zoho – ‘charleroi’
tzpCS47_thumbone year ago they fucked up our hangover breakfast at the tapette festival (france). they’re back with their building & engineering architecture noise approach. feedback battle, amps on air cushion, circular sawtooth frequencies. just press play and turn the volume button on its super right position.

somaticae – ‘djinn larsen/oiseaux larsen’
tzpCS48_thumbhere somaticae just says no to the dance floor. and yes to his kneeled down closed fists. circular rituals, sacrificial birds, alchemical djinns. ecstatic industrialization and falsified forest.



DAIS087 Body of Light – ‘Let Me Go’ LP
Formed roughly 5 years ago in the wasted sands of Tempe, Arizona, electronic dance faction Body of Light have proven to be a teeming creative force within the present-day electronic landscape. From the archaic drones and abstract measurements of their earliest collections, to their prodigious cinematic pop ballads and darkwave compositions, the two brothers, Alex and Andrew Jarson, are no strangers when it comes to blurring the compositional lines that confine underground music. Having worked together and separately over the years within the folds of the co-founded Ascetic House collective, both Alex and Andrew have given life to a variety of projects such as Otro Mundo, Blue Krishna, Somali Extract, and Memorymann, whilst unveiling over a dozen visual, audio, and written works under a variety of monikers in a shortened period of time. Body of Light is simply another extension of that exercised method of immediate and natural experimentation. Let Me Go frames the band as a project that has run the circle of practiced ideas to a fully-realized vision of synth pop sensibility and erotic aesthetics. Previous releases on Chondritic Sound and Ascetic House show both members grappling with sound and art as both a tool of mechanical reproduction and lawless spiritual hedonism. But after half a decade has marched on under the Body of Light banner, the project has solidified itself in its current mature state as one of the most transcendent dance music mediums today. Hesitant to define themselves strictly as a “synth-pop” collaboration, the brothers incorporate a wide variety of commodities as they attempt to formulate a direction, unique with decaying, warped tape loops, aging VHS home-movie sound samples from their childhood, primitive waveforms, and processed vocals tinged with harmonic means. Their notion is to utilize past and present technologies in a way that feels unique, honest and sensible. With multiple cassette releases to date, including Follow The Current, Lustre, Universal Sin, Volantà Di Amore and Limits of Reason, the project has established a sound and iconography that seem unusual in conjunction, though aesthetically and sonically opulent. Recorded during the afterglow of 2015, the song list that would form the groundwork of Let Me Go finally came full circle under the production guidance of engineer Ben Greenberg (Uniform / Hubble). The synth-pop anthems of songs such as “How Do I Know?” and “Tremble” relay a sense of dance floor incitement in the way that the zeitgeist of 1980’s Manchester forced the dull masses to get up and move, by any means necessary. “Moving Slowly” reminds the listener of their personal fantasy of life in the afterhours haze of Eastern Europe’s discothèques that sadly never took place. Each song follows the next into a lucid moment of cathodic synergy and romantic relevance that pulls from their self-reflected mysticism and projects itself forward during their masterful live performance. Dais Records proudly releases Body of Light’s “Let Me Go” on July 22, 2016 featuring artwork by artist Collin Fletcher (Halcyon Veil).

DAIS091 The Cakekitchen – ‘Time Flowing Backwards’ LP
Multi-instrumentalist Graeme Jefferies is the given name of the fabled underground counterculture icon hailing from New Zealand, and his mainstay project, The Cakekitchen, has its roots firmly grounded in the pages of 1980’s New Zealand garage storybook which featured countless innovative artists, all of which huddled under the umbrella of labels such as Flying Nun Records, Propeller, and Pagan Records. After performing in the revered gothic punk act, Nocturnal Projections, and after the collapse of his previous Flying Nun group, This Kind of Punishment, The Cakekitchen emerged as an amalgamation of gloomy and introspective post-punk and indie, with a stronger focus on structured studio songwriting and thoughtful compositional approach – producing some of the most expressive and unique music to come out of New Zealand during the early 90’s. Originally released in 1991 on Homestead Records, Time Flowing Backwards, the debut album by New Zealand art rock outfit The Cakekitchen, coupling the entire self-titled EP material released by Flying Nun Records in 1989 along with 6 new songs recorded for the album. Mastered at Abbey Road by Steve Rooke (who would later remaster The Beatles catalog), this debut full length would go on to solidify and promote the growing underground New Zealand rock scene and spawn a generation of devoted followers of Jefferies’ exceedingly graceful, atmospheric, and poetic songs, led by Jefferies’ unmistakable commanding baritone voice. A diverse and inspiring album, “Time Flowing Backwards” has been out of print and difficult to obtain since its original vinyl pressing in 1991. Dais Records is proud to reissue on vinyl in limited edition “Time Flowing Backwords” along with the The CakeKitchen’s sophomore LP (released the same year) “World of Sand”, in remastered editions of 500 copies making these albums available once again to old fans while introducing these classics to new listeners. Underground indie/post-punk for fans of The Chills, Flying Saucer Attack, Velvet Underground, Joy Division, The Clean, The Verlaines, Nick Drake, Felt, Sonic Youth, JPS Experience, Tall Dwarves, etc…

DAIS086 The Cakekitchen – ‘World of Sand’ LP
Originally released in 1991 on Homestead Records, “World of Sand” is the second full length album by The Cakekitchen, highlighting the first live line-up of the band featuring the drumming of Robert Key (Expendables / Lanky), and Rachael King (3Ds) on bass. This formation existed for roughly two and a half years and these compositions were considered by many to be the height of the groups’ creative potential, with musical comparisons to the early material by This Kind of Punishment…pounding piano, maddening viola, numerous tape splices and oddball musical passages – along with several pieces recorded at home on a four track, lending a lo-fi, dark, and intimate feel to the album. Led by Jeffereies’ distinct baritone voice, the album is layered, complex, and darkly beautiful. Long sought after by collectors and fans alike, “World of Sand” has been out of print and difficult to obtain since its original pressing in 1991. Dais Records is honored to reissue on vinyl in limited edition “World of Sand” along with the The CakeKitchen’s first LP (released the same year) “Time Flowing Backwards”, in remastered editions of 500 copies making these albums available once again to old fans while introducing these classics to new listeners.



Carla Bozulich – ‘Red Headed Stranger’ 2LP
carla cover websiteWhen Carla Bozulich set out to record a cover of this classic Willie Nelson concept album, she never dreamed that Willie Nelson himself would be interested in playing on it. Sure enough, a few weeks after he’d heard a tape on his tour bus, Carla was in his Austin studio recording duets with him. When frequent collaborator Nels Cline formed the all-instrumental Nels Cline Singers with Scott Amendola on drums and Devin Hoff on upright bass, it turned out that they were all closet country fanatics and there was a convergence of sorts around The Red Headed Stranger. Her idea of combining seemingly odd elements (jazz, improvisation, raga, caberet) with a traditionally country feel was brought to life by these highly inventive players. During a 24-date tour in April, 2002, Tzadik recording artist Jenny Scheinman joined the quartet on violin for a few shows and added soul and character to the recordings. Carla has been recording and performing music since the early 1990s and has played in the groups: The Geraldine Fibbers, Scarnella, Ethyl Meatplow, and Evangelista, just to name a few. She is perhaps best known for the range of her powerful voice and the intensity of her on stage performances. This is the first time this album has been released on vinyl. It was originally released as a compact disc on Dicristina Stair Builders in 2003. This version includes the bonus track “Lonesome Roads” which was written by Carla and originally appeared on the compact disc compilation For A Decade of Sin on Bloodshot Records. Released in a pressing of 500 records on 140 gram black vinyl. Records come in a hand die-cut chipboard jacket with a photograph inserted in it and a screen-printed backside. Includes a Risograph print insert on heavy chipboard and a digital download card.



James Ferraro – ‘Rerex’ 3LP
James Ferraro is an experimental musician, composer and virtual atmospherist born in Bronx, NY. Ferraro has released material under a wide array of aliases, and was a member of the Californian two-piece avant-garde project The Skaters. His album Far Side Virtual was chosen as Album of the Year by the UK’s Wire Magazine in 2011. Ferraro has been producing small runs of releases on cassette, CD-R, and VHS with a wide variety of styles all representing different dreams of a demonic mind tower spanning from freak flesh bodybuilder atmospheres to ambient modern world/psych. First on New Age Tapes and later on MuscleWork Inc., self run cassette / CD-R labels primarily used for releasing small runs of his solo work. In the summer of 2009 Ferraro composed and recorded the Summer Headrush Series in Antwerp, Belgium for Musclework Inc. The series is loosely based on visualisations that came to mind while receiving self-induced hypocapnia (aka choking oneself) or as it’s commonly called ‘free fall’. The albums being representatives of the free fall head space. Other albums from the Headrush Series are: Body Fusion 1 and 2, iAsia, Wild World, Son of Dracula and Hacker Track. The Rerex album is vintage hypnagogic Ferraro and with it’s length (almost 3 hours) it may be considered as one of his Magnum Opuses. Using cheap casio keyboards, loops, effects and difficult to trace samples Ferraro creates a slightly haunting but oh so beautiful musical world. Please use headphones for a dynamic HD headphone experience.

Ian William Craig – ‘Meaning Turns To Whispers’ LP
“I realized at the end of the album that I didn’t want to express, I just wanted to explore.” Ian Wiliam Craig is a trained opera singer and painter out of Vancouver, Canada. Over the last few years he has proved to be one of the most original artists active in the ambient / experimental genre. His debut “A Turn Of Breath” (2014) and the follow-up album “Cradle For The Wanting” (2015) received high acclaim across the globe. Meaning Turns to Whispers is a combination of piano improvisations and FM feedback loops, recorded over various winters in the period 2009-2011 and edited down / manipulated / degraded to reveal some of their hidden spaces. The discreet piano layers mixed with waves of white noise keep on intriguing and make us longing for more. Craig has been making music since 2009, when he sat at a piano and started recording improvisations. The result was Meaning Turns to Whispers, a record rooted in a gorgeous neo-classical tradition, but totally fucked up by tape manipulations that made it anything but pretty. For Craig, the use of reel-to-reels is a way of decaying sentimentality: any time his music has come too close to meeting his expectations, he’s uprooted it, creating impervious walls or bursts of modest but stupefying noise, anything that might help rewrite the truth. In choice moments on Meaning, you could hear Craig trying to imagine the lived lives of his inanimate instruments: beyond the notes he played on his piano, there was the sound it made, if only for a few seconds; when you heard him beaming down on the piano, its wooden infrastructure was revealed, and it sounded like it had its own set of motivations. “I was living with my sister in Edmonton, and during the ridiculously cold winter, I gutted her piano and mic’d it up in a whole bunch of weird ways. I recorded probably 20 hours of material, and after listening to it I was amazed at how much it sounded like sentimental crap. At that point I was really trying to express something, and afterwards I thought the only way through would be to destroy the recordings, and that’s what Meaning Turns To Whispers is. It’s completely mangled to remove that struggle for expression. I realized at the end of that album that I didn’t want to express, I just wanted to explore.”


No Part of It

Blood Rhythms – ‘Heuristics’
“Heuristics” is a collection of previously unreleased / scarce material over the last 15 years or so. Ranging from halloween themed instrumental homages, soundtracks, blistering rhythmic industrial, and raw, looped based noise, Arvo Zylo has released a cohesive set of works under his collaborative moniker, Blood Rhythms. These tracks didn’t have a home by themselves, and didn’t fit into the scheme of what a “single” should be, but now they make sense together. Zylo went to group piano class to learn to play one Fats Waller song, featured here. Another track was part of a ritual performance on June 6, 2006. Yet another was a collaboration with an ex-partner/vocalist from 2001. Each track has its own story. The album comes with photos from a photo shoot inspired by a dream, wherein a child is made to grow up immediately, and finds himself with poetry all over him that is not intended to be read in any chronological fashion.

Thirteen Hurts – ‘UVB-76’
Thirteen Hurts is a recording artist who has spent much of his time in a solar-powered dome in rural Colorado, 6 hours from any real civilisation. UVB-76 is a shortwave numbers station which has been mostly dead air since at least the 70s. Occasionally, there are various voices or anamolies that come on, and lots of speculation behind the sources and reasoning. Thirteen Hurts has crafted an album based around this idea, with mainly a wide array of pedals, resulting in carefully crafted soundscapes along the spectrum of industrial music’s forebearers, but in a realm all its’ own.

Arvo Zylo – ‘Hello Walls’
This strange album was originally released on cassette by the very discriminate and taste-making Enemata Productions. Then again, it was reissued on cassette two years later, in a black vinyl bag with three full color post cards, a page from a book in German that I’d found in an abandoned church, probably from the 19th century, and dirt from various places, namely, the notoriously haunted Bachelor’s Grove Cemetery. Naturally, the moisture caused the tape to rot, but even before that, I was getting eerie reports of tapes being “completely blank”. Even so, while the decay did lend a certain something to the experience, if not the physical detritus, it also limited the range of that experience. It could be haunting, it could be my soundtrack for the times I spent the night at the aforementioned Bachelor’s Grove Cemetery, or it could be just an unusually precocious lo-fi dark-ambient album made by a somewhat high-strung person with not much of an ability to sit still long enough to be truly ambient. It comes off as minimal, but there are sometimes an excessive amount of layers. In the case of the title track, there were over 150 tracks used in various mixdown sessions. I’d say this is best listened to in a solitary environment, preferably outside, and in the dark. Is it still possible to do that? If not, a boiler room from a building built in the 20s or before would do. Approximate running time is around 70 minutes.


Palm Tapes

The Bed Band – ‘The Dreamiest’ C47 $5
animalbedbandIvan Antonio is The Bed Band. He lives down the street, but cosmically he’s more amongst the crystals, black magic, spells and skulls that inform his four-track, melted, twang. This is worbled psychedelic splatter for the fringe mind. This is “The Dreamiest”. Sun-baked, and back from Santa Fe, Ivan Antonio returns to Detroit deconstructing pop like a cacti drifter wafting off heatstroke. At times, “The Dreamiest” mixes country leanings with a warped four-track aesthetic to nice effect. “Low Places”, for example, has excellent, visceral, swampy guitar bursts mixed with the usual otherworldly production treatment. “Black Rose” has undeniable pop charm delivered through a mound of dirge. Ivan previously recorded as “Whatever” and played in “The Ruggs.” He describes the album as, “Dreamy, lo-fi, 60’s and 70’s inspired future rock n’ roll made with peace and love for all to enjoy.” CBS Detroit says The Bed Band is “pure experimental creativity at its finest.”


L.White Records

LW093 BLACK LEATHER JESUS – ‘Every Male Alphabetically By Sin’ 2CD 18E
American harsh noise unit founded in 1989 by Richard Ramirez. 11 members make up this group with Sean E. Matzus and Richard Ramirez the brains behind the chaos. The material presented features various sessions with different lineups at the time of the recordings, including a live performance as a full lineup.

1st release from AUDIORCIST, a project created by Krister Bergman (pre-Positive Adjustments, pre- Demons That Drove). Of punishment: inflicting and receiving it. On your knees please, consume.

LW096 OTOMO HAVA – ‘Densités Compacts’ 10 E
After almost 5 years of making noises, walls, disturbances and chaollages for various respectable labels on abroad, Greece based noisician Thomas Havales, under his HNW/Noise/Experimental moniker Otomo Hava, provides nearly 70 minutes of a set of variably monstrous HNW pieces glued into a single track and obtains a seat of L. White Records’ catalogue of venerable Noise/Industrial/PE acts. Beware! His Chaoticum Vitae’s expanding…


Sacred Phrases

Guenter Schlienz – ‘Augenblicke’ CS
Hot on the heels of Sacred Phrases’ re-press of 2014’s ambient classic ‘Treehut Visions,’ Guenter Schlienz is back with a new cassette of sublimely sprawling sounds. ‘Augenblicke’ continues the Stuttgart, Germany-based producer’s run of astral-minded naval-gazing with four new tracks of impossible serenity. Opening track “Blue Sky” paints a perfectly bucolic picture of the German countryside, accompanied by a barely noticeable breeze and consumed by boundless, naturalistic beauty. B-side opener “Treetops” coasts on an elevated plane of floating effervescence, taking in an aural panorama that pours well beyond comprehension. “The World Is Full of Noises” serves as a perfectly incidental miniature, surveying a series of field recordings and playing out like a charmed audio travelogue. Closing track “Wind on Water” succinctly returns to the pleasantly disembodied celestial realms, closing out ‘Augenblicke’ in a calmed, transcendental state. Limited edition of 100. Imprinted, blue cassette with fold-out j-card and download card.

Guenter Schlienz – ‘Treehut Visions’ CS
Now available in its second edition, Guenter Schlienz’s ‘Treehut Visions’ serves as a poignant and sincere example of modern. synth-based kosmische musik. Recorded in Stuttgart, Germany using a DIY modular synthesizer in the Spring of 2013, Schlienz follows the tried and true templates sketched out by the likes of Cluster, Terry Riley, and other early modern electronic pioneers and rubbing shoulders with contemporaries like Panabrite, Eluvium, and other long-form revelers in exploratory sounds. “Games at the Creek” kicks things off with rustic curiosity, flowing through space like a sonic creek littered with stray bits and bubbling tones. “The Meadow at Summernights” floats with unencumbered bliss, collecting streaks of texture and glittering effects along its meandering path. “Sunday Morning Cake” closes out the A-side with an extended simmer of cool, flowing sound and genuine, nu-age navel gazing. On the B-side, “Treehut Visions” unfurls its sprawling vignette for a full half-hour of heaving synth chords and assuringly avian found sounds. It’s a modern classic of synthesizer music, available once again on cassette. Second edition of 100. Imprinted, green cassette with fold-out j-card and download card.


Sonic Meditations

SM066 EXPO 70 – ‘Exquisite Lust’ 2LP/CS
SM066LPOriginally released on CDr in 2006 with Kill Shaman and quickly caught the eye and ears of Aquarius Records in San Francisco. With the help of carrying the CDr release, Wright produced around 650 CDr’s to keep with the demand of Aquarius’ review from their list no. 243. “Gorgeous drifting ethereal krautrocky ambience is what Expo ’70 is all about, and eyes closed, you’d be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It’s almost like some sort of new age space rock Steve Reich.” Aquarius couldn’t have summed up the etherial mystique around Wright’s developing project better. Newly mastered after being out of print since 2009, this classic album finally graces 2 LP’s and Cassette, both in limited editions on Sonic Meditations. Gatefold tip-on jackets, 200 gold and 225 black 180 gram vinyl. 100 glitter gold cassettes.


Yerevan Tapes

ISORINNE – ‘No Strength of Sun’ 12″
ISORINNE - No Strength of Sun (web1500)Stockholm-based Michel Isorinne started his solo career with a couple of tapes of lo-fi ambient music leaning towards the organic and experimental. More known for his part in D.Å.R.F.D.H.S. together with Varg, in 2014 he debuted with Varseblivning on Blodörn and followed up two tapes on Mixed-Up. More recent fame came from his vinyl debut Recollections of Forgotten Dreams EP. No Strength of Sun is his second release in 2016 and his first ever for Yerevan Tapes. Features four new journeys through imaginary northen landscapes, juxtaposing ethereal melodies with noisier passages, underwater lullabies and dungeon-like abstractions. Out May 30 on 12” black vinyl limited to 250.

YER022Collective act from Sweden with previous releases on Northern Elctronics, Funeral Fog and Kalligrammofon, they mix their own blend of kraut, ambient, space-age electronics with a strong mystic touch. Null/Void & End features two brand new 20min-long jams. Out June 7 on digital and 12” black vinyl limited to 250.