Daisy Records
Daisy Records Gift Card

Our classic record store logo tee screen is printed on 100 percent cotton in Melbourne.The Logo sits 30cm wide across the chest.

Our Adventures In Frequencies Tee is inspired by countless hours spent digging through varying genres of records, both physically and of course, digitally, finding mind-bending experimental masterpieces that inspire us, beautiful avant-garde journeys through sound that creates a drive to further advance our knowledge into the never-ending library of music and subcultures linked to music. we took heavy influence from rave/dance flyers from 1991 - 1993 specifically, such as “Real Dream” presented by Perception in 1992 in the UK which featured Carl Cox & DJ Seduction, although well before our dancefloor days, we marvel at what once was and much like records, we love exploring past explorations into the electronic dance music scene and all the wonderful, mind-bending artwork that was created alongside it.Printed and designed in Melbourne on 100 percent cotton teesBlue Screen Print On White TeeFrequency - the rate per second of a vibration constituting a wave, either in a material (as in sound waves), or in an electromagnetic field (as in radio waves and light). "different thicknesses of glass will absorb different frequencies of sound"

Our classic record store logo tee screen printed on 100 percent box fitted cotton tees in Melbourne.The logo sits 30cm wide across the chest

The ‘Psyche” Tee is inspired by one of our favorite set posters designed for Kyoto-based Dj & Producer Stones Taro’s, when he featured on our mix series ‘The Inner Sound’ where he unleashed a 1-hour UKG / House / Jungle set that we absolutely loved. The design itself was inspired by vast contrasts of colour and sound, created to encapsulate the varying musical journeys we had been taking throughout the 2021 lockdowns, from Japanese Ambient works, obscure left-field electronica & melodious psychedelic dancefloor experiments from all over the world - apart from having a deep dive into our crates of wax to explore avenues of design inspiration, we also took influence from classic rave posters & flyers such as 1992 / 1993 Fantazia, Dreamscape & World Dance.Printed & Designed locally in Melbourne / Naarm

Throughout the heady years of New York's 1960s and 70s music scenes, James Hamilton was on hand to observe and photograph some of the most significant bands, musicians and performances of the twentieth century. Serving as staff photographer for the Village Voice and Crawdaddy!, Hamilton photographed such musicians as James Brown, Captain Beefheart, Ornette Coleman, Creedence Clearwater Revival, Crosby, Stills, Nash and Young, the Grateful Dead, John Fahey, Mick Jagger, Jethro Tull, Elvin Jones, the Kinks, Madonna, Charlie Mingus, Joni Mitchell, the Ramones, Gil Scott-Heron, Patti Smith, Sun Ra, Tom Verlaine and Stevie Wonder. In You Should Have Heard Just What I Seen, Hamilton opens up his archives for the first time, revealing across 300 pages a trove of previously unpublished black-and-white photographs--portraits, snapshots, sketches, contact sheets--of some of the most recognizable faces in music. Influential for several generations of budding photographers raised on his photographs, the work of James Hamilton is at last collected in this revelatory volume.As a young man in the late 1960s, James Hamilton met the legendary photographers Diane Arbus and Eugene Smith, and was inspired by them to document the changing skyline of New York City. As staff photographer for Harper's Bazaar and the Village Voice, Hamilton recorded the fashion shows, events, protests and riots, happenings, concerts, poetry readings and art openings of that era, and throughout the 1970s, his photographs of musicians and celebrities began to appear in the pages of Crawdaddy! magazine. Later Hamilton joined The New York Observer and began working with filmmakers George Romero, Francis Ford Coppola, Wes Anderson, Bill Paxton and Noah Baumbach as on-set photographer304 pgs, 27 × 30 cm, Hardcover, 2015,

In 1994, the New York Times Magazine assigned me to ride along with cops from the Los Angeles Police Department, photographing them at work. This was just two years after the protests that erupted when four officers were acquitted on charges of beating Rodney King, and LAPD needed a public image makeover. So they gave me and the Times unprecedented access to the department, hoping we’d give readers a story about LAPD’s new “kinder, gentler cop.” I was embedded with officers from several divisions and branches, including some of the more notorious ones: the anti-gang unit “CRASH”, the Rampart Division, and the homicide unit. For several weeks, I rode day and night in the back of police cars, taking photos. Most of those photographs have never seen the light of day, until now. Given the potential revolution around policing in the US taking place right now, the time has come to share them with a wide audience. The photos are a reminder that the same problems we are reckoning with today—systemic racism, violence against community members, corruption—have been around for decades. These photographs tell a story about the power imbalance between police and the community, the constant tension between the stated goal of “protecting and serving” and the reality of police violence. From behind my camera, I saw how decades of profiling, racism, and brutality had led to deep distrust in many communities—distrust that the LAPD’s mild attempts at reform couldn’t even touch. The photos capture a particularly turbulent time for the LAPD, just after several very public corruption scandals in addition to the charges of police brutality brought to light by the video of Rodney King’s beating. I was no stranger to this type of assignment. At that time I had already published two books, Spanish Harlem and East Side Stories, which depicted life in impoverished neighborhoods. Covering LAPD gave me a chance to show how police operated in marginalized communities, and how those communities were affected by individual cops and the department as a whole