Dais Vinyl, CD & Tape 126 Items

The past few years have found Sean McBride, the artist behind Martial Canterel, in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad His new album, Lost At Sea, is an attempt for the artist to locate this elusive common ground.The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past_melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature's return to a period of restoration after the failures and recklessness of humankind.The slower pace of songs like Scampia and Puszta yearn for McBride's complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway's pre-civilized theories of human neglect after the `azstralization'.

Since his recording debut as Choir Boy in 2016, Adam Klopp has crafted nostalgic anthems, tapping the sound of swirling 1980s synth noir and captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti. The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Since his recording debut as Choir Boy in 2016, Adam Klopp has crafted nostalgic anthems, tapping the sound of swirling 1980s synth noir and captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti. The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Drab Majesty's First Release For Dais Records Was The "Unknown To The I" Cassette In 2015, Which Featured The Title Track That Would Later Appear On His Debut Album "Careless" That Summer. The Additional Early Cuts "Saturn Inc." And "Ultra Violet" Have Previously Only Been Available On Digital Or As Cd Bonus Tracks. Now, Along With The "Unarian Dances" 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 Its 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 Inspirationfor 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 Melodiescomes Across As A Web Of Contrasts. The Result Is A Perfect Balance Between Seemingly Conflicting Messages, Between The High And The Low, The Drab And The Divine.

Originally released as a hand-numbered CD on New Year's Eve of2004, Last Light captures Tor Lundvall's hushed songcraft at its mostghostly and grayscale, stripped bare like branches bracing for winter.Initially conceived of as "a piano album with sparse electronics" (with theworking title November), Lundvall's palette steadily expanded,incorporating synthesizer, samples, bass, metronomes, and his signaturespectral vocals. A journal entry from the spring of 2002 proved formativeto his evolving vision: "I remember watching the blueish-grey lightshimmering outside and hearing distant sounds echoing far away,eventually sinking into silence and stillness."The album's 12 tracks are steeped in this sense of autumnal transience,of bearing witness to what fades. The music moves in whispered swells,between dirge, drift, and devotional. Synths chime like slow-tolling bells;percussion shuffles and shivers, icy and isolated; bass traces a lowliddedplod - it's a mode both austere and seductive, lulling the listenerinto its landscapes of deepening dusk. Lyrically, Lundvall's languageskews observational and depressive ("through lace curtains / grey lightfalls / dark clouds gather / in my soul"), with each song like a gauzyglimpse into a different tableau framing winter's descent: rust-coloredleaves, frozen ponds, cold crescent moons.Lundvall has long considered Last Light a "personal favorite" in hisdiscography, and it's easy to hear why. In texture, finesse, and pacing, itvividly evokes the rare mood of fragile, frosty pastoral noir depicted in hisiconic oil paintings. His is an art of the half-seen and half-remembered, offleeting figures, shapes and shadows, and gathering darkness. Of all thatdisappears, and the ghosts that never leave: "So I wait / as the years /slowly drain the magic and the light / and the girl / I never loved / hauntsme through the dark roads of my life."

First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)"). Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future." The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice. The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc Cd-r / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From postindustrial to post-everything, theirs is an art untethered, in the wilds of its own design.

Coke Bottle Clear VinylThe 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 Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group's most miasmic and mind-expanding creations, on par with Time Machines - a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.Thighpaulsandra characterizes the album as "an exercise in brutality," born from a thorny patch of his Serge modular unit that Peter "Sleazy" Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson's visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment.An outlier / centerpiece is the 13-minute alien tribalist sea shanty, "I Am The Green Child," guided by John Balance's sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, "We're swimming in a sea of occidental vomit." But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called "Tunnel Of Goats." Intended to scramble the functionality of a CD player's shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. 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 its 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. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all."

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. 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 its 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. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all."

The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Westonsuper-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 Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group's most miasmic and mind-expanding creations, on par with Time Machines - a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye. Thighpaulsandra characterizes the album as "an exercise in brutality," born from a thorny patch of his Serge modular unit that Peter "Sleazy" Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson's visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, "I Am The Green Child," guided by John Balance's sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, "We're swimming in a sea of occidental vomit." But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called "Tunnel Of Goats." Intended to scramble the functionality of a CD player's shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Westonsuper-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 Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group's most miasmic and mind-expanding creations, on par with Time Machines - a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye. Thighpaulsandra characterizes the album as "an exercise in brutality," born from a thorny patch of his Serge modular unit that Peter "Sleazy" Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson's visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, "I Am The Green Child," guided by John Balance's sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, "We're swimming in a sea of occidental vomit." But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called "Tunnel Of Goats." Intended to scramble the functionality of a CD player's shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Westonsuper-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 Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group's most miasmic and mind-expanding creations, on par with Time Machines - a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye. Thighpaulsandra characterizes the album as "an exercise in brutality," born from a thorny patch of his Serge modular unit that Peter "Sleazy" Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson's visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, "I Am The Green Child," guided by John Balance's sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, "We're swimming in a sea of occidental vomit." But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called "Tunnel Of Goats." Intended to scramble the functionality of a CD player's shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After 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 To Play In The Dark, widely hailed as an artistic zenith upon its 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 Darký 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 its 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."

First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After 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 To Play In The Dark, widely hailed as an artistic zenith upon its 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 Darký 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 its 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."

Cloudy Purple Vinyl.Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Music To Play In The Dark.Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowell. Although the creative process was admittedly "iterative" and "a bit of a drug blur," the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: "This is moon music / in the light of the moon."What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Music is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral...

CLEAR PURPLE VINYL 2023 pressing of "Coil Presents Black Light District: A Thousand Lights In A Darkened Room".During 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 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. Dais Records is proud to announce the official reissue of 'Coil Presents Black Light District - A Thousand Lights in a Darkened Room'.

For those who shine darkly ... During 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.

- For Fans Of: This Mortal Coil, Xmal Deutschland, Interpol, Zoviet France, Clan Of Xymox- First Ever Reissue - Cd And Vinyl Download Card Include Three Rare B-Side Bonustracks// Cindytalk Is The Mercurial, Expressionist Outlet Of Scottish Artist Cinder. An Evolution Of Her Early 1980's Edinburgh-Based Punk Band The Freeze, She Launched The Project Upon Moving To London, Inspired By The Crossroads Of Exploratory Uk Post-Punk And Early European Industrial. Her Work Thrives On Chance And Transformation, Collaging Elements Of Noise, Balladry, Soundtrack, Catharsis, And Improvisation. After A Series Of Celebrated Albums For The Midnight Music Label As Well As Collaborations With This Mortal Coil And Cocteau Twins,Cinder Migrated To The United States, Becoming Involved With Various Underground Techno Collectives Around The Midwest And West Coast. Subsequent Relocations To Hong Kong And Japan Further Expanded Cindytalk's Horizons, Resulting In A Fruitful Partnership With Viennese Experimental Institution Editionsmego, For Whom She Released Five Albums Of Swooning, Granular Atmosphere. 2021 Finds Her As Engaged As Ever, At The Precipice Of Long-Awaited Back Catalog Reissues Alongside Multiple New Works, Guided By Her Lasting Love Of Discovery And Deviation: "New Pathways Always Being Uncovered." Across Decades Of Activity Cinder's Body Of Work Has Forever Followed Its Ownelusive Muse But Nowhere Is This Restless Spirit More Apparent And Ambitious Than The 4th Cindytalk Lp, Wappinschaw. Conceived As "A Call To Arms" Inspired By Scotland And Its Struggle For Independence, The Title Refers To An Archaic Scottish Battle Inspection During Which Clan Chieftains Surveyed Their Group's Weapons To Ensure They Were Combat Ready. A Mindset Of Reflective Preparation Threads Throughout The Record, Manifested In Forms Both Naked And Noisy, Ancient Andanguished. Opening With An Aching Solo Vocal Rendition Of The British Folk Standard "The First Time Ever (I Saw Your Face)," The Album Then Surges Into The Cindytalk C...

Cindytalk Is The Mercurial, Expressionist Outlet Of Scottish Artist Cinder. An Evolution Of Her Early 1980's Edinburgh-Based Punk Band The Freeze, She Launched The Project Upon Moving To London, Inspired By The Crossroads Of Exploratory Uk Post-Punk And Early European Industrial. Her Work Thrives On Chance And Transformation, Collaging Elements Of Noise, Balladry, Soundtrack, Catharsis, And Improvisation. After A Series Of Celebrated Albums For The Midnight Music Label As Well As Collaborations With This Mortal Coil And Cocteau Twins,Cinder Migrated To The United States, Becoming Involved With Various Underground Techno Collectives Around The Midwest And West Coast. Subsequent Relocations To Hong Kong And Japan Further Expanded Cindytalk's Horizons, Resulting In A Fruitful Partnership With Viennese Experimental Institution Editionsmego, For Whom She Released Five Full-Lengths Of Swooning, Granular Atmosphere. 2021 Finds Her As Engaged As Ever, At The Precipice Of Long-Awaited Back Catalog Reissues Alongside Multiple New Works, Guided By Her Lasting Love Of Discoveryand Deviation: Ünew Pathways Always Being Uncovered.The 3rd Album By Scottish Industrial Enigma Cinder Aka Cindytalk Began Life As The Soundtrack To An Experimental Film By English Director Ivan Unnwin Entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), And Was Originallyslated For Release Via Factory Records' Video Division, Ikon. Inspired Heavily By Alan Splet's Eerily Disembodied Sound Design In David Lynch's Eraserhead, The Collection's 15 Pieces Seethe Between Field Recordings, Wistful Piano Vignettes,And Lurking Metallic Haze . A Hybrid Palette Cinder Characterized At The Time As Ü"Ambi-Dustrial".Ü Unfortunately Ikon Collapsed On The Eve Of The Project's Completion So The Film Was Never Distributed, But The Midnight Music Imprintrepackaged Cindytalk's Score As An Lp In 1990 Under The Name The Wind Is Strong... (Full Title: The Wind Is Strong - A Sparrow Dances, Piercing Holes In Our Sky). Long Out Of Print, T...

Coke Bottle Clear VinylFounded in Cologne, Germany in 1985, Pink Turns Blue's blend of atmospheric pop informed by European post-punk contemporaries and buzzing punk dissonance ofHüsker 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 Kissis 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 its power on the downbeat. More rhythmic variety is added t...

Founded 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.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 its 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_

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin. Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut -up' technique. Sommerville's technical background enabled him to contribute to the early development of sound - and - light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. 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. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin. Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut -up' technique. Sommerville's technical background enabled him to contribute to the early development of sound - and - light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. 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. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

In 1980, Genesis P-Orridgeand Peter "Sleazy" Christopherson of(then-)Throbbing Gristle travelled to New York City to meet up at thefortified apartment, known as The Bunker, of famed beat writer andcultural pioneerWilliam S. Burroughsand his executor JamesGrauerholz. Genesisand Sleazy started the daunting task of compilingthe experimental sound works of Burroughs, which, up until that point,had never been widely heard.During those visits, Burroughs would play back his tape recorderexperiments featuring his spoken word "cut-ups", collaged fieldrecordings from his travels and his flirtations with EVP recordingtechniques, pioneered by Latvian intellectual Konstantins Raudive. Overthe following year, P-Orridge, Christopherson and Grauerholz spentcountless hours compilingvarious edits, each collection showcasingBurroughs sensitive ear and experimental prowess for audio anomalywithin technical limitations. In early 1981, Burroughs had relocated toLawrence, KS to escape the violence and manias of New York City life.There, P-Orridge and Christopherson put the finishing touches on therecord that would be known asNothing Here Now but the Recordings.Released in Spring 1981, the album would end up as the final release onIndustrial Records, brought about by the dissolution of Throbbing Gristle.It was quietly out of print until 1998, when John Giorno and the GiornoPoetry Systems included the album on a retrospective CD box set, whichcompiled the majority of Burroughs's seminal recordings. In 2015, DaisRecords worked closely with the Estate of William S. Burroughs to finallyre-release, for the first time in 36 years, a proper vinyl reissue of WilliamS. BurroughsNothing Here Now but the Recordingsto celebrate thecentennial anniversary of William S. Burroughs. For the2023 edition, Daishas remastered the audio with renowned engineer Josh Bonati, andrestored the original artwork with a new dedication to Genesis Breyer P-Orridge and Peter Christopherson.

In 1980, Genesis P-Orridgeand Peter "Sleazy" Christopherson of(then-)Throbbing Gristle travelled to New York City to meet up at thefortified apartment, known as The Bunker, of famed beat writer andcultural pioneerWilliam S. Burroughsand his executor JamesGrauerholz. Genesisand Sleazy started the daunting task of compilingthe experimental sound works of Burroughs, which, up until that point,had never been widely heard.During those visits, Burroughs would play back his tape recorderexperiments featuring his spoken word "cut-ups", collaged fieldrecordings from his travels and his flirtations with EVP recordingtechniques, pioneered by Latvian intellectual Konstantins Raudive. Overthe following year, P-Orridge, Christopherson and Grauerholz spentcountless hours compilingvarious edits, each collection showcasingBurroughs sensitive ear and experimental prowess for audio anomalywithin technical limitations. In early 1981, Burroughs had relocated toLawrence, KS to escape the violence and manias of New York City life.There, P-Orridge and Christopherson put the finishing touches on therecord that would be known asNothing Here Now but the Recordings.Released in Spring 1981, the album would end up as the final release onIndustrial Records, brought about by the dissolution of Throbbing Gristle.It was quietly out of print until 1998, when John Giorno and the GiornoPoetry Systems included the album on a retrospective CD box set, whichcompiled the majority of Burroughs's seminal recordings. In 2015, DaisRecords worked closely with the Estate of William S. Burroughs to finallyre-release, for the first time in 36 years, a proper vinyl reissue of WilliamS. BurroughsNothing Here Now but the Recordingsto celebrate thecentennial anniversary of William S. Burroughs. For the2023 edition, Daishas remastered the audio with renowned engineer Josh Bonati, andrestored the original artwork with a new dedication to Genesis Breyer P-Orridge and Peter Christopherson.