{"title":"Dais Records","description":"\u003cp\u003e\u003cspan\u003eRecord label founded in 2007, representing new artists worldwide in all genres: alternative, post-punk, synth-pop, darkwave, shoegaze, electronic, pop, ambient, and experimental - as well as curated archival collector reissues.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"worship-the-glitch-yellow-vinyl","title":"Worship The Glitch (Yellow Vinyl)","description":"\u003cp\u003eCoil's mid 90's excursion into the darker\/deeper side of their machines gets an essential reissue on Dais, arriving alongside the ELpH sister project Black Light District and following on the mind-numbingly brilliant Time Machines reissue from 2017.\u003c\/p\u003e\n\n\u003cp\u003eAs this is Coil it's pretty clear from the off that the group were very much deeply engrained into taking some very heavy, mind-expanding ahem 'stuff' during the recording of Worship The Glitch. Yet the machines truly did the talking here as Dais explains: 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. The resulting album is one of the lesser knowns, but strikingly most outward gazing entries within the Coil catalogue. Somewhere between the sort of dread dub that would characterise the sound of Blackest Ever Black some 20 years later on and an icy, isolationist assault akin to the most stripped back moments of Pan Sonic or Autechre. Incredible music and very much worthy of your time\u003c\/p\u003e","brand":"Dais","offers":[{"title":"Default Title","offer_id":32139466801222,"sku":"DAIS115Y","price":29.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/101329-min.jpg?v=1601933078"},{"product_id":"a-thousand-lights-in-a-darkened-room","title":"A Thousand Lights In A Darkened Room","description":"\u003cp\u003e“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 the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldy influence. \u003c\/p\u003e\n\n\u003cp\u003eRecorded during the Winter of 1995\/96, Black Light District reflects 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 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.”\n\u003c\/p\u003e","brand":"Dais","offers":[{"title":"Default Title","offer_id":32139486396486,"sku":"DAIS114Y","price":29.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/r-12866566-1543463755-4987_jpeg.jpg?v=1601933771"},{"product_id":"music-to-play-in-the-dark","title":"Music To Play In The Dark","description":"One of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eConvening 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 McDowall. 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 musick \/ in the light of the moon.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat'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, Musick 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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history \/ the dreamer is still dreaming \/ the dreamer is still dreaming.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eReissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive \"D-side\" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on \"LP style\" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Dais","offers":[{"title":"Default Title","offer_id":39851528814774,"sku":"DAIS155LP","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/DAIS155_digital_artwork_1024x1024_06615cf6-4564-4df4-8367-6d0208e30354.jpg?v=1623170410"},{"product_id":"honest-labour","title":"Honest Labour","description":"Manchester UK’s Space Afrika make music of what they term “overlapping moments” – oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i’ve been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called “Honest Labour” for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music – a “labor of love” in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of “records that leave an impression, and help the listener deal with their life.” As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and “to show what we're capable of.” Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: “Ultimately this is an homage to U.K. energy, and an album about love and loss.”","brand":"Dais","offers":[{"title":"Default Title","offer_id":40480037699766,"sku":"DAIS181LP","price":23.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/SpaceAfrika-HonestLabour-CoverArt-3000x3000RGB_large_ae4cbe24-98b2-4947-a102-f85467ef9ff1.jpg?v=1630502304"},{"product_id":"axis","title":"Axis","description":"London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album’s unique immediacy stems from Younger’s instinctual muse, reactivating raw methods with fresh energy. “I tuned back in to working with noise techniques again: more primitive equipment, cheap FX, contact mics, noise boxes.” Key guest contributions by Lucy Railton (cello), Mark Morgan of Sightings (guitar), Alex Tucker (vocals), and the late, legendary John Hannon (violin) further enrich the record’s bristling palette. Although half the tracks were begun pre-Covid at Hannon’s Essex studio, the rest were finished in Younger’s kitchen and living room during lockdown. The final tracks were then relayed to veteran mix specialist Randall Dunn, who further honed the material, adding a vivid spatial quality before entrusting the album to Stefan Betke (Pole) for final mastering. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom the hellscape metronome of “Moskito” to the insectoid warzone pulse of “Repellent” to the seething orchestral undertow of “Axis,” this is music of ominous gravity and worlds in peril. But it’s the closing cut, “Tower,” which Younger calls “perhaps the most dramatic piece of music I’ve ever made.” A lurking, blackened descension conjured on keys, guitar, and wormhole wah, the melody simmers and swells until suddenly exploding in a chaos of distorted blast beats. From their ashes the three-note riff slowly returns, like some astral dungeon synth exorcism, rising in a searing arc towards frenzied immolation before finally fading away in white fire and afterlife whispers.","brand":"Dais","offers":[{"title":"Default Title","offer_id":42206416339203,"sku":"DAIS177LP","price":19.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/a4050396776_10.jpg?v=1639486110"},{"product_id":"honest-labour-purple","title":"Honest Labour (Purple)","description":"\u003cspan style=\"color: #ff00ff;\"\u003ePurple Vinyl\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eManchester UK’s Space Afrika make music of what they term “overlapping moments” – oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i’ve been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called “Honest Labour” for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music – a “labor of love” in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of “records that leave an impression, and help the listener deal with their life.” As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and “to show what we're capable of.” Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: “Ultimately this is an homage to U.K. energy, and an album about love and loss.”","brand":"Dais","offers":[{"title":"Default Title","offer_id":42502127747331,"sku":"DAIS181LPC5","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/SpaceAfrika-HonestLabour-CoverArt-3000x3000RGB_large_1121b7c1-6806-4aab-8e92-b5efb98763aa.jpg?v=1645558608"},{"product_id":"constant-shallowness-leads-to-evil","title":"Constant Shallowness Leads to Evil","description":"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. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThighpaulsandra 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.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBlack Vinyl\u003c\/strong\u003e","brand":"Dais","offers":[{"title":"Default Title","offer_id":43140451434755,"sku":"DAIS186LP","price":30.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/bbebab5d-9166-0b63-ccbf-b38a608d2474.jpg?v=1660053150"},{"product_id":"queens-of-the-circulating-library","title":"Queens Of The Circulating Library","description":"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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe 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.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBlack Vinyl\u003c\/strong\u003e","brand":"Dais","offers":[{"title":"Default Title","offer_id":43654042845443,"sku":"DAIS187LP","price":23.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/011586673069.jpg?v=1673438154"},{"product_id":"quiet-storm","title":"Quiet Storm","description":"\u003cp\u003eSpace Afrika, the Manchester\/Berlin-based duo of Joshua Tarelle Reid and Joshua Inyang, make raw, intensely detailed, visceral music with shades of ambient, trip-hop, techno, and modern classical, drawing spacious urban dubscapes from the contours of their city. Quiet Storm, the duo's highly anticipated follow-up to their 2021 LP on Dais Records, expands on its predecessor’s sound and scale in every direction as a sprawling, collaborative vision shaped with profound patience and intention. The leap, both technical and emotional, outlines the duo’s development — two polymath producers, composers, performers, and visual artists who’ve met expectations with mastery, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and the inner demons that persist. Contributors include Axelle Fanyo, Alto Aria, Deuén, Klein, RXKNephew, Tony Njoku, Kiala Ogawa, and Kelly Moran. \u003c\/p\u003e\n\u003cp\u003e\"We challenged ourselves and our own notions of identity, around class and diaspora, and how that is represented across musical genres. We wanted to show the characteristics of our project through the people we chose to work with,\" says Reid. \"We've stayed true to ourselves. It's music from the heart. It's music that has a particular rawness to it, but we've articulated that in a more modern classic structure, there’s a much more critical pronunciation of techniques,\" says Inyang. \"It's a collaborative record because there is always strength and love in collaboration. But with that, we were able to focus more strongly on our personal identity.\"\u003c\/p\u003e\n\u003cp\u003eFive years feels immense following the release of Honest Labour, which was named Resident Advisor's album of 2021, among other accolades from the likes of Bandcamp, Mixmag, and The Guardian, and cemented Space Afrika as a world-class live act. \"These things take time,\" says Inyang, explaining that with the increased visibility came a certain weight. \"It’s taken us down a winding road with extreme positives and also negatives, a kind of responsibility that we've held as artists from the Northwest, with our work expanding globally. \" Naturally, Quiet Storm responds to the moment with deep consideration. He continues, \"There’s no compromise in how we’ve made this album. The idea started as a celebration of Black artistry. Our collaborations have been very intentional, as we discovered the pillars of the story– our journey, which is mirrored in the film, where two young boys have taken a risk by following a belief in their talents.\"\u003c\/p\u003e\n\u003cp\u003eIf Honest Labour defined Space Afrika’s industrial-noir frameworks, Quiet Storm takes the contrast up several levels with striking textures and sophisticated arrangements. The album is every bit a multidisciplinary effort, with the duo welcoming contributions from cellists, violinists, guitarists, drummers, and more, often writing and arranging lines to realize the vision in its totality. \"We always think about the presentation of the music, and as we're writing, we're thinking about the stages that it's going to be on,\" says Inyang. Reid adds, \"It's been a big nod to have these international collaborations, but there’s a British eccentricity coming through this record. We’re connecting the threads between these disciplines and genres, whether rap or classical. We took time away to revisit and rethink how these worlds have inspired us. We saw it as a cathartic practice, to unshackle oneself and step into the unknown, and there is no limit to the ways you can articulate a message and the vessels that they come through.\"\u003cbr\u003e \u003cbr\u003eSpeaking to the multidisciplinary nature of the project is the involvement of celebrated artist Glenn Ligon, whose work deals with Black identity and queerness. A central inspiration at the onset of recording, Ligon offered his work Figure #30 (2009) for the LP's cover artwork, and following the completion of recording, he agreed to provide the project’s name – an unprecedented gesture from the pioneering artist. When provided with the final audio, Ligon immediately thought of \"Quiet Storm,\" the 1970s radio format known for smooth, late-night programming with themes of life and love.\u003cbr\u003e \u003cbr\u003eQuiet Storm's sequence brings the listener through various scenes, interludes, and arcs, marked by a sense that its movement is fluid and its characters are fleeting. Into-the-mirror monologues grapple with the existential and the immediate: survival, autonomy, purpose. The album opens with the explosive, string-backed \"Vanity\" featuring 2025 Grammy-winning opera singer Axelle Fanyo. At first fixated on the crevices of a quiet room, \"Vanity\" unfurls under Fanyo’s expressive soprano, traversing a wide emotional spectrum from sublime contemplation to poignant, heart-piercing pain. \"Vanity\" was the first song from the sessions released to the public, as the song is the central piece to the album's film accompaniment, Opera Omnia, directed by Valentin Noujaim. \u003c\/p\u003e\n\u003cp\u003eThroughout the record, words spoken and sung are placed sparingly to powerful effect. Vanessa Bedoret's bright vocals on \"Crying never had a voice ~\" break through the swell of thunderstorms. Tender affirmations from Danish artist Alto Aria lift up \"From The Heart of Knowing\", as saxophone and cello interplay with Kelly Moran on piano. Rochester, NY rapper RXKNephew declares his deep state reality on the woozy \"Ballad For A 'G'\" as strings, breath and static are exhaled, with co-production by South London’s Klein. The voice of \"Validation\" delves into the notion of owning who they are, as disorienting strums and city sounds surround, in conversation with plucks from Greco-Canadian harpist Any.\u003c\/p\u003e\n\u003cp\u003e\"MLN\" gets to the beauty and catharsis at the core of Quiet Storm. It's a true band effort, a collective slow march featuring British-Nigerian artist Tony Njoku, with guitar and lead bass by Gabriel Evans, London's PIKE on drums, and Copenhagen's GB (Gustav B) on keys and strings. \"Someone come and save me from the devil \/ I’m left outside,\" sighs Njoku in his processed falsetto as the snare drum snaps. On \"Pretty Gospel,\" the Paris-based Japanese-Congolese artist Kiala Ogawa sings, \"In my arms,\" guiding the listener into a somnambulant trance. The lullabic warmth is a respite from the weather, and world outside– \"Another day to dream.\"\u003c\/p\u003e\n\u003cp\u003eThe final movement gives Quiet Storm its culminating release. \"If This Is Hell\" is assembled in a single take as a stream-of-consciousness from NYC’s Kaiuna Odogba aka Deuén, whose relatable array of spiraling brain activity is matched by jazzy, frenetic percussion. The pressure valve opens, as the phased drums and sharp conversational observational dispatched phrases cut abruptly after the line \"I wonder if that's what heaven’s like?\" We are left suspended in the comfort of the album's closer \"Regards.\" Rainfall meets organ, drone, strings, and keys with gun reloads juxtaposed over tranquil hums. Heavy yet hopeful, Joshua Tarelle Reid and Joshua Inyang remind you of their journey so far. An appropriately cryptic and transportive outro for their open-ended opus, Quiet Storm is a landmark level-up, self-produced, self-funded, and manifested out of sheer drive and conviction. Through bent time and low-lit haze, undoubtedly, Space Afrika has arrived.\u003cbr\u003e\u003cbr\u003eBlack Vinyl\u003c\/p\u003e","brand":"Dais","offers":[{"title":"Default Title","offer_id":57597914251637,"sku":"DAIS232LP","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/files\/DAIS232-SpaceAfrikaQuietStorm-Cover_png.jpg?v=1790087364"}],"url":"https:\/\/rubadub.co.uk\/collections\/dais-records.oembed","provider":"Rubadub","version":"1.0","type":"link"}