Daisy Ray
Shelly
Boomkat Product Review:
Cult Athenian label Heat Crimes chase that mad collectable Aeson Zervas album with Daisy Ray’s debut of oddball Belgian art-pop, C86 dreams and screwed dub, somewhere on the line between her near-namesake Brenda Rey, Voice Actor and Lolina.
On 13 rough hewn songs, Daisy ushers us into her uncanny valley, assembling material from years of improvised recordings made on a set-up of two synths, a bass guitar, two drum machines, some FX pedals, small instruments and a mic, coming together to shape an offbeat, mazy narrative made endlessly trippier thru that memorably unstable vocal.
Daisy’s hands-on feel for dub evokes comparisons to legendary reggae outlier Brenda Rey, as epitomised in highlights such as the melodica-leavened dub lope of ‘Butterfly’ and the muggy skank of album opener ‘Burning Flame’. It’s the sort of craftily plotted gear that melts any sense of time, diffracting temporality between the slow moving melodica and Elvin Brandhi-esque yelp of ‘Toat’ thru the rude drive of ‘Think Tank’, the piquant bumps of ‘NY’, and a scuzzy jungle-pop prang-out ’Shuff’.
The album sounds as if it's fallen out of time; not a single, unified thought, more a scrapbook collecting years of emotions and expressions that somehow hang together. 'Bee's Gone' could almost be a distant cousin of Broadcast and The Focus Group's 'Investigate Witch Cults of the Radio Age', and on 'In Het Zand', a plastic death march decorates childlike screams, oozing dungeon synth drones and churned delays that sound like they could have been swiped from a lost Dutch industrial tape.
It's Ray's Lolina-like use of reverb and delay that ultimately reconciles all her wild-eyed interests; each style she approaches ends up stirred into a soup of long tails and humid atmospherics. On 'Fatal Seduction' its VHS-burned cinematic electro, and on 'Butterfly', a screwed outline of whimsical C86 pop, elevated by melodica blasts and ferric drum hits.
Aye, colour us enchanted.
View more
Boomkat Product Review:
Cult Athenian label Heat Crimes chase that mad collectable Aeson Zervas album with Daisy Ray’s debut of oddball Belgian art-pop, C86 dreams and screwed dub, somewhere on the line between her near-namesake Brenda Rey, Voice Actor and Lolina.
On 13 rough hewn songs, Daisy ushers us into her uncanny valley, assembling material from years of improvised recordings made on a set-up of two synths, a bass guitar, two drum machines, some FX pedals, small instruments and a mic, coming together to shape an offbeat, mazy narrative made endlessly trippier thru that memorably unstable vocal.
Daisy’s hands-on feel for dub evokes comparisons to legendary reggae outlier Brenda Rey, as epitomised in highlights such as the melodica-leavened dub lope of ‘Butterfly’ and the muggy skank of album opener ‘Burning Flame’. It’s the sort of craftily plotted gear that melts any sense of time, diffracting temporality between the slow moving melodica and Elvin Brandhi-esque yelp of ‘Toat’ thru the rude drive of ‘Think Tank’, the piquant bumps of ‘NY’, and a scuzzy jungle-pop prang-out ’Shuff’.
The album sounds as if it's fallen out of time; not a single, unified thought, more a scrapbook collecting years of emotions and expressions that somehow hang together. 'Bee's Gone' could almost be a distant cousin of Broadcast and The Focus Group's 'Investigate Witch Cults of the Radio Age', and on 'In Het Zand', a plastic death march decorates childlike screams, oozing dungeon synth drones and churned delays that sound like they could have been swiped from a lost Dutch industrial tape.
It's Ray's Lolina-like use of reverb and delay that ultimately reconciles all her wild-eyed interests; each style she approaches ends up stirred into a soup of long tails and humid atmospherics. On 'Fatal Seduction' its VHS-burned cinematic electro, and on 'Butterfly', a screwed outline of whimsical C86 pop, elevated by melodica blasts and ferric drum hits.
Aye, colour us enchanted.
Boomkat Product Review:
Cult Athenian label Heat Crimes chase that mad collectable Aeson Zervas album with Daisy Ray’s debut of oddball Belgian art-pop, C86 dreams and screwed dub, somewhere on the line between her near-namesake Brenda Rey, Voice Actor and Lolina.
On 13 rough hewn songs, Daisy ushers us into her uncanny valley, assembling material from years of improvised recordings made on a set-up of two synths, a bass guitar, two drum machines, some FX pedals, small instruments and a mic, coming together to shape an offbeat, mazy narrative made endlessly trippier thru that memorably unstable vocal.
Daisy’s hands-on feel for dub evokes comparisons to legendary reggae outlier Brenda Rey, as epitomised in highlights such as the melodica-leavened dub lope of ‘Butterfly’ and the muggy skank of album opener ‘Burning Flame’. It’s the sort of craftily plotted gear that melts any sense of time, diffracting temporality between the slow moving melodica and Elvin Brandhi-esque yelp of ‘Toat’ thru the rude drive of ‘Think Tank’, the piquant bumps of ‘NY’, and a scuzzy jungle-pop prang-out ’Shuff’.
The album sounds as if it's fallen out of time; not a single, unified thought, more a scrapbook collecting years of emotions and expressions that somehow hang together. 'Bee's Gone' could almost be a distant cousin of Broadcast and The Focus Group's 'Investigate Witch Cults of the Radio Age', and on 'In Het Zand', a plastic death march decorates childlike screams, oozing dungeon synth drones and churned delays that sound like they could have been swiped from a lost Dutch industrial tape.
It's Ray's Lolina-like use of reverb and delay that ultimately reconciles all her wild-eyed interests; each style she approaches ends up stirred into a soup of long tails and humid atmospherics. On 'Fatal Seduction' its VHS-burned cinematic electro, and on 'Butterfly', a screwed outline of whimsical C86 pop, elevated by melodica blasts and ferric drum hits.
Aye, colour us enchanted.
Boomkat Product Review:
Cult Athenian label Heat Crimes chase that mad collectable Aeson Zervas album with Daisy Ray’s debut of oddball Belgian art-pop, C86 dreams and screwed dub, somewhere on the line between her near-namesake Brenda Rey, Voice Actor and Lolina.
On 13 rough hewn songs, Daisy ushers us into her uncanny valley, assembling material from years of improvised recordings made on a set-up of two synths, a bass guitar, two drum machines, some FX pedals, small instruments and a mic, coming together to shape an offbeat, mazy narrative made endlessly trippier thru that memorably unstable vocal.
Daisy’s hands-on feel for dub evokes comparisons to legendary reggae outlier Brenda Rey, as epitomised in highlights such as the melodica-leavened dub lope of ‘Butterfly’ and the muggy skank of album opener ‘Burning Flame’. It’s the sort of craftily plotted gear that melts any sense of time, diffracting temporality between the slow moving melodica and Elvin Brandhi-esque yelp of ‘Toat’ thru the rude drive of ‘Think Tank’, the piquant bumps of ‘NY’, and a scuzzy jungle-pop prang-out ’Shuff’.
The album sounds as if it's fallen out of time; not a single, unified thought, more a scrapbook collecting years of emotions and expressions that somehow hang together. 'Bee's Gone' could almost be a distant cousin of Broadcast and The Focus Group's 'Investigate Witch Cults of the Radio Age', and on 'In Het Zand', a plastic death march decorates childlike screams, oozing dungeon synth drones and churned delays that sound like they could have been swiped from a lost Dutch industrial tape.
It's Ray's Lolina-like use of reverb and delay that ultimately reconciles all her wild-eyed interests; each style she approaches ends up stirred into a soup of long tails and humid atmospherics. On 'Fatal Seduction' its VHS-burned cinematic electro, and on 'Butterfly', a screwed outline of whimsical C86 pop, elevated by melodica blasts and ferric drum hits.
Aye, colour us enchanted.
Edition of just 99 copies. Comes with a download of the album dropped to your account.
Out of Stock
Boomkat Product Review:
Cult Athenian label Heat Crimes chase that mad collectable Aeson Zervas album with Daisy Ray’s debut of oddball Belgian art-pop, C86 dreams and screwed dub, somewhere on the line between her near-namesake Brenda Rey, Voice Actor and Lolina.
On 13 rough hewn songs, Daisy ushers us into her uncanny valley, assembling material from years of improvised recordings made on a set-up of two synths, a bass guitar, two drum machines, some FX pedals, small instruments and a mic, coming together to shape an offbeat, mazy narrative made endlessly trippier thru that memorably unstable vocal.
Daisy’s hands-on feel for dub evokes comparisons to legendary reggae outlier Brenda Rey, as epitomised in highlights such as the melodica-leavened dub lope of ‘Butterfly’ and the muggy skank of album opener ‘Burning Flame’. It’s the sort of craftily plotted gear that melts any sense of time, diffracting temporality between the slow moving melodica and Elvin Brandhi-esque yelp of ‘Toat’ thru the rude drive of ‘Think Tank’, the piquant bumps of ‘NY’, and a scuzzy jungle-pop prang-out ’Shuff’.
The album sounds as if it's fallen out of time; not a single, unified thought, more a scrapbook collecting years of emotions and expressions that somehow hang together. 'Bee's Gone' could almost be a distant cousin of Broadcast and The Focus Group's 'Investigate Witch Cults of the Radio Age', and on 'In Het Zand', a plastic death march decorates childlike screams, oozing dungeon synth drones and churned delays that sound like they could have been swiped from a lost Dutch industrial tape.
It's Ray's Lolina-like use of reverb and delay that ultimately reconciles all her wild-eyed interests; each style she approaches ends up stirred into a soup of long tails and humid atmospherics. On 'Fatal Seduction' its VHS-burned cinematic electro, and on 'Butterfly', a screwed outline of whimsical C86 pop, elevated by melodica blasts and ferric drum hits.
Aye, colour us enchanted.
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