DAIS069 Scout Paré-Phillips – ‘Heed the Call’ LP
Scout Paré-Phillips’ recent recognition as a young and talented visual artist based in Brooklyn, NY – as displayed in her accomplished portfolios – shows only a small portal into the creative road that Scout has chosen to go down. Scout’s musical foray started with the Baltimore based post-punk/country act, The Sterling Sisters. Within the Sisters, her skills as one-half of the primary songwriting force, coupled with her varied instrumentation and balladeer vocal projections made way for Scout to step aside and embark on her own solo performances and creative endeavors. Scout’s operatically trained soprano voice combined with her seemingly effortless proficiency with instruments such as the autoharp and baritone guitar create her own unique hybrid of old time folk storytelling and modern illusionary contrast. Influenced by acoustic legends such as Sibylle Baier and Leonard Cohen, the vocal conviction of Roy Orbison, and still holding poetic court with players like Rowland S. Howard, Nick Cave and Diamanda Galas, Scout Paré-Phillips’ songwriting lands in the middle of some very intriguing yet complex influences. Recently, Scout’s talents have been noticed by Jack White (The White Stripes / Third Man). She was asked to accompany him on Lazaretto and even star in White’s new video, Would You Fight For My Love?. Her recent autobiographical songs have been collected into her debut album entitled “Heed the Call” to be released on Dais Records on February 24, 2015. Crashing crescendos of guitar, percussively strummed autoharp and an array of both acoustic and electronic sculptures by Scout Paré-Phillips with accompaniment by Scout’s beloved musical collaborator, Emil Bognar-Nasdor (Dawn of Humans, Røsenkopf), populate her LP. Scout’s torch songs of pure, raw emotional outpouring compliment the rich timbre of her trained voice, which breathes a new life into the contemporary idea of a “folk singer”. Her narrative about two lovers being torn apart and brought back together over many years has formed a new genre within acoustic music’s storytelling tradition.
DAIS067 Deviation Social – ‘Practices/Demo. June-Oct. 81’ LP
During the summer of 1981, a young Art Injeyan attended the now infamous “final transmission” of Throbbing Gristle in San Francisco’s Kezar Pavillion. This concert experience forever changed the fabric of bay area experimental music and sent a sonic riptide through artists such as Injeyan to form their own experimental projects. After this seed had been planted, Injeyan started pulling together a crude, loose arrangement of musical equipment and creating pulsating industrial drones and noise rhythms under his newly coined masthead Deviation Social. Starting in June and wrapping up in October of 1981, Deviation Social had composed his first demo comprised of individual staged practices in his home. To release his demo and later audio / visual works , he founded his own label, Ppresense Records, to release all matters connected to Deviation Social. This demo was only distributed to a select few and limited to a hand-numbered edition of 25 cassettes in late 1981, now making it one of the more rare and sought after early industrial documents. Dais is proud to reissue this demo in a vinyl format in a limited edition of 250 copies. Hand stamped, numbered and assembled to give homage to the original release and to celebrate the release series between Dais Records and Deviation Social.
DAIS065 William S. Burroughs – ‘Nothing Here Now but the Recordings’ LP
In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word “cut-ups”, collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as “Nothing Here Now but the Recordings”. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.