MUSIC

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson of (then-) Throbbing Gristle 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. Genesis and Sleazy started the daunting task of compiling the experimental sound works of Burroughs, which, up until that point, had never been widely 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. Over the following year, P-Orridge, Christopherson and Grauerholz spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and experimental prowess for audio anomaly within technical limitations. In early 1981, Burroughs had relocated to Lawrence, KS to escape the violence and manias of New York City life. There, P-Orridge and Christopherson put the finishing touches on the record that would be known as Nothing Here Now but the Recordings. Released in Spring 1981, the album would end up as the final release on Industrial Records, brought about by the dissolution of Throbbing Gristle. It was quietly out of print until 1998, when John Giorno and the Giorno Poetry Systems included the album on a retrospective CD box set, which compiled the majority of Burroughs's seminal recordings. In 2015, Dais Records worked closely with the Estate of William S. Burroughs to finally re-release, for the first time in 36 years, a proper vinyl reissue of William S. Burroughs Nothing Here Now but the Recordings to celebrate the centennial anniversary of William S. Burroughs. For the 2023 edition, Dais has remastered the audio with renowned engineer Josh Bonati, and restored the original artwork with a new dedication to Genesis Breyer P-Orridge and Peter Christopherson. Releasing in tandem with Break Through In Grey Room

"Every day, the skies of New York City fill up with unseen clouds of radio signals spreading over immigrant neighborhoods. These culturally charged clouds of radio energy burst with a flow of content that continually shifts and transforms, following the lifecycle and rhythm of the streets. In Brooklyn, the signals alight on Flatbush Avenue, blasting from radios in dollar vans, bakeries, churches and on street corners and kitchen tables. By accessing an analog technology that (outside of the radio itself) is essentially free for the listener, economically marginalized communities avoid the subscription and data fees built in to the conveniences of the digital life. Listeners, often the elders of the community, extend metal antennas and position the radios just so, trying to catch the elusive vibrations of crucial music, news and information that are seldom felt in New York City’s legal and mostly corporate owned media soundscape. In Flatbush, stations broadcast primarily to Haitians, Jamaicans, Trinidadians, Grenadians and Orthodox Jews. The Haitian stations are particularly active in East Flatbush with just under a dozen broadcasting daily in Kreyol to the large Haitian community. “I came across it at a very young age. There was this really popular station back in the late 80s, Radio Guinee, and it was based in Brooklyn.” says Joan Martinez, a young Haitian-American born in the US and a former program host on some of the unlicensed Kreyol language stations. “Nobody knows where it was, there are suspicions. But all I know is from Friday night all the way to Sunday night, you would just hear a series of these stations every weekend and it would be the place where you could listen to the latest in Haitian pop music, rap music. It was also the news, my parents and their friends would all sit around the radio and they would just be politicking in the living room getting really loud, you know, dancing, singing along that sort of thing. It was just like a meeting ground and the radio was guiding it.” This phase of New York City pirate radio rose from the ashes of a previous scene dating to the late sixties: a dozen or so stations sporadically run mostly by white teenagers: a mix of hippies, radicals and electronically inclined misfits. By 1987, this loose collective of friends and rivals devolved into infighting after a short-lived attempt to broadcast from international waters off Jones Beach. This created room for new pirate radio voices from diverse communities that were increasingly being pushed off the legal airwaves by high costs, format consolidation, and “the low power desert”, an FCC-led phaseout of small community broadcasters. The local pirates joined a growing national wave of progressive pirate radio activity taking advantage of a new generation of cheap FM transmitters imported from China or home-brewed in makeshift workshops by free radio activists. By the early 90’s, immigrant community-focused broadcasters In New York City flipped the unspoken rules of the earlier pirates who broadcast mainly late at night on a few pre-determined “safe” frequencies, instead filling the FM dial from bottom to top, day and night. In 2000, under pressure from a nationwide increase in pirate radio activity, the FCC introduced a new license class: Low Power FM (LPFM) but opposition from National Public Radio and the National Association of Broadcasters shut down the issuing of new licenses. That severely limited LPFM’s availability in major urban markets due to rules requiring LPFM’s to be “three click aways” from existing stations. Local pirates felt they had no alternative but to continue broadcasting and some stations in Flatbush have been on the air for decades. Despite the passage of the Local Community Radio Act in 2011, opening a new licensing window with relaxed spacing requirements, few new frequencies were available in NYC due to an already crowded dial. The continued pirate presence is enabled by a sort of safety in numbers, an FCC enforcement team hampered by a low budget and a bureaucratic process of enforcement. Interference aside, FCC commissioners and staff publicly fume at the pirates for a range of potential public safety violations, some more theoretical than others and claim they are somehow harming their own communities, and wonder finally, why don’t they just stream on the internet. By viewing radio piracy purely from a legal perspective, critics miss the cultural and historic forces driving the Haitian pirates. During the Duvalier dictatorship (1957-1986) Haitians had access to only two stations broadcasting in Kreyol, rather than French, the language of the elite. One was Radio Lumiere, a religious station and the other Radio Haiti-Inter, a fiercely independent voice whose director Jean Dominque was assassinated in 1999. “The peasant in Haiti, while he’s working on his farm you know he had a transistor.” Says Dr. Jean Eddy St. Paul, Director of the Haitian Studies Institute at the City University of New York. ‘And many peasants, they don’t have money to buy tobacco to smoke, but they will have money to buy the battery to put in the transistor. The first generation of migration, in the US, was during the 1960s and for many of those people the culture of transistor was part of their everyday life, so they’re still maintaining the culture of transistor. For them, having a radio station is very important.’ In July 2019, on a side street in East Flatbush, I met a man calling himself “Joseph” aka “Haitian” (“because I’m a pure Haitian!”), part of a group that keeps Radio Comedy FM on the air. “There’s no owners and committee. It’s a bunch of young guys”. Joseph says, “We have to do something positive for our community. Right now the Marines are in Haiti and we don’t know what’s next! CNN don’t show you this! BBC don’t show you this! So what we do, we have people in Haiti that call us and tell us what’s going on and will send us pictures. This is how we get our information. And bring it to the people…. I have family over there, my mother’s still there. So I have to know what’s going on. At this point in the digital age, it’s an open question how long these analog pirate stations will remain relevant, as their audiences age, neighborhoods gentrify and younger listeners gravitate to social media platforms. The answer seems to lie with their elderly and impoverished listeners. “They don’t have enough money to buy the newspapers understand?.” Joseph says.” For him that makes it worth it to keep Radio Comedy on the air despite a crackdown from the FCC backed by the PIRATE Act signed into law in 2020 that increases fines to $100,000 a day up to $2 million. But the legislation lacks funding to enforce the new regulations. With a federal statute still in place reducing fines down to the ability to pay, it’s unclear whether the PIRATE Act will be anything more than another in an escalating series of scare tactics. Though the FCC has recently suggested the possibility of a new round of LPFM licenses in the future, the already crowded nature of NYC’s FM band makes it unlikely that new frequencies will be made available to the current pirate stations. In addition the FCC doesn’t want to be seen as rewarding illegal activity by granting a license to former pirate broadcasters, which was a prohibition in LPFM’s earlier licensing periods. And for the moment, Joseph, who’s been running unlicensed stations since 1991 (‘it’s an addiction’) is equally unlikely to cede the airwaves. He sees Radio Comedy as not just a radio station, but a community lifeline. “You know many children we save? There was a bunch of guys…Jamaican, Trinidadian, Haitian trying to form a gang. We talked to them, bring them to the station. Most of them have a diploma now. Without the radio, most of them probably get locked up or dead.” Even with the PIRATE act on the books, the number of stations on the air in Brooklyn has remained steady with an average of about 25 per day and the advent of the Coronavirus pandemic has only sharpened their mission. In March 2020 as the spread of Covid-19 lead to NYC’s lockdown, the unlicensed Haitian broadcasters and the other West Indian stations in Brooklyn took a step closer to their listeners, increasing their air time and enhancing their formats to deliver information about the virus both in New York and in their countries of origin amid the heavy toll it took on the community."

Allen Ginsberg, the voice of a generation, fierce, gentle, profound and profane, paired with music created especially for his work, by some of the guiding lights of Jazz in the modern era - Mark Bingham, Bill Frisell, Arto Lindsay, Marc Ribot, and others. All masterfully coordinated and produced by the mad scientist of collaborations, Hal Willner.First released in 1989, this time capsule surges forth into the now with 8 additional tracks never included on the original release. These are timeless works, a garden of eden on vinyl to wander through repeatedly, guided by the founding father of Beat Poetry. Graced by an irresistible coda co-written with Shimmy-Disc founder Kramer, his lyrical mantra of "Don't Grow Old".

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.

Debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.

This is a great masterpiece that further updates the boundaries of what can only be described as his unique style. As a member of the famous hip-hop crew, Origami, he has been active with Nanorunamonai. In 2021, he released his self-produced full-length album "SHINGANGINGA".

Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in The British Library collection. 180 gram vinyl.

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.

This CD release of Dr. Leary's Turn On, Tune In, Drop Out is the first ever reissue of the ESP-Disk' vinyl edition originally released in 1966. This unadorned spoken word recording of the '60s icon, Timothy Leary ("the most dangerous man alive"), was recorded at the famous Millbrook, New York estate just before his famous residency was ended by repeated raids and arrests by G. Gordon Liddy. Though the album title, Turn On, Tune In, Drop Out, became a clichéd rallying cry for a whole generation, it was presented to the public here for the first time. In this document he presents his ideas on drugs, current events and cultural phenomena, with recollections of earlier experiences and experiments; all delivered in a straight ahead, quiet manner even though the content is downright subversive and confrontational. An absolute must for anyone interested in the 1960s or countercultural thinking of any era. First reissue of the ESP-Disk' vinyl edition originally released in 1966. Manufactured in the US by the original label. Digitally re-mastered; digipak format.

Mark Leckey presents the soundtrack to his autobiographical allegory ‘O’ Magic Power of Bleakness’, a mind sluicing fantasy inspired by folklore and half-remembered tales of teenage life growing up in the Wirral, a personal history woven into screwed 808s, ringtones, sacred chimes, smudged synths and levitating ambience that sounds like nowt else.

Following his seminal, hauntological trips ‘Fiorucci Made me Hardcore’ (2012) and ‘Dream English Kid 1964 - 1999AD’ (2016); the 3-part accompaniment to ‘O' Magic Power Of Bleakness’ captures the Turner Prize-winning artist moving beyond signature collage tekkers to create an entirely original arrangement for his latest audio-visual installation at Tate Britain in 2019 - a life-size replica of a motorway bridge on the M53 on the Wirral, Merseyside. In situ, the soundtrack is a vital component of the installation, livicating its liminal space with a narrative arc that magically turns familiar, popular and folkwise tropes into an occultural tale about provenance and a reminder of the supernatural in the modern world.

Leckey approaches the piece as "an autobiographical allegory” in an attempt to locate the enduring enigma of sub/urban British life with uncanny insight. Alongside his own narration, a plethora of Scouse-kids play out the story of an aspirational kid who escapes the Wirral not to London, but to the faerie realm spoken of in Northern European folklore. When he crashes down to earth, his friends don't understand who, or what, he's become. It ultimately concludes in a symphonic supernatural riot, culminating a sort of metaphysical transformation common to Traditional Ballads and reminding us of the angel/redemption sequence at the end of Lynch’s ‘Fire Walk With Me’.

'O' Magic Power Of Bleakness’ is a well-worn story that's brutally familiar to anyone who's escaped the clutches of one of Britain's forgotten, Tory-scoured battlefields. But Leckey's treatment is transformative; he offsets observed reality with the surreal verve of folklore like a theme park ride thru a Britain the country prefers not to remember, decorated with themes that have been looped around our collective consciousness for thousands of years. Leckey’s art has essentially come to reflect the psyche of a generation, divining the poetic and occult from the seeming banality of British life by tapping into leylines that riddle the concrete landscape to the imagination. Specifically (if allegorically) it’s Leckey’s life in focus but, on the broadest level, the work speaks to the politics of big town parochiality vs. the elusive lure of big city glitter, in a way that’s bound to resonate with many listeners who’ve made that same transition and questioned their place in-between worlds in the process.

Psychedelic music all began with the tiniest possible bang: a minuscule pressing of a self-produced LP by Zen Buddhist scholar Alan Watts. In one cosmic flash of inspiration and group improvisation, the next two decades of musical innovation was pre-supposed: psychedelic rock, spiritual jazz, and even new age. As this micro pressing barely made it out of the ashram, it was his writings that actually spread his ideas, usually through osmosis: he was profoundly influential on the beat poets and the subsequent counter-culture. He became the forebear of '60s counter-culture's spirituality, much as William Burroughs was the forebear of its hedonism. Released in 1962, This Is It is an imaginative cacophony of percussion, non-verbal chanting, and free-flowing expression, punctuated occasionally by leisurely passes at a terrestrial piano, marimba, or french horn. It is at once, experimental, intellectual, and experiential. Three years before Ken Kesey's inaugural Acid Test, This Is It! constitutes the first transmission for a tuned-in counterculture of hippies, beats, and psychedelic revolutionaries of all stripes.

William Burroughs was in and out of London from the mid-50s to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in two sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves are also cut-ups of words on the page. The first section of the tape uses further processing by means of a second tape recorder. Recorded in Duke Street in 1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to work of sound poetry than anything literary. The album includes a 12"x12" insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP Call Me Burroughs LP (1965). Pressed at Optimal on transparent vinyl. Edition of 500 (numbered).

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.