Posts Tagged ‘Dais Records’

After 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 naiveté, 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 charged with wry optimism, 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.

http://

The first track for New Signs of Life, “Heavenly Bodies,” signals Death Bells’ point-blank delivery of a laconic truth: “We all vanish, anyway.” Sombre 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.

released September 25th, 2020

Bay Area and Los Angeles based indie/post-punk supergroup Spice have unveiled their second single “All My Best Shit,” along with its video which serves as a stylized series of cinematic and interconnected vignettes, for which a picture of a young boy, a paper Harlequin mask, a Cramps t-shirt, and more take the spotlight.

The song is an alternative rock California daydream,  treads the hazy lines between Fugazi to The Jesus and the Mary Chain, and The Horrors, with a driving sonic energy that warms the blood like the summer air. Formed in 2018 and based across California, each members’ roots are in the North Bay of San Francisco. Comprised of Ross Farrar (vocals) and Jake Casarotti (drums), both of Ceremony, along with Cody Sullivan (bass), Ian Simpson (guitar), and Victoria Skudlarek (violin), Spice’s sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction.

Ultimately, “All My Best Shit,” is a track which that examines pain through an introspective lens.  The end result sounds unconstrained or uninhibited, despite lyrics about being bound to one’s own inner angst. The second single “All My Best Shit,” is from SPICE’s upcoming debut album on Dais Records, out July 17th, 2020.

As a collective thought, Spice’s Self-Titled debut album offers a deliberate isolation of pain as interpreted through different vehicles. Less than 30-minutes in length, the record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses—fast, slow, driving, simple, and layered—that coalesce in their machinations. At its core, Spice’s Self-Titled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood.

Traversing guitar-driven indie-pop and call-to-action impulse, Spice balances their urgency by interspersing violin melodies and layers, creating depth without oversaturating the heart of each song. Building complexity with laser focus, Spice shares the authoritative drive of Jawbreaker, J Church, The Horrors, and Fugazi, set in their own world of unrest. The treatment of each song is a statement that informs the whole – anecdotes that can bleed slowly or swirl quickly. In a sense, the Self-Titled album itself is an entire song, with each track becoming the verses, choruses, and interludes that narrate its intent. Ending with the final track they workshopped for the album titled “I Don’t Wanna Die in New York,” the album ends with a punch before winding back into meditation.

http://

Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as “the power of groupthink.” Sprinkled with field recordings—audio snapshots from the member’s every-day-lives—the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

Spice is Ceremony’s Ross Farrar (vocals), Sabertooth Zombie’s Cody Sullivan (bass), Ceremony’s Jake Casarotti (drums), Creative Adult’s Ian Simpson (guitar) and Victoria Skudlarek (violin).

Released July 17th, 2020

Gathering Swans

Gathering Swans is Choir Boy’s sophomore album, following 2016’s Passive with Desire, where we were introduced to singer Adam Klopp’s alarmingly sincere vocals, which are legitimately difficult to describe without the overused adage “voice of an angel.” Klopp impressed on the debut, but on Gathering Swans he is absolutely hypnotizing. Tracks like opener “It’s Over” and single “Nites Like This” prove his worth as one of the best vocalists working. His voice is on full display, keeping the record afloat through even the most experimental tracks. The highlight of Gathering Swans is the buoyant, sparkling single “Complainer.” Klopp sings, “But it’s not that bad, I never really had it worse, I’m just a complainer,” a feeling many of us understand when we stop to realize we’re actually doing just fine. Relatable lyrics paired with bright synths and a post-punk bassline make this song joyous and dance-worthy, bringing to mind other unexpected beacons of positivity—the IDLES effect, if you will. The story goes that, while growing up in Ohio, Klopp was called “choir boy” as a dig, for what could be read as intense jealousy for his inimitable vocals, while also poking fun at his religious upbringing. But Klopp reclaimed the epithet, and rightfully so. If Gathering Swans shows us anything, it’s that Choir Boy deserve praise, not mockery.

The first single from indie pop outfit Choir Boy’s second album, Gathering Swans. Came out May 8th, 2020. “Complainer” is a sarcastic examination of self pity. The video reveals Choir Boy’s involvement in a seedy back alley fighting ring.

“Choir Boy” was what the kids called singer/songwriter Adam Klopp in his early teens when he fronted punk cover bands in Cleveland, Ohio.  An intended insult, the label seemed fair and fitting in a way, given Klopp’s religious upbringing and angelic voice. After high school, Adam left Ohio for college in Utah. While his career as a student would prove short-lived, he integrated into Provo and SLC’s underground music and art scene, left religion behind, and called his new band “Choir Boy”.

“It seemed funny to me as sort of a comical reclamation of the mocking title I received from “punk” peers as a teen. While serving as a weird reflection of my childhood and musical heritage.”

Since Choir Boy’s gorgeous debut LP on Team Love Records in 2016, the dream-pop outfit has gained a cult following online and in underground circles.  Adam’s stunning vocal range, layered compositions, and heart-breaking melodies are backed by musical partner Chaz Costello on bass (Fossil Arms, Sculpture Club, Human Leather), saxophonist and keyboardist Jeff Kleinman, and guitarist Michael Paulsen, together creating the perfect blend of nostalgia-laced romantic pop music we’ve been waiting years to hear.

Dais welcomed Choir Boy to the Dais family with the fall 2017 EP “Sunday Light” and Part Time Punks cassettes, and in 2018 reissued the Passive With Desire LP in a new repackaged format with liner notes/lyrics, along with a deluxe collection CD.  Choir Boy surprised fans with the 2019 autumn release of the “Nites Like This” single, and the announcement of Gathering Swans, the new LP out 2020!

Choir Boy debuted with the warmly received album ‘Passive With Desire’ in 2017. After signing to Dais Records, Choir Boy followed up with the 2018 single, “Sunday Light” and a lovingly packaged reissue of the debut album. Here’s the thing about Choir Boy singer Adam Klopp: his voice is so captivating, so utterly out-of-this-world that it’s easy to forget there’s a proper band co-piloting the project’s ethereal pop songs. In the three years since Choir Boy signed to Dais with their “Sunday Light” EP, the group’s core duo of Klopp and bassist Chaz Costello has grown to include guitarist Michael Paulson and saxophonist/keyboardist Jeff Kleinman.

http://

The quartet’s Gathering Swans LP finds them at the peak of their melancholic powers, bringing Klopp’s acrobatic melodies into full relief alongside serious hooks and synth-laced power chords. . This band is truly bold to weave such a deep and creative sound. Choir Boy has a haunting and mystical nature with deep introspection into the intensity of feelings. What an honest approach to music

SRSQ – ” Unkept “

Posted: December 5, 2019 in ALBUMS, MUSIC
Tags: , ,

Image may contain: shoes and text

The more I listen to SRSQ, the less I hear Kennedy Ashlyn’s grief. Though the project was born of tragedy, last year’s debut Unreality was comprised of dream-pop ballads of varying levels of elation with a general recipe recreated for a two-track follow-up this past month. “Temporal Love” is a bold opener mirroring the rapturous choruses of “Cherish,” though “Unkept” stands out as a more unique sample of Ashlyn’s operatic vocals soaring over a blaring synth-driven beat, culminating in an industrial ecstasy rarely heard this side of Downward Spiral. The manipulated, moaning samples that open the track quickly give way to something considerably more optimistic, as she opts for an unexplored promised land she hopes is more palatable than the home she’s always known.

From SRSQ’s “Temporal Love / Unkept” 7″ single released on Dais Records, Autumn of 2019. SRSQ is the solo project of singer and songwriter Kennedy Ashlyn, the founding member of the bay-area dream pop duo Them Are Us Too. SRSQ’s pulse began after the loss of Kennedy’s closest friend and Them Are Us Too collaborator, Cash Askew, in the tragic Ghost Ship fire of 2016. Driven by this sudden, heartbreaking loss, SRSQ became the vehicle for Kennedy’s transformative process for her to explore nostalgia, reflection, and reconciliation, manifesting in the aural landscape of her 2018 debut album, Unreality. It’s been a year since the release of Unreality and 2019 has taken SRSQ around the world, touring extensively with Black Queen and Uniform, sold out performances in support of Cold Cave and Godflesh, tours with Torche and Drab Majesty, and a current run with TR/ST this fall.

Amid performances and writing in preparation for her upcoming 2020 album, Ashlyn went into the studio with producer Jorge Elbrecht, who mixed down two new tracks featured on the 7” single Temporal Love b/w Unkept. Wrapped in ethereal gauze and dreamlike textures, what SRSQ presents on this single are undeniably love songs. The B-side, “Unkept” presents an almost ceremonial incantation channeling the likes of Lisa Gerrard’s finest moments. Stirring in echoes and reverb, Ashlyn emerges alongside a slow and steady beat – rising and building: “Speak softly, my love” to create the perfect counter-balance to the dreamy pop sensibilities of “Temporal Love.”

On their third album Modern Mirror, Los Angeles synth-pop duo Drab Majesty sound more majestic than ever. Their futuristic vocals, entrancing rhythms, bittersweet sentiments and lush guitars emit forces of woe and uplift that never feel contradictory. The record was inspired by the group’s trip to Greece, and they take influence from the ancient myth “Echo and Narcissus,” taken from Ovid’s Metamorphoses. They explore the story of the dangerously ego-driven Narcissus who falls in love with his own reflection, but it’s retold through the lens of postmodern triggers for self-obsession like technological proliferation and lack of quiet self-reflection. Drab Majesty’s lustrous synth escapades and intergalactic bleeps are just as slick as their commentary on modern day romance and personal conundrums.

The fourth single “Out of Sequence” off of the new album “Modern Mirror” from LA-based synth pop outfit Drab Majesty. Before Scott died, an idea was formed to celebrate 10 years of their seminal album The Midnight Organ Fight by asking some of their talented buds in music to take a crack at their own versions of a song on the album. The whole album was recorded and was due to be released last summer, but then unfortunately Scott passed away last May. The band have decided they still want to release the record as a testament to the album, and to Scott. It features covers by Biffy Clyro, Craig Finn, Twilight Sad, Ben Gibbard, Daughter, Josh Ritter and more.

Check out their back catalouge too: The first song I heard, and the one I recommend you listen to immediately, is ‘Dot in the Sky’, which is like ‘November Spawned a Monster’ and the Stranger Things soundtrack had a baby with Less Than Zero.The Drabs is all a bit Less Than Zero, a bit 80s, but way better… Put it this way: the 1980s WISH they could lay claim to Drab Majesty. they’re good. And they’ve got a new album out. That’s it Modern Mirror. Go get it after you’ve leapt into the other two, The Demonstration (2017) and Careless (2015).

 

Drab Majesty is on Dais Records with a bunch of other amazing groups like Choir Boy and King Dude. Check ’em out!

<span class="preorder">Preorder</span>Modern Mirror

Since 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.

On their third album Modern Mirror, Los Angeles synth-pop duo Drab Majesty sound more majestic than ever. Their futuristic vocals, entrancing rhythms, bittersweet sentiments and lush guitars emit forces of woe and uplift that never feel contradictory. The record was inspired by the group’s trip to Greece, and they take influence from the ancient myth “Echo and Narcissus,” taken from Ovid’s Metamorphoses. They explore the story of the dangerously ego-driven Narcissus who falls in love with his own reflection, but it’s retold through the lens of postmodern triggers for self-obsession like technological proliferation and lack of quiet self-reflection. Drab Majesty’s lustrous synth escapades and intergalactic bleeps are just as slick as their commentary on modern day romance and personal conundrums.

Blowing the dust off the antiquarian myth of Ovid’s “Narcissus”, Drab Majesty uses its 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’s 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.

The third single “Oxytocin” from Drab Majesty’s third album: Modern Mirror, out 7.12.19 on Dais.

The second single from Drab Majesty’s third album “Modern Mirror”, released July 12th 2019 on Dais Records. “Long Division points to an elusive impasse one may face in a personal relationship; a fundamental difference whether it be culturally, physically, or emotionally, that reaches a tipping point where both people involved have ultimately lost sight of their own identities through the futile act of trying to accommodate one another. It’s about a crafted dissonance in an attempt to harmonize.” Produced by Josh Eustis (Telefon Tel-Aviv) with guest vocals by No Joy’s Jasamine White-Gluz

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.