhaps especially unique to living in Los Angeles, with no-frills nuance and vulnerability. On the title track, Kleinman sings, \"no one loves a begging dog,\" in a line borrowed from a friend that embodies the project's point of view: the world can make you feel like a begging dog in search of affection and security, but there is beauty in solitude and the buzzing monotony of it all.The synth-laced \"Laughing Boy\" contemplates the meaning of life, decrying high rent while noting the scent of jasmine trees in the same breath as the jarring police presence. On \"Common Place\", surrounded by urgent drum machine kicks and distortion, he sings about feeling truly alive at a 7-Eleven downtown, then darts between a tragedy he witnessed at a park and fond memories of living communally in Salt Lake City, before declaring his new mantra: \"It's over.\" The contrasts here are what make these songs human. Kleinman quickly recorded DEMO 1 without much more than himself. Live, Begging Dog's dynamic material translates to a seven-piece band.\"No matter how good or not good you have it, you're kind of like looking for something more,\" says Kleinman, stopping short of trying to find some larger meaning in his work. \"When I'm writing about these things, I don't try to make them more important than what they are.\" DEMO 1 benefits from this straightforward, everyman humility, crossing candor with grit and hooks.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBegging Dog\u003c\/li\u003e\n\u003cli\u003eCave in on Me\u003c\/li\u003e\n\u003cli\u003eMoney Tree\u003c\/li\u003e\n\u003cli\u003eThe Eel\u003c\/li\u003e\n\u003cli\u003eLaughing Boy\u003c\/li\u003e\n\u003cli\u003eClamshell Tune\u003c\/li\u003e\n\u003cli\u003eContinuing Education\u003c\/li\u003e\n\u003cli\u003eTell Me That You Love Me\u003c\/li\u003e\n\u003cli\u003eCommon Place\u003c\/li\u003e\n\u003cli\u003eHere for a Good Time\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558625\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 12.12.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Begging Dog","offers":[{"title":"Default Title","offer_id":45457200644294,"sku":"39340947","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4465301-3463796.jpg?v=1768518870"},{"product_id":"pre-order-carnival-clear-red","title":"Carnival [Clear Red]","description":"\u003cp\u003eCarnival, the new EP from Trauma Ray, finds the Fort Worth band capturing some of their strongest, most intense, and exploratory work within the boundaries of a whirlwind year. The breakout success of Chameleon, their 2024 debut on Dais Records, further established Trauma Ray amidst the current wave of shoegaze revivalists, yet increasingly agile, able to weave between scenes, touring throughout 2025 with the likes of Deafheaven, Loathe, and Touche' Amore'. A confluence of blitzing riffs and stark beauty, their sound continues to evolve, nodding to loud-quiet-loud greats across metal, grunge, and shoegaze from Slowdive to Smashing Pumpkins. Carnival delves into moodier, more cerebral material, like holding their past excursions against a funhouse mirror. There's a distinct sense of unease in these songs, built as a band in a fleeting window of time, proving they work best under pressure and when pulling from the darkest corners of their subconscious. \"When Chameleon came out, we just never stopped touring. We're driving ourselves, so it's not like we have some situation where we can sit in a van and write,\" explains Jonathan Perez, who moved to San Diego after returning from recent Deafheaven dates, adding to the challenge of getting the band all in one room. They used a break in the summer 2025 schedule to regroup in Texas for a few days, recording a flurry of tracks, then sent them to Corey Coffman for mixing and mastering. \"At first I thought this was gonna be really bad and rushed, and now I feel like it might be my favorite thing we've ever done,\" Perez says. \"It's the most collaborative we've been, where everyone was both hands-on and hands-off,\" adds Uriel Avila. \"You can really hear each person's influences in almost every song in a very unique, non-biting way.\" Avila and Perez, the band's core songwriting duo to date, welcomed more contributions from others, notably an eerier strain of rhythmic and textural ideas from guitarist Coleman Pruitt. The direction coincided with a growing sense of collective dread and anxiety, and a striking photo set of a deserted amusement park near Brighton, England, taken on tour by drummer Nicholas Bobotas and now featured as the artwork. \"It really looks like we specifically chose this theme and like had this whole preconceived idea, but it truly appeared out of like thin air,\" says Perez. The wordless \"Carousel\" ushers in the EP's unsettling atmosphere with blasts of static and downcast strums giving way to \"Hannibal\", an anthemic track packed with power riffs and raw emotion. The band has hit this kind of sheer power before, from 2018's \"Solstice\" to Chameleon's title track, while \"Hannibal\" contorts with a tinge of unprecedented evil, slithery, \"Stone Temple-y, Alice in Chains-y,\" Avila quips. Lyrically, he taps into teenage angst, the feeling of being dissected and rejected. \"Méliès\", named after the French illusionist and filmmaker Georges Méliès, cuts between heavy, sludgy chords and a skyward chorus, \"from something scary to like a dream state,\" says Avila, who channels the namesake's surreal abstraction. His lines detail \"being stuck in your head and just making up realities that probably aren't the real thing going on, when you don't want to face the truth.\" \"Funhouse\" dips into doom metal, with sparse guitar work and possibly the band's slowest ever BPM, as self-proclaimed Sleep-heads. Lyrics play with shifting perspectives, culminating in the call-and-response outro (\"take my hand \/ this is not your wonderland\") that conjures two forces, or frames of mind, at odds with one another.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ecarousel\u003c\/li\u003e\n\u003cli\u003eHannibal\u003c\/li\u003e\n\u003cli\u003eMéliès\u003c\/li\u003e\n\u003cli\u003eFunhouse\u003c\/li\u003e\n\u003cli\u003eClown\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558700\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.20.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Trauma Ray","offers":[{"title":"Default Title","offer_id":45459601260742,"sku":"77132066","price":22.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4479279-3500472.jpg?v=1768588315"},{"product_id":"pre-order-carnival-lp","title":"Carnival [LP]","description":"\u003cp\u003eCarnival, the new EP from Trauma Ray, finds the Fort Worth band capturing some of their strongest, most intense, and exploratory work within the boundaries of a whirlwind year. The breakout success of Chameleon, their 2024 debut on Dais Records, further established Trauma Ray amidst the current wave of shoegaze revivalists, yet increasingly agile, able to weave between scenes, touring throughout 2025 with the likes of Deafheaven, Loathe, and Touche' Amore'. A confluence of blitzing riffs and stark beauty, their sound continues to evolve, nodding to loud-quiet-loud greats across metal, grunge, and shoegaze from Slowdive to Smashing Pumpkins. Carnival delves into moodier, more cerebral material, like holding their past excursions against a funhouse mirror. There's a distinct sense of unease in these songs, built as a band in a fleeting window of time, proving they work best under pressure and when pulling from the darkest corners of their subconscious. \"When Chameleon came out, we just never stopped touring. We're driving ourselves, so it's not like we have some situation where we can sit in a van and write,\" explains Jonathan Perez, who moved to San Diego after returning from recent Deafheaven dates, adding to the challenge of getting the band all in one room. They used a break in the summer 2025 schedule to regroup in Texas for a few days, recording a flurry of tracks, then sent them to Corey Coffman for mixing and mastering. \"At first I thought this was gonna be really bad and rushed, and now I feel like it might be my favorite thing we've ever done,\" Perez says. \"It's the most collaborative we've been, where everyone was both hands-on and hands-off,\" adds Uriel Avila. \"You can really hear each person's influences in almost every song in a very unique, non-biting way.\" Avila and Perez, the band's core songwriting duo to date, welcomed more contributions from others, notably an eerier strain of rhythmic and textural ideas from guitarist Coleman Pruitt. The direction coincided with a growing sense of collective dread and anxiety, and a striking photo set of a deserted amusement park near Brighton, England, taken on tour by drummer Nicholas Bobotas and now featured as the artwork. \"It really looks like we specifically chose this theme and like had this whole preconceived idea, but it truly appeared out of like thin air,\" says Perez. The wordless \"Carousel\" ushers in the EP's unsettling atmosphere with blasts of static and downcast strums giving way to \"Hannibal\", an anthemic track packed with power riffs and raw emotion. The band has hit this kind of sheer power before, from 2018's \"Solstice\" to Chameleon's title track, while \"Hannibal\" contorts with a tinge of unprecedented evil, slithery, \"Stone Temple-y, Alice in Chains-y,\" Avila quips. Lyrically, he taps into teenage angst, the feeling of being dissected and rejected. \"Méliès\", named after the French illusionist and filmmaker Georges Méliès, cuts between heavy, sludgy chords and a skyward chorus, \"from something scary to like a dream state,\" says Avila, who channels the namesake's surreal abstraction. His lines detail \"being stuck in your head and just making up realities that probably aren't the real thing going on, when you don't want to face the truth.\" \"Funhouse\" dips into doom metal, with sparse guitar work and possibly the band's slowest ever BPM, as self-proclaimed Sleep-heads. Lyrics play with shifting perspectives, culminating in the call-and-response outro (\"take my hand \/ this is not your wonderland\") that conjures two forces, or frames of mind, at odds with one another.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ecarousel\u003c\/li\u003e\n\u003cli\u003eHannibal\u003c\/li\u003e\n\u003cli\u003eMéliès\u003c\/li\u003e\n\u003cli\u003eFunhouse\u003c\/li\u003e\n\u003cli\u003eClown\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 683950558717\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 2.20.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Trauma Ray","offers":[{"title":"Default Title","offer_id":45499530739910,"sku":"77084732","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4479278-3500473.jpg?v=1770051553"},{"product_id":"if-two-worlds-kiss-reissue-reissue","title":"If Two Worlds Kiss (Reissue) [Reissue]","description":"\u003cp\u003eFounded in Cologne, Germany in 1985, Pink Turns Blue's blend of atmospheric pop informed by European post-punk contemporaries and buzzing punk dissonance of Hüsker Dü (the band is named after the Zen Arcade song) immediately tapped into a new canon of sound that was foundational to the emergence of darkwave. Tom Elbern (vocals, guitars)formerly of Seltsame Zustände and Mic Jogwer (vocals, bass) were joined by Marcus Giltjes (drums), and Ruebi Walter (keyboards) and caught on through diligently pounding the club circuit and circulating their early, self-financed recordings. Despite the commitment to their craft and initial grassroots success, securing label support proved difficult as they refused to sing in German and their sober tone lacked the shimmer of pop and optimism that executives felt formulaic to success. Still, the band persisted with the duo of Elbern and Jogwer sharing vocal duties and song credits, each informing the other's compositions until Elbern halved the song production and left the band in 1987. Continuing to perform and record as a three piece, the band eventually found roots with FunFactory!, an independent label based in Münster whose manager Axel Seitz shared the band's appreciation of the Velvet Underground and Andy Warhol's Factory vision, urging them to forego releasing singles and focus on a full- length. Released in 1987 and now remastered by Josh Bonati for vinyl release through Dais, If Two Worlds Kiss is a seminal offering to the canon of dark wave's DNA - a liquid lesson in melody, mood, and pacing - each track continuously adding to the journey like a unique push pin on a map of melancholy. Defined by their dynamic song-writing, their debut added a new urgency and depth to guitar- driven gothic rock by allowing fast songs such as the lead single \"Walking on Both Sides\" to possess the same sullen punch and melancholy as slower anthems like \"When the Hammer Comes Down\", which derives it's power on the downbeat. More rhythmic variety is added through beat-driven dancefloor tracks with triumphant singalong choruses like \"That Was You\", showing they could swing hard - as well as swirl... Dais is proud to present the first ever official reissue of this classic deathrock \/ darkwave masterpiece. Limited vinyl edition is repackaged from the original art assets, in 24 pt reverse board jackets with inner euro sleeves with lyrics. Includes bonus track not included on original vinyl release \"A Moment Sometimes\".\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Coldly Stare Out\u003c\/li\u003e\n\u003cli\u003eAfter All\u003c\/li\u003e\n\u003cli\u003eWalking on Both Sides\u003c\/li\u003e\n\u003cli\u003eState of Mind\u003c\/li\u003e\n\u003cli\u003eWhen It Rains\u003c\/li\u003e\n\u003cli\u003eIf Two Worlds Kiss\u003c\/li\u003e\n\u003cli\u003eThat Was You\u003c\/li\u003e\n\u003cli\u003eMissing You\u003c\/li\u003e\n\u003cli\u003eA Moment Sometimes\u003c\/li\u003e\n\u003cli\u003eWhen the Hammer Comes Down\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 758475506410\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.9.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Pink Turns Blue","offers":[{"title":"Default Title","offer_id":45521078780102,"sku":"65750340","price":23.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3682926-2409055.jpg?v=1770587376"},{"product_id":"pre-order-kissing-luck-goodbye-cd","title":"Kissing Luck Goodbye [CD]","description":"\u003cp\u003eADULT. Is not cooperating. For over 25 years, the dystopian Detroit synth-punk institution founded by Nicola Kuperus and Adam Lee Miller has embodied steadfast frustration, distrust, and apprehension. One might expect the edges to soften with time, but ADULT. Is not interested in the comforts of legacy. The duo's music has never sounded as visceral, urgent, and downright angry as it does on the culminating, uncompromising Kissing Luck Goodbye. Built with upgraded gear and a new library of sounds, the material is crushingly dynamic, louder-yet-clearer, with Kuperus' commanding delivery given greater prominence in the mix, outlining an arsenal of vivid, caustic calls, chants, and musings. Laughter, whether in the lyrics or as a possessed presence, serves as a leitmotif that speaks to the menacing absurdity of modern times. \"THE CHAOS IS WHAT THEY WANT,\" she sings on \"R U 4 $ALE\", doubling as a declaration of intent: to meet a burning world of greed and disarray with defiant, masterfully assembled chaos. \"You have two choices in this hellscape we're living in right now, which is either fight or be depressed,\" says Miller. \"Either one is okay. But, you know, the choice was simple.\" ADULT. Is known for high-stakes catharsis on stage, and recently deployed their back catalog of bass guitar songs from the 2000s, retracing the prescient Anxiety Always-era partially out of necessity given the temperature of today's political and technological dread. The response was instant and palpable: \"We were in Paris, and the kids were stage diving. And I was like, this is rad. This is kind of the energy I want to get back into,\" Kuperus says. The epiphany coincided with a series of setbacks - Kuperus' bouts with chronic vertigo, the loss of their close friend and collaborator Douglas McCarthy of Nitzer Ebb, whom the album is dedicated to - all made profoundly worse under the looming regime. \"We're just like everything's breaking. We're breaking. We're broken.\" The sentiment didn't stick, however, as they found themselves ultimately too supercharged by fury to sit still. 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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":45560758501574,"sku":"7880","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3896794.jpg?v=1771961644"},{"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":45560764793030,"sku":"11828","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4096859-2833182.jpg?v=1771961713"},{"product_id":"fine-lp","title":"Fine [LP]","description":"\u003cp\u003ePrior to releasing a string of influential and widely acclaimed solo records under his own name on labels such as Important and Hospital Productions, Alessandro Cortini (Nine Inch Nails) self-released two albums under the name Sonoio starting in 2010. 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":45560770330822,"sku":"19500","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3807948.jpg?v=1771961780"},{"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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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":45560786649286,"sku":"22975","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4435444-3406415.jpg?v=1771961963"},{"product_id":"interior-terror-uk-lp","title":"Interior Terror (Uk) [LP]","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. The tone is sick and heavy, and the listener is met with something less illusory and a lot more direct.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eInterior Terror\u003c\/li\u003e\n\u003cli\u003eNightmare\u003c\/li\u003e\n\u003cli\u003ePrice of Life\u003c\/li\u003e\n\u003cli\u003eDaddy Issues\u003c\/li\u003e\n\u003cli\u003eFear\u003c\/li\u003e\n\u003cli\u003eChoose Your Weapon\u003c\/li\u003e\n\u003cli\u003eSpit\u003c\/li\u003e\n\u003cli\u003eDo Not Bow Down\u003c\/li\u003e\n\u003cli\u003eFlag\u003c\/li\u003e\n\u003cli\u003eLaff Track\u003c\/li\u003e\n\u003cli\u003eThis Blood\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 011586671324\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 5.28.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Hide","offers":[{"title":"Default Title","offer_id":45560802771142,"sku":"24043","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3966823-2705843.jpg?v=1771962020"},{"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":45560819646662,"sku":"47302","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3974547-2712410.jpg?v=1771962118"},{"product_id":"third-helix-red-colored-vinyl-red","title":"Third Helix (Red) [Colored Vinyl] (Red)","description":"\u003cp\u003eFor this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting it's inscribed template.The result is a true \"third act,\" in McDowall's career, that has seen him peregrinate from the late-'70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the '80s and '90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener \"Rhizome\", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 669439871263\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Dais\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.21.18\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Drew Mcdowell","offers":[{"title":"Default Title","offer_id":45560819777734,"sku":"36271","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/3822733.jpg?v=1771962120"},{"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. 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