Search Results for:

DAIS RECORDS

Pink Turns Blue

If Two Worlds Kiss

    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.

    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 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...

    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”.


    FORMAT INFORMATION

    Coloured LP Info: Limited clear vinyl edition.

    Pink Turns Blue

    Meta

      Recorded on the heels of their debut album If Two World Kiss and informed by the band’s oscillating live synergy and bolstered by a boon of new equipment and texture, Pink Turns Blue’s sophomore album Meta (1988) was a conceptual leap predicated by the study of sound and exploration of its edges. With the same fervor that Joy Division mined deeper, darker, and less linear on Closer, Meta is a cohesive meditation on atmosphere and how every note and passage can traverse space individually and as part of a larger narrative.

      Recorded by Jané Krizaj known for producing most of Laibach’s material, Meta’s sessions took place in a basement studio located below a stadium. Then a part of Yugoslavia, the studio located in Slovenia was affordable but lacked many modern recording amenities so the band’s mission was to smuggle valuable equipment through in exchange for recording time. Riding the excitement, cultural experience, and friendship of Laibach born on the road and further fostered throughout the vibrant Ljubljana music scene and Croatian coast, Meta’s feel is an musical manifestation of the beautiful confusion of exploring new and unfamiliar.

      Remastered and returned to its original vinyl format for the first time since 1988 through Dais, Meta flexes the songwriting muscle and spirit of the band’s second iteration, informed by an entirely different set of circumstance and vocabulary. Most importantly, the album’s nine tracks evolved the band’s sound and undeniable imprint on darkwave, shaping its very vocabulary and sonic identity past Europe and into fans looking below the surface for melody and meaning.

      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. 


      FORMAT INFORMATION

      Coloured LP Info: Limited clear vinyl edition.

      Xeno & Oaklander

      Hypnos

        As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo’s immediate kiss and crush, there’s a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo’s artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they’ve recorded in their Brooklyn studio, they’ve both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

        On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It’s a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

        “Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,” McBride says about the album’s ethos. “This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.”

        “I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,” Wendelbo explains. “I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.” Her intentions are best evidenced on the tracks “Angelique,”and “Insomnia,” the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control. 


        FORMAT INFORMATION

        Coloured LP Info: Glacial coloured vinyl.

        Coloured LP includes MP3 Download Code.

        Sonoio

        Fine

          Prior 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 (“It’s Me.”) in 2010 and 2011 in limited runs.

          Praised for their complex and rich pop sound, strong vocal delivery and thoughtful compositions with impeccable production values, SONOIO’s “Red” and “Blue” (and the accompanying remix albums “Non Red” and “Non Blue”) made heavy use of Cortini’s expert manipulation of the Buchla synthesizer, releasing the single “Enough”, and remixing Ladytron’s “Houdini” before setting off on tour in direct support.

          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.

          Four years have passed since then, and Dais Records is proud to announce – finally - the exclusive release of SONOIO’s third and final effort: “Fine”, and the official re-release of the single and video for “Thanks For Calling”. Fine is the first SONOIO full length to be released on vinyl, with gorgeous photography and packaging designed by Caspar Newbolt of Version Industries.

          Opening track “I Don’t Know” and the mournful follow-up “Left” set the stage for the emotional ride, with reverbed synths over an acute mid-tempo beat – accompanied by astonishingly strong vocals, which those accustomed to Cortini’s instrumental works will likely be happily shocked by. Next, the aforementioned single “Thanks For Calling” starts slow, building over 4 minutes with Cortini whispering, speaking, building strength into the gorgeously delivered line: “falling to pieces” before the track explodes into a driving anthem.

          The album then quite literally descends into “Pieces”, an instrumental effort that brings to mind Aphex’s Ambient Works – a submerged lullaby of electronics before re-emerging into “Vitamin D”, an energetic and pulsing track that snaps the listener to attention. A pattern of smart and intentional pacing and rhythm becomes apparent, as the listener is taken down through moody, effective dirges (“Bad Habit”, “Under The Sea”) and lifted up into a surprising guitar piece “What’s Before”. “I Don’t Know (Coda)” is the album’s effective and final track, with Cortini’s vocals muffled and echoing “I’m in the mirror, let me in….” before emerging loud and clear above a wash of howling synths.

          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.


          Drew McDowell

          The Third Helix

            For 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 its inscribed template.

            The result is a true ͞third act, 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.

            With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall͛s boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

            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. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

            Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.

            Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House/Marshstepper).


            FORMAT INFORMATION

            Coloured LP Info: Limited translucent amber vinyl.

            Coloured LP includes MP3 Download Code.

            Since assuming the recording moniker Hiro Kone in 2011, New York City-based electronic artist Nicky Mao has personalized a space predicated on dark layers interacting with rhythm. With her early EPs on Group Tightener and Bitterroots, leading up to the EP "Fallen Angels" and the acclaimed debut full length album, "Love Is the Capital" (both on Geographic North). Mao’s meticulously crafted textures attracted collaborators like Drew McDowall (Coil), Little Annie, and Roxy Farman (Wetware) while driving against the grain of experimental techno. Mao’s explorations often cast themselves against danceable structures, creating a duality of crisis and escapism.

            For "Pure Expenditure", her debut on DAIS Records, Mao continues to weave a labyrinth of electronic pattern, with an often economical usage of repeating sequences and ethereal stasis to drive the narrative. The title refers to the sovereign release of a surplus energy, divorced from all imperatives of utility, which otherwise threatens to become morbid. Working from this creative theme, Mao uses this theoretical concept to seek out a long form statement without regard for any immediate interpretation or return.

            In the context and construct of the album’s format, "Pure Expenditure" reaches into the psyche of sacrifice and the danger of excess, not in a traditional allegory, but in the actual investigation of where energy is absorbed and how it’s often negatively seeped into moral fiber. While the albums’ seven tracks don’t offer so much as a resolution to these conundrums as they do a case study, Mao’s sound has developed forcibly into the conscientious voice of systematic injustice, albeit often without syntax. "Pure Expenditure" creates thought through concept and volume through space. Thematically, acclaimed visual artist Tauba Auerbach created the album art, lending a conceptual cohesion through her spectral dissection of structure and ornamental arrangement.

            As a journey, "Pure Expenditure" plunges into meditation and throbs in and out of a lucid consciousness orchestrated by Mao, but never veering into vanity. "Pure Expenditure" is as much rumination as it is ritual, querying the corners of capitalism by hypnotically circling its tenets in measured cadence.

            Mixed by Telefon Tel Aviv’s Josh Eustis, mastered and cut by Josh Bonati.


            FORMAT INFORMATION

            Coloured LP includes MP3 Download Code.

            Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. 

            20 years since their inception, the duo return with a new LP. "This Behaviour" began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin’s kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making – looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

            The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.’s return to aggressive and energetic dancefloor mastery. Album opener “This Behavior” alongside the follow-up “Violent Shakes” (which ascends into synths wailing like warning sirens over Kuperus’s commanding vocals) set the stage for an on-edge listen, while the heartbreaking “Silent Exchange” unfolds as a beautiful sad synth dirge. “Perversions of Humankind” breaks the mood – driving the listener into a slow and low groove before the frantic album midpoint of “Irregular Pleasure”. “Does The Body Know?” is the album’s post-punk anthem, with irresistible singalong “we’re out of order – we’re undefined!” The latter half of the album drives forward with “On The Edge (You Put Me…)” and “Lick Out The Content”, refusing rest and demanding movement and response. “Everything & Nothing” emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of “In All The Debris”, a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.




            Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD.

            "Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas 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 gear, and were at odds with constant ͞”accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, 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. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch”.

            Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener. 


            FORMAT INFORMATION

            2xColoured LP Info: Limited edition of 500 on TRANSLUCENT YELLOW.

            2xLtd LP Info: Limited edition of 500 on BLACK VINYL.


            Latest Pre-Sales

            172 NEW ITEMS

            Happy Pride everyone. Our door is open to all. https://t.co/KL1FeMVnG5 #vinyl #pride https://t.co/OFrfHWMmNE
            Sat 24th - 10:59
            This Sunday (August 25) we are down @ThePilcrowPub next to the CIS building celebrating the launch of our new beer… https://t.co/ng2LNvz2SY
            Fri 23rd - 3:22
            Our very own Ryan here looking very happy with his new @HorsebeachBand album ‘The Unforgiven Current’ which is out… https://t.co/5hvcgSqC3w
            Fri 23rd - 1:02
            Coloured vinyl from Ghost Funk Orchestra, Tropical Fuck Storm aka @tfs_theband Augustus Pablo Meets King Tubby and… https://t.co/gwcS9ATOYT
            Fri 23rd - 12:56
            Out day. @work1ngmensclub 7” ‘Teeth’ Limited to 500 copies only. Don’t sleep. https://t.co/2zZgwq94dq Label… https://t.co/Chh4EcsdiT
            Fri 23rd - 11:28
            E-newsletter —
            Sign up
            Back to top