LP

LCD Soundsystem - This Is Happening 2xLP
LCD Soundsystem - This Is Happening 2xLP
LCD Soundsystem - This Is Happening 2xLP
LCD Soundsystem - This Is Happening 2xLP
LCD Soundsystem - This Is Happening 2xLP

LCD Soundsystem - This Is Happening 2xLP

$37.98

Of the many arresting moments that fill LCD Soundsystem's This Is Happening, perhaps the most unexpected comes less than halfway through album opener "Dance Yrself Clean." The seemingly unassuming, low-key rumble of a song morphs from its mumbled beginnings into an outsized flash of synth ballast and wailing vocals. The sudden shift is like the flicking on of a light, the perfect example of frontman-songwriter-mastermind James Murphy's effortless balance of restraint and release, organic rock and electro pop, and muted cool and vibrant emotion. This study in contrasts pervades LCD Soundsystem's third, and possibly final, release--an album where Murphy refracts images of heartbreak and longing through the scattered light of a disco ball. 

The cautious observations and honest reveals that follow are literally and figuratively quieter moments than that initial blare. On "All I Want," against a wall of whirling guitar, Murphy recognizes a relationship that can't be saved, and instead asks for "your pity" and "your bitter tears." "Get Along" shuffles over pulsing keys and bubbling percussion as Murphy tries to bridge physical and emotional distance, singing, "You might forget, forget the sound of a voice / Still, you shouldn't forget the things we laughed about." Conversely, the sparsely decorated, sauntering "Somebody's Calling Me" is almost hopeful in comparison: "Somebody's calling me" Murphy half whispers, "to be my girl." 

There are stretches of lyrical levity here, too. "You Wanted a Hit," which sits atop shiny synths, a driving bass-line and layers of handclaps, laments record label demands on what turns out to be one of the album's hookiest tracks. "Pow Pow" veers toward past "talkies" like "Losing My Edge," and features keyboardist Nancy Whang shouting in unison with Murphy. 

With This Is Happening, Murphy has created a work of both nuanced introspection and distanced observation. DFA is proud to offer the vinyl version of this much lauded release, which also includes contributions from drummer Pat Mahoney and sound collagist Gavin Russom.

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LCD Soundsystem - LCD Soundsystem LP
LCD Soundsystem - LCD Soundsystem LP
LCD Soundsystem - LCD Soundsystem LP
LCD Soundsystem - LCD Soundsystem LP
LCD Soundsystem - LCD Soundsystem LP

LCD Soundsystem - LCD Soundsystem LP

$29.98

The debut LP from LCD Soundsystem.

1xLP in a reverse board sleeve.

Track Listing:

  1. Daft Punk Is Playing At My House
  2. Too Much Love
  3. Tribulations
  4. Movement
  5. Never As Tired As When I'm Waking Up
  6. On Repeat
  7. Thrills
  8. Disco Infiltrator
  9. Great Release
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The Rapture - Echoes LP
The Rapture - Echoes LP
The Rapture - Echoes LP
The Rapture - Echoes LP
The Rapture - Echoes LP

The Rapture - Echoes LP

$32.98

The album that, in many ways, started it all. Repressed for the first time since its release in 2003.

Produced by James Murphy and Tim Goldsworthy for the DFA.

Pressed at Citizen Vinyl in Asheville, NC from lacquers cut by Bob Weston at Chicago Mastering Service.

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LIGHT ASYLUM - LIGHT ASYLUM LP
LIGHT ASYLUM - LIGHT ASYLUM LP
LIGHT ASYLUM - LIGHT ASYLUM LP
LIGHT ASYLUM - LIGHT ASYLUM LP
LIGHT ASYLUM - LIGHT ASYLUM LP

LIGHT ASYLUM - LIGHT ASYLUM LP

$35.98

  • Lacquer cut by Bob Weston
  • Pressed with love by real humans at Citizen Vinyl in Asheville, NC
  • Single LP in a gatefold jacket, printed insert, and 24" x 36" fold out poster

In 2012, LIGHT ASYLUM - part of the larger DFA family tree, featuring the superhuman vocalist Shannon Funchess, who sang on stage with LCD at MSG the year prior, and her then collaborator Bruno Coviello - released their self-titled debut album. It remains widely streaming, but for whatever reason has flown under the radar since those in between days. The notable exception is Discogs, where vinyl copies have been selling for like $200. When revisiting the record a few years ago, wondering as we always did how a track like “A Certain Person” never became a Very Big Song, given that it would make even the coldest, crabbiest heart burst into flames, we were confronted with this imbalance and felt compelled to act.

That LIGHT ASYLUM found a sort of rarefied status makes sense. It’s the kind of record cherished by Those Who Know: perfectly crafted, spiritually commanding synth-pop with a voice that sounds like some kind of goth oracle from beyond. It’s simply too good to remain out of print.

This version was pressed at Citizen Vinyl in Asheville, NC from lacquers cut by Bob Weston at Chicago Mastering Service. The package includes all of the original art - gatefold jacket, printed insert, 24” x 36” fold-out poster - with a slightly tweaked cover: where there were once three different shots of Shannon, now there is only one, definitive version.

 

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V/A - DFA Records Compilation #2 4xLP Boxed Set
V/A - DFA Records Compilation #2 4xLP Boxed Set

V/A - DFA Records Compilation #2 4xLP Boxed Set

$99.98

What could have been a mere anthology of the label's uniformly excellent 2004 output is, additionally, a meticulously assembled personal narrative. This is a label that balances its musical and commercial aspirations with an earthy, no-bullshit disposition and-- let's say it-- the world's best fucking handclaps.” - Nick Sylvester, Pitchfork, in the heady days of 2004.


Behold, Compilation #2. A compendium what are arguably the best prime-era DFA cuts, mostly all recorded and/or remixed at the old DFA Studios on W. 13th Street (with some notable exceptions), released as 12-inches and then compiled onto a 3xCD set for convenience because, at the time, people actually bought CDs more than vinyl.

 

Now, in the spirit of time not really being much of a linear thing anymore, and for our own selfish desire to have this version of Liquid Liquid’s “Bellhead,” produced by the DFA, finally committed to wax, we have reverse engineered this thing back onto vinyl and presented it as a four-record boxed set.


We went back and found the master tapes or files for each song - a not insignificant effort given our habit of disorganization. We then rather painstakingly resequenced and remastered it with the guy we trust with such things: Bob Weston at Chicago Mastering Service. The lacquers Bob cut were plated and pressed at what we believe to be one of the best pressing plants in the country: QRP in Salina, Kansas.


We tell you all of this to say: we took this shit pretty seriously. Because we felt like it was important and because we felt like some folks would really appreciate it. It sounds remarkable. It looks great. (Rob Carmichael re-did the original packaging, adding a new photo from DFA OG Tim Saccenti from one of the original parties at W. 13th St.) Of course, we somehow can’t stop ourselves from making labeling errors - Pixeltan’s “That’s the Way I Like It” somehow escaped the center labels on the fourth record. It’s kind of the DFA curse. Has to be!


DFA Compilation #2 Vinyl Tracklist

SIDE A

  1. Black Leotard Front - Casual Friday
SIDE B
  1. J.O.Y. - Sunplus (DFA Remix)
  2. The Juan MacLean - I Robot
  3. The Juan MacLean - Dance Hall Modulator Dub
SIDE C
  1. Delia Gonzalez & Gavin Russom - Rise (DFA Remix)
  2. Black Dice - Wasteder
  3. J.O.Y. - Sunplus
SIDE D
  1. LCD Soundsystem - Yeah (Pretentious Version)
  2. The Rapture - Sister Saviour (DFA Dub)
SIDE E
  1. Liquid Liquid - Bellhead
  2. LCD Soundsystem - Yeah (Crass Version)
SIDE F
  1. Delia Gonzalez & Gavin Russom - El Monte
  2. The Rapture - Alabama Sunshine
SIDE G
  1. Pixeltan - Get Up / Say What (DFA Remix)
  2. LCD Soundsystem - Beat Connection (Extended Disco Dub)
SIDE H
  1. Pixeltan - That’s The Way I Like It
  2. Black Dice - Endless Happiness (EYE Remix)
  3. The Juan MacLean - Less Than Human
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LCD Soundsystem - 45:33 2xLP
LCD Soundsystem - 45:33 2xLP
LCD Soundsystem - 45:33 2xLP
LCD Soundsystem - 45:33 2xLP
LCD Soundsystem - 45:33 2xLP

LCD Soundsystem - 45:33 2xLP

$32.98

LCD Soundsystem - 45:33 - 2xLP

Originally released in 2006.

This album was commissioned by Nike to listen to on an iPod while exercising.

"Complex, fun, and meticulously put together, 45:33 sounds even better pumping from a home stereo than it does through an iPod while jogging". - All Music

Original Pitchfork Review, 2006

Wikipedia Entry

 Tracklist

A - 45:33

B - 45:33

C - 45:33

D - 45:33

 

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The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP
The Clouds - The Clouds LP

The Clouds - The Clouds LP

$61.98

LIMITED TO 250 COPIES WORLDWIDE

FIRST-EVER VINYL RELEASE OF A LITTLE-HEARD CULT RELEASE FROM THE EARLY 2000S

REMASTERED AND CUT AT 45RPM BY BOB WESTON.

ORIGINAL GRAMMY-NOMINATED ARTWORK TRANSPOSED BY MIKE VADINO.

SINGLE LP HOUSED IN A CRAFT STOCK GATEFOLD WITH A TIPPED-IN FOLD-OUT FEATURING LYRICS, LINER NOTES, AND PHOTOS. PLUS A FUZZY CLOUD ON THE FRONT. (YES, IT'S EXPENSIVE. IT COST A LOT TO MAKE THEM THIS WAY!)

“no, you can’t take them was a dfa office staple for the better part of 10 years. we were hungover and cynical, but this song always got through to a very human part of every one of us. kids listing what you can’t take with you when you die: a basketball. a radio. a clarinet. my mom. it’s a great DJ set ender, too, repeating “all you take is love”—like a lost track making weirds on mushrooms weep at the loft or something, but new and vital. the entire record is filled with moments like this. darkness and light? how will i know? it’s impossible not to care about this music.” 

- James Murphy

In 2003, The Coleman Center, an Alabama non-profit arts organization, welcomed Stuart Hyatt as an artist-musician in residence. The center, which encourages and supports projects that engage and reflect the unique surrounding community, invited Hyatt to explore local music.

Four weeks later, he emerged with The Clouds.

Hyatt, reckoning with the notion of mortality, had written and recorded songs with a variety of local citizens, social groups, and schoolchildren.

The result is a record that is plainly, if not stylistically, Americana - a patchwork of voices sown together by some simple songs about the one thing we all experience.

The original release was super DIY - Hyatt’s grandparents helped him assemble the packaging, which also somehow managed to score a Grammy nomination in the category. A copy of the CD somehow wound up in the DFA offices, where it was shared and beloved but still sat until 2020, when we decided it may finally be worth trying to re-release on vinyl.

That process took two years and an insane attention to detail, but the final product is part and parcel with the original project - a unique document of a once-in-a-lifetime collaboration.

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LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream

LCD Soundsystem - American Dream

$5.00

The latest LCD album, available in double LP, compact disc, or limited edition cassette.

**

2xLP

  • 140 gram double LP
  • Full color gatefold jacket / inner sleeves

Cassette

  • full color 5 panel inner card
  • clear cassette shell
  • custom silk screened cassette shells & cases

CD

  • Fold-over heavy card stock envelope.
  • 16 page booklet with lyrics and photos
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LCD Soundsystem - Confuse The Marketplace 12"
LCD Soundsystem - Confuse The Marketplace 12"

LCD Soundsystem - Confuse The Marketplace 12"

$14.98

This iconic vinyl EP from LCD Soundsystem has not been back in print and for sale since 2012. Originally released in 2007, the EP contains 2 non-LP tracks, including the 12 1/2 minute slo-mo disco workout Freak Out / Starry Eyes, and the instrumental burner "Hippie Priest Bum Out” (made popular on Fabric Live 36: Murphy and Mahoney). There is also a devilishly acidic rework of North American Scum by James Murphy himself. Beautiful cover art design by Mike Vadino. 

Tracklist: 

A) Freakout / Starry Eyes (12:21)
B1) North American Scum (Onastic Dub) (8:57)
B2) Hippie Priest Bum-Out (4:28)

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The Rapture - In The Grace Of Your Love
The Rapture - In The Grace Of Your Love

The Rapture - In The Grace Of Your Love

$5.00

CD now available.

  1. Sail Away
  2. Miss You
  3. Never Die Again
  4. Blue Bird
  5. In the Grace Of Your Love
  6. Roller Coaster
  7. Children
  8. How Deep Is You Love?
  9. Can You Find A Way?
  10. Come Back To Me
  11. It Takes Time To Be A Man
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The Juan Maclean - In A Dream 2xLP
The Juan Maclean - In A Dream 2xLP

The Juan Maclean - In A Dream 2xLP

$32.98

'In A Dream' is the third album from The Juan Maclean. If anything, this new LP is further evidence of the "undeniable creative chemistry between house music wizard Juan Maclean & vocalist / former LCD Soundsystem member Nancy Whang". (Pitchfork) The album takes its musical cues from Moroder's Munich to the Funky Nassau sounds of Compass Point and to anytime in downtown NYC.

An album of high anticipated, brand new material on the heels of The Juan Maclean's acclaimed club bangers from the last couple of years. Features singles "A Place Called Space" and "A Simple Design". Everyone that has heard the record loves the hell out of it, and I promise you will too. 

Tracklisting:

  1. A Place Called Space
  2. Here I Am
  3. Love Stops Here
  4. You Were A Runaway
  5. Running Back To You
  6. I've Waited So Long
  7. Charlotte
  8. A Simple Design
  9. The Sun Will Never Set On Our Love
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Stuart Bogie - Morningside LP
Stuart Bogie - Morningside LP
Stuart Bogie - Morningside LP
Stuart Bogie - Morningside LP
Stuart Bogie - Morningside LP

Stuart Bogie - Morningside LP

$32.98

You’ve heard Stuart Bogie before because he’s played saxophone, clarinet, and flute on a lot of records. TV On The Radio, Foals, Sharon Van Etten, Beth Orton, Run the Jewels, Antibalas, the list goes on and on and on.

We connected with Stuart during the early clutches of COVID through Korey Richey, DFA Studios engineer and LCD Soundsystem band member. 

Stuart had been cooped up in the apartment that he shared with his partner, Karyn, and their family. It was Karyn who suggested a restless Stuart start playing clarinet on Instagram Live every morning, a ritual he kept for 150 straight days. Along the way, he solicited drones and other sounds from his friends as accompaniment.

Korey asked James if he had anything lying around that might fit. Uncharacteristically, James said yes. There was this long, plaintive drone of treated piano made sometime in the 90s that he’d just found. And another similarly droning but slightly darker organ piece made for an installation in the mid-2000s. Stuart played over both in separate sessions, improvising these beautiful, delicate clarinet runs for the sheltered, live-streaming few.

We listened back to the recordings in the office and couldn’t shake how great they were. They felt like a decompression valve, relief from the persistent, creeping apocalypse. They deserved a more meaningful existence than that of a shitty MP3. 

So, Stuart came into DFA and recorded them properly. This time Korey ran him through a stack of delay units that stretched and smeared that clarinet into each drone until they were one bewildering whole. Each recording clocked in at roughly twenty minutes - perfect side-long lengths. It all fell into place so naturally.

“Morningside” is the name of the album. Two tracks on two sides. Produced by Korey and James, mixed by James, mastered and cut by Bob. It’s out October 27. You can listen to a few snippets of each side and pre-order the vinyl below. (Since it’s only two “songs,” we aren’t releasing anything officially beforehand.)

A final, but important note: the cover features a detail of a photograph called “The Burial Vault” by the excellent photographer Gregory Crewdson, taken from his recent series “Eveningside.” (The full photograph is featured on a printed insert inside the record package.) A few months earlier, Gregory was finishing what would become “Eveningside” and asked James (a friend) if he might, y’know, have anything lying around. A video was being made about the work and music was needed. James sent these recordings, which evidently sort of stopped Gregory in his tracks. And just like that another piece of the puzzle fell into place. The connection was so natural that Stuart also finally found the title he’d been searching for (until that point, we’d been calling the record simply “Clarinet and Delay.”)

>


CREDITS
Produced by James Murphy for the DFA & Korey Richey
Mixed by James Murphy
Mastered by Bob Weston at Chicago Mastering Service
Clarinet recorded by Korey Richey at DFA Studios, Brooklyn, NY on November 6, 2022

“Morningside” treated piano recorded at DFA Recording, Manhattan, 2009 originally for an installation at Palais De Tokyo, Paris, in October 2009. Engineered by Matt Thornley and James Murphy.

“Eveningside” feedback and organ recorded sometime in 1993 at Plantain Recording House, Brooklyn, originally for a video art installation. Engineered by James Murphy.

Album art direction by Sam Duke
Cover and insert photograph by Gregory Crewdson, The Burial Vault,
2021-2022, Digital pigment print, image size: 34.5 x 46 in. © Gregory Crewdson

Pressed at Citizen Vinyl in Asheville, NC.

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Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics

Prinzhorn Dance School - Home Economics

$5.00

“When our first album came out,” Tobin Prinz (guitar, voice) remembers, “we were awkward, miserable...” “Nervous, uncooperative” chips in Suzi Horn (bass, voice, drums), pausing just long enough for Tobin to supply the punchline - “and now look at us!”  

Prinzhorn Dance School are still recognisably the same spiky Brighton-based duo whose ultra-rigorous debut cut through the excess of 2008 like a scimitar through bacon fat. But with their trademark stripped-down intensity now winningly off-set by moments of unabashed tenderness, their third album Home Economics continues and even accelerates the move away from austerity and into human warmth begun by its acclaimed 2011 predecessor Clay Class. 

The starting point for the new record was the band’s “amazing” first US shows - two of their own and a triumphant showing at DFA’s 12th anniversary - in May 2013. Inspired by their American adventure, Prinzhorn Dance School brought the recording process into the heart of their everyday lives. Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard-drive wrapped in a sleeping bag in a specially-adapted suitcase, Home Economics gave them an escape route from “that frustration you feel when you spend days trying to recapture the intimacy of a particular moment”, Tobin remembers. “This time we could just use the original take, so sometimes these songs are almost like field recordings”. 

All the best six-track albums - The Fall’s Slates, Orange Juice’s Texas Fever - know exactly what they want to say and how they intend to say it. Home Economics shares that infectious sense of urgency. There’s not an inch of spare meat on it - from Reign’s snatched moment of optimism, through Battlefield’s restorative meeting of minds with an urban fox on a drunken walk home in the early hours, to Let Me Go’s concluding tribute to “a love that won’t rewind and will not be deleted”. Spindly yet sensuous, together and alone, exquisitely sad but somehow full of hope, Prinzhorn Dance School knit together disparate and even opposite fragments into an utterly satisfying whole.

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Guerilla Toss - GT ULTRA
Guerilla Toss - GT ULTRA

Guerilla Toss - GT ULTRA

$22.98

GT Ultra is the second full length album by Guerilla Toss on DFA Records. The album demonstrates a remarkable shift in sound, musicianship and songwriting, without ever giving up the unhinged quality that made their earlier recordings so exciting.  


The album title GT Ultra is a clever nod to ‘Project MK Ultra’, the government sponsored experiments using new experimental drugs to explore mind control, torture and forced confessions, often with LSD as their drug of choice. These tests lasted from the mid 1950’s-1960’s, but with a new administration in the white house, government sponsored torture is fresh again on many minds.

The songs on the album ricochet back and forth between hyper bouncy pop and deeper darker longer, more nuanced tracks. Peter Negroponte’s drumming, always a major highlight for the band, are in full force once again, this time bringing a Nassau/Compass Point feel to many tracks, like the classic recordings of Grace Jones and Talking Heads. 

Kassie’s vocals and lyrics are both more personal and more cryptic than ever. But you can hear every word this time, and there is a lyric sheet. As preferred, the meaning is within the listener. It is a dream state record for sure, meant to take you along on a similar vibe that the band has been tripping on these past few years, filled with an insistence to “hydrate, gyrate, think straight, no weight”, all the while under the influence of golden beams of orange sunshine, glimmering glitter and kaleidoscopic bursts.

It is no mistake the album is wrapped in vintage blotter acid, created by legendary LSD archivist and artist Mark McCloud and The Institute of Illegal Images, based out of San Francisco.

    1. Betty Dreams Of Green Men
    2. Can I Get The Real Stuff
    3. Crystal Run
    4. TV Do Tell
    5. The String Game
    6. Skull Pop
    7. Dog In The Mirror
    8. Dose Rate

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    Shit Robot - From The Cradle To The Rave
    Shit Robot - From The Cradle To The Rave

    Shit Robot - From The Cradle To The Rave

    $5.00 $27.99

    The debut album from DFA veteran Shit Robot, this classic double LP comes in an adorably illustrated gatefold sleeve, and features vocal contributions by James and Nancy of LCD, Planningtorock, Alexis from Hot Chip, and Juan Maclean. Highly recommended, you can't beat this price! Comes with a bonus CD copy AND an instant digital download. You have no excuse.

    Tracklisting:

    1. Tuff Enuff?
    2. I Found Love
    3. Losing My Patience
    4. Take 'Em Up
    5. Grim Receiver
    6. Simple Things (Work It Out)
    7. Answering Machine
    8. I Got a Feeling
    9. Triumph!!!
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    YACHT - Shangri-La
    YACHT - Shangri-La

    YACHT - Shangri-La

    $32.98

    Deluxe White Vinyl 2XLP with 4 slipcovers and a gatefold jacket with lyrics and spot-gloss. Yeah, it's luxurious. Features Dystopia (The Earth Is On Fire), I Walked Alone, and Shangri-La. Comes with an instant digital download. 

    Shangri-La, YACHT’s second album for DFA Records and the follow-up to their critically acclaimed full-length, See Mystery Lights, is the duo’s most thematically ambitious work to date, showcasing an exponential evolution in songwriting and sharp, surreal hooks. When the darkly anthemic track, “Dystopia (The Earth Is on Fire),” was released digitally in April, YACHT offered a window onto the new album. Members Jona Bechtolt and Claire L. Evans described the track as an “apocalyptic fight song, a cautionary tale, a science-fiction story for our particular eco-sociopolitical landscape.” These themes are echoed throughout the conceptually unified Shangri-La. In contrast to the meditative, mantra-esque quality of their debut, Shangri-La is a narrative work.

    The album explores mankind’s eternal pursuit of Utopia with a soundtrack comprised of compelling pop melodies, fiercely druggy grooves and an endlessly diverse canon of influences. The message here is that the future is a blank slate upon which anything can be imposed. Shangri-La is literally YACHT’s idea of Utopia: a place made of songs. Never a band to stay in one place sonically, visually or philosophically, YACHT transformed themselves, taking advantage of a proper studio for the very first time and using more live instrumentation than ever before.

    Recording in the West Texas desert without an engineer, the duo employed a kaleidoscope of genres—ranging from disco to psychedelia, from krautrock to punk—all culminating in pure pop. Shangri-La was performed, mixed, and recorded by Bechtolt and Evans themselves. The Utopian illustration featured in the album’s encyclopedic cover design was painted by iconic science fiction illustrator Jim Burns, three-time Hugo Award-winner.

    Tracklisting:

    1. Utopia
    2. Dystopia (The Earth Is On Fire)
    3. I Walked Alone
    4. Love in the Dark
    5. One Step
    6. Holy Roller
    7. Beam Me Up
    8. Paradise Engineering
    9. Tripped and Fell in Love
    10. Shangri-La
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    Prinzhorn Dance School - Clay Class
    Prinzhorn Dance School - Clay Class

    Prinzhorn Dance School - Clay Class

    $5.00

    The return of DFA Veterans Prinzhorn Dance School. Single LP features many fine songs, including "I Want You", "Your Fire Has Gone Out", and (my personal favorite) "Crisis Team", which you may listen to below. Includes an instant digital download.

    Tracklisting:

    1. Happy In Bits
    2. Usurper
    3. Seed, Crop, Harvest
    4. I Want You
    5. Your Fire Has Gone Out
    6. Crisis Team
    7. The Flora and the Fauna of Britain In Bloom
    8. Turn Up the Light
    9. Sing Orderly
    10. Right Night Kay West
    11. Shake the Jar
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    The Juan Maclean - The Brighter The Light
    The Juan Maclean - The Brighter The Light
    The Juan Maclean - The Brighter The Light
    The Juan Maclean - The Brighter The Light
    The Juan Maclean - The Brighter The Light
    The Juan Maclean - The Brighter The Light

    The Juan Maclean - The Brighter The Light

    $5.00

    album artwork by Bráulio Amado. 

    1. The Brighter The Light
    2. Zone Non Linear
    3. You Are My Destiny
    4. Get Down (With My Love)
    5. Feel Like Movin' 
    6. Quiet Magician 
    7. Pressure Danger
    8. Can You Ever Really Know Somebody
    9. The Brighter The Light

    The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting. 


    The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer. 

    Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

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    Museum Of Love - Museum Of Love
    Museum Of Love - Museum Of Love

    Museum Of Love - Museum Of Love

    $5.00

    Museum of Love is the musical project of Pat Mahoney (Founding member of LCD Soundsystem) and Dennis McNany (Jee Day).

    Longtime friends in New York, McNany and Mahoney found a similar sensibility and a shared vocabulary for interpreting surroundings, something that began with their remix of Battles’ “My Machines feat. Gary Numan” and extended into their creation of a full length record together.

    Naming their duo in ode to Daniel Johnston’s song of the same name, Mahoney divulges, “I had always loved the song, and had been thinking of what such an edifice would contain when we were trying to name the project.” McNany continues, “Pat’s a sculptor, I’m a painter, we make music and museums are sacred spaces and love is an elusive thing.”

    Museum of Love is the result of a songwriting collaboration between McNany and Mahoney, with McNany writing most of the music, and Mahoney most of the words. Together they edited and arranged the tracks in the studio. Mahoney says the process of collaboration was energizing, while McNany simply explains, “making the record was pure pleasure. Waiting for it to come out has been the hardest thing.”

    “Museum of Love moves at a stately pace here, offering a slow and steady chugger that wraps itself in gauzy vocal layers and takes its sweet time reaching its climactic peak.” - Pitchfork 

     

    Tracklist: 

    1. Horizontalator
    2. Down South
    3. In Infancy
    4. FATHERS
    5. The Who's Who of Who Cares
    6. Learned Helplessness In Rats (Disco Drummer)
    7. Monotronic
    8. The Large Glass
    9. And All The Winners (Fuck You Buddy)
    View product
    Shit Robot Album Bundle
    Shit Robot Album Bundle
    Shit Robot Album Bundle
    Shit Robot Album Bundle
    Shit Robot Album Bundle

    Shit Robot Album Bundle

    $44.98

    This package includes all three Shit Robot vinyl LPs at special bundled price.

    "From the Cradle to the Rave" (DFA2253)

    "We Got A Love" (DFA2396)

    "What Follows" (DFA2484)

    View product
    Factory Floor - Digital Download
    Factory Floor - Digital Download

    Factory Floor - Factory Floor

    $5.00 $27.99

    Yellow jacket + Black vinyl edition. 

    At long last, Factory Floor presents their highly anticipated self-titled debut album. A vivid snapshot of a progressive band smashing through yet another ceiling, it’s the first full-length statement from the group that earned a powerful reputation on the strength of the “Fall Back” and “Two Different Ways” singles for DFA—not to mention early releases for Optimo Music and Blast First Petite. Leading up to the release of Factory Floor, the band will play select European festival dates this summer.  

    Produced and recorded by the group in their North London warehouse space on a vintage mixing desk originally used by Dave Stewart three decades ago to record all the Eurythmics’ early hits, Factory Floor is a visceral trip through the band’s repertoire. The record opens with “Turn It Up,” their most minimal track to date, mixed in astonishing detail by Timothy “Q” Wiles (VCMG, Afrika Bambaataa). “Here Again” is almost (but not quite) their pop song, replete with cascading arpeggios counterbalanced by bubbly synth melody lines and plaintive vocals. 

    Factory Floor also contains the definitive version of “Two Different Ways,” followed by the muscular and sleek “Fall Back.” “How You Say” finds the band channelling New York’s dance underground—think ESG and Delta Five. “Work Out” is anything but; despite the desultory title, it is in fact sinister street-sound electro. The album closes out with “Breathe In,” a funkified acid disco classic. 

    Perhaps the most unlikely aspect of Factory Floor’s rise to notoriety is their versatility. Even their most ardent of fans describe their sound as punishing, yet they are equally at home playing raves, alternative festivals, art galleries, cinemas, nightclubs and rock shows; on top of that they’re as likely to collaborate with members of Throbbing Gristle and New Order (not to mention Richard H. Kirk of Cabaret Voltaire, Simon Fisher Turner and Peter Gordon) as they are with contemporary artists such as Haroon Mirza and Hannah Sawtell.

    Tracklisting:

    1. Turn It Up
    2. Here Again
    3. One
    4. Fall Back
    5. Two
    6. How You Say
    7. Two Different Ways
    8. Three
    9. Work Out
    10. Breathe In
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    Essaie pas - New Path
    Essaie pas - New Path
    Essaie pas - New Path
    Essaie pas - New Path

    Essaie pas - New Path

    $5.00

    Tracklist:

    1) Les Aphides
    2) Futur Parlé
    3) Complet Brouillé
    4) Les agents des stups
    5) Substance M
    6) New Path


    Essaie Pas
    always seek out fresh challenges. Emerging from Montreal’s sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau – feel completely free to express themselves, to sketch out hitherto unmapped musical regions.

    Essaie Pas has always been about exploring new territories” explains Pierre. “From the very first tapes, to the last one. We don’t want to do the same thing over and over again, – we just need to keep it exciting and to challenge ourselves. Take those experiences, open new boxes and see what happens.”

    Forthcoming album ‘New Path’ takes this one step further. The duo’s fifth album to date – and second on powerhouse label DFA Records –is loosely based on Philip K. Dick’s A Scanner Darkly, a classic of dystopian science fiction.

    “I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,” explains Pierre. “In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that’s not based on ourselves but on someone else’s universe. It was going to be more conceptual, more political.”

    ‘New Path’ touches on personal ground, on addiction, loss, and the lingering strength of identity within late capitalism’s mass media paranoia. It pins down the central character’s destructive addiction, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by drug abuse, social media, or any kind of dependence.

    “I think it touches us on many levels,” Pierre continues. “We can talk about drug addiction issues, we can talk about the mass surveillance world we live in, but there’s also the experience of loss, of grief. I was surprised by how the book felt so modern and accurate to the time we live in right now. Dick’s visions of surveillance are the reality of social control today.”

    It’s a record that continually ties itself in knots, a puzzle that is outwardly beguiling while the solutions remain inherently allusive. As Pierre points out, it’s even present in the title. “I like the fact that it sounds optimistic, but in the book it’s actually an illusion,” he explains. “This new path is actually going nowhere.”

    But it’s a challenge met with humour, picking up on the wry elements of Philip K. Dick’s own writing – witness the subtle wit of songs such as ‘Complet Brouillé’, ‘Les Agents Des Stups’ or as in ‘Futur Parlé’s tripped-out lyrics, offsetting intense themes with something a little more playful. 

    The conceptual nature of ‘New Path’ belies the subtle personal shifts within the band. A husband and wife duo, Essaie Pas thrive on freedom, on parting to focus on outside projects in Montreal and Berlin before returning renewed, flushed with fresh inspiration.

    “Both personally and for Essaie Pas it’s good that both of us have separate projects,” he explains. “Marie has been constantly touring solo for the last year. On my side I’ve been producing other people’s music (Bernardino Femminielli, Pelada or Sleazy to name a few). Collaborating in the studio with talented people with unique aesthetics and different creative processes is always refreshing as an artist.”

    The complexity of the project mirrors the complexities within Essaie Pas’ career to date – forever unpredictable, their wiry, individual sound offers a tangled vision of tomorrow’s aesthetics. “I think this was the main challenge,” muses Pierre. “To adapt what we’ve been doing live thru the last 2 years, which before was always changing, and corner it, make it cohesive”.

    Although the duo is continually reinventing themselves, exploring new concepts or addressing political issues, emotions stays the essential aspect of their work. This is cold music for cold times, yet beneath this lies a continual search for the humane.

    As they conclude “Ultimately we hope we can reach out to people, in a compassionate way, this is what we aim for with this album."

     

    View product
    PRE-ORDER: Naum Gabo - F. Lux LP
    PRE-ORDER: Naum Gabo - F. Lux LP
    PRE-ORDER: Naum Gabo - F. Lux LP
    PRE-ORDER: Naum Gabo - F. Lux LP

    PRE-ORDER: Naum Gabo - F. Lux LP

    $24.98

    "A merciless triumph" - The Wire

    You must surrender. Because if you’ve followed Naum Gabo over the past 15 years - across various 12-inches, styles, and notable labels - and you’re listening to “F. Lux,” their first proper album, then you’re probably wondering how you wound up here, all the way down, barely able to see through the brain-clogging atmosphere and towering low-end.


    “F. Lux” is deep, enthralling listen, alternating between moments of pounding, world-ending techno (“Schinokapsala” and “This 1¨º∆”) and sharply imagined, surrealist scenes painted with metallic machines ("Aora" and "Haerstag"). There is light to be found in the darkness, but the only way out is through.


    Naum Gabo are Glasgow’s Jonnie Wilkes (also known as one-half of DJ duo Optimo) and James Savage (prolific mastering engineer). F. Lux was written and produced entirely by them at their Glasgow Hottrax Studios and mastered by James Savage. The album's front cover artwork is a painting by cherished Scottish painter, Andrew Cranston. The vinyl was pressed at MPO in France using lacquers cut by Bob Weston in Chicago.

    1. Aora
    2. Tols
    3. Schinokapsala
    4. Hebust Cometh
    5. Haerstag
    6. This 1¨º∆
    7. Nothing In My Hand
    8. Parasymptofelia

    View product
    Shit Robot - We Got A Love
    Shit Robot - We Got A Love

    Shit Robot - We Got A Love

    $5.00

    DFA Records is proud to present We Got a Love, the sophomore full-length by Shit Robot a.k.a. Dublin native Marcus Lambkin. Recorded in Germany and New York, the nine-track album includes the killer recent singles, “Feels Real” and “We Got a Love.” 

    Like Lambkin’s 2010 debut From the Cradle to the Rave, We Got a Love sports an array of guests that include DFA veterans Nancy Whang, Museum of Love and Luke Jenner (The Rapture), plus hip-house hero Lidell Townsell and Australian singer Holly Backler. The album’s distinctive artwork was created in collaboration with Irish graffiti artist Maser.

     Track List:

    1. The Secret (Feat. Reggie Watts)
    2. Dingbat (Feat. Museum Of Love)
    3. Do That Dance (Feat. Nancy Whang)
    4. Do It (Right) [Feat. Lidell Townsell]
    5. Feels Real (Feat. Luke Jenner)
    6. Space Race
    7. Feels Like (Feat. Holly Backler)
    8. We Got A Love (Feat. Reggie Watts)
    9. Tempest
    View product
    Guerilla Toss - Eraser Stargazer
    Guerilla Toss - Eraser Stargazer

    Guerilla Toss - Eraser Stargazer

    $5.00

    Ecstatic, vital, and brilliantly unhinged, Guerilla Toss promotes positive energy and twisted spirituality through the less-traveled path of brutal, intelligent, live rock and roll dance music. Like a hurricane of healing bliss, a Guerilla Toss concert is more of a ritual than a performance. It is the unique pairing of musical voices and backgrounds that makes Guerilla Toss such a special party band. But they are more than that – GT gets real when you pay close attention. Their music is inspired by both tragedy and beauty, drug addiction/mental illness and the re-birth of the soul through spiritual practice and psychedelic drug healing - helping the listener overcome these mind-fuck hardships.

    GT had a productive 2015, releasing their acclaimed DFA debut Flood Dosed, which cemented support from folks ranging from punk icon Henry Rollins to Busy P of Justice’s Ed Banger Records. The band also relocated from Boston to NYC. “We felt like it was time to move closer to our favorite active bands and artists and they all just so happen to live in NYC!” This didn’t slow the pace of their live performances - between road trips to universities and DIY Festivals, they have a de-facto residency at Brooklyn’s premiere underground venue Palisades and scored opening slots for The Juan Maclean and Mission of Burma.

    Eraser Stargazer was written and recorded in 6 weeks of winter isolation in upstate New York. Fans of the group will hear all of the beloved hallmarks of the Guerilla Toss sound - solid bass grooves, squealing guitars, and kitchen sink percussion. Each instrument now occupies its own part of the audio spectrum, with vocalist/poet Kassie Carlson’s spirited incantations brought into focus. Album centerpiece Grass Shack is a perfect example of this leaner, yet tougher Toss. It traverses nearly seven minutes of game- show-winner keyboard stabs, mutant funk basslines, and time signature changes - all grounded by Peter Negroponte’s virtuosic drumming. Carlson describes the themes of the song as “A deep analytical depiction of a small unit of time, with heightened senses, Ripping yourself out of bed even though it might be harsh and overwhelming. Seeing patterns in the little things that make life beautiful.” Heavy subject matter permeates the rest of the record - but that doesn’t mean it’s a downer. Lead single Diamond Girls casts Carlson as a no-wave cheerleader over instrumentation reminiscent of DFA alumni Black Dice and The Rapture, culminating in the group’s catchiest chorus yet. Album closer Doll Face On The Calico Highway is the perfect summation - angular guitars, bells, and low-end vibrations interject and decompose as quickly as they appear, until a hissing cymbal is all that remains.

    Eraser Stargazer is released by DFA on March 4th, 2016. The initial pressing is limited to 1000 copies on green vinyl.

    Tracklisting: 

    1. Multibeast TV
    2. Diamond Girls
    3. Grass Shack
    4. Color Picture
    5. Eraser Stargazer Forever
    6. Perfume
    7. Big Brick
    8. Doll Face On The Calico Highway

     

    View product
    Wolfram - Amadeus
    Wolfram - Amadeus
    Wolfram - Amadeus
    Wolfram - Amadeus

    Wolfram - Amadeus

    $22.98

    Tracklist:
    1) 
    Scirocco
    2) Automatic (feat. Peaches)
    3) Graffiti In Tehran
    4) My Love Is For Real (feat. Haddaway) [Dance Mix]
    5) What Is It Like (feat. Pamela Anderson)
    6) Rein (feat. Yung Hurn & Egyptian Lover) 
    7) Put Me In Your Mobile Phone
    8) Catalyst
    9) 
    My Love Is For Real (feat. Haddaway) [Live At The Cathedral]

    Wolfram makes his triumphant return to DFA with Amadeus, a newly refined take on the Euro-disco pop he’s become known for over the past several years. Released by Public Possession overseas, the record takes the spirit of his 2011 debut full-length and focuses it more specifically towards the dance floor, helped as always by a variety of collaborators: Peaches, Haddaway, Egyptian Lover, Yung Hurn, Pamela Anderson, and more. A singular producer and entertainer, but coexisting in many worlds, Wolfram embeds a good sense of humor throughout his music. From the artists he works with, to his distinctively gleaming melodies, as well as his DJ sets at the likes of Robert Johnson, Wilden Renate, and Griessmuehle, Wolfram is a presence like no other. 

    On Amadeus, Wolfram zeroes in on the most earworm-y aspects of his past work, concentrating it down until we’re left with succinct, dopamine-inducing bangers. Tracks like “Graffiti in Tehran” and “Rein” recall the hi-octane crunch of artists like Daft Punk, while “Automatic” and “My Love Is For Real” both make use of soaring disco piano, taking the listener on a dance floor odyssey. The world he creates is one of high-gloss and high spirits – low brow, high concept with an Italo tinge, creating a unique brand of anthemic futuristic disco. The album begs one to come along for an irresistible ride in a beat-up vintage Ferrari, faux fur-lined bucket seats not included.

    View product
    Eric Copeland - Black Bubblegum
    Eric Copeland - Black Bubblegum

    Eric Copeland - Black Bubblegum

    $5.00

    Black Bubblegum is on black vinyl

    Black Bubblegum is the newest LP from Eric Copeland, and we are not kidding when we emphasize it sounds like nothing he has done in the past. The title of the record says it all: chewy, sticky pop that doesn’t taste quite like any chewy, sticky pop you’ve had before.

     
    Recorded at Copeland’s old practice space in South Williamsburg, Black Bubblegumcontains songs with more conventional sounds and songwriting than any of his previous releases. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop. Wanting to take a more “hands-on” approach to these recordings, Copeland exchanged sample-driven tech and hardware for keyboards, guitars and effect pedals, creating a new sound that is oddly easy to digest despite its rejection of melody in favour of discord and dissonance. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop; imagine Arthur Russell going into the studio with The Ramones.
     
    For a long time, Copeland considered this collection of songs to be recordings which would never be heard. This invariably influenced certain decisions made during the creation of Black Bubblegum, blessing Copeland with the unique freedom that comes from making music never intended to be heard, let alone released.
     
    When asked to please jot down what influenced this new album and sound, Eric replied”glam holes, glitter dreams, money troubles, apocalypse paranoia, one hit wonders, manifest destiny, my family's westward migration, body troubles (was passing kidney stones almost the entire time), LGBT disco parties, Jonathan Richman, Missing Foundation, Neil Diamond, New Orleans, poverty, getting pushed out of another Brooklyn neighbourhood... No Beach Boys, no Beatles, no Buddha...  More Bad News Bears.”
     
    Eric Copeland has been sound clashing at full volume for over twenty years, first carving out a named for himself as one third of the legendary NY-via-Providence band Black Dice. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world.
     
    A long time Brooklyn, resident, Eric recently relocated to where the L Train does not run - Palma de Mallorca, Spain. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.

    Tracklist:

    1. Kids In A Coma
    2. Rip It
    3. Fuck It Up
    4. Honorable Mentions
    5. Blue Honey
    6. On
    7. Cannibal World
    8. Don't Beat Your Baby
    9. Radio Weapons
    10. Get My Own
    View product
    PYLON - LIVE

    PYLON - LIVE

    $32.98

    PYLON - LIVE

    PYLON - LIVE

    $32.98

    “Randy Bewley and Michael Lachowski’s simple lines display untoward rhythm and melody, respectively. Curtis Crowe bangs away so obdurately it’s hard to understand why he didn’t become rich. Vanessa Briscoe Hay barks and brays whatever incantatory phrases seem called for. Timeless. Cool.” Robert Christgau, Dean of American Rock Critics 

    “[Pylon] stands as shockingly modern and unparalleled these many years later.”  Michael Stipe, R.E.M. 

    1983 was a banner year for Pylon. The Athens quartet released their second album, Chomp, on Atlanta-based DB Records, toured the country extensively, and played several opening slots for then-up-and-comers U2. And then, without a hint of explanation, they quit. 

    Their final show at the Mad Hatter in Athens, Georgia, was, as was always the case, a frenzy of minimal disco thud, post-punk guitar scree, and deliriously inspired howl. Oh, and dancing — always dancing — both in the crowd and on stage. The gig was recorded (both audio and video) for a failed PBS pilot called Athens Shows, and the tapes were put away and forgotten. That is, until now. 

    Around three years ago, after Pylon’s DFA reissues hit the street, Chunklet CEO (and card-carrying member of the Pylon Fan Club) Henry Owings emailed the band bemoaning the lack of bonus material on the CDs, which sparked a larger conversation. “My favorite Pylon is live Pylon,” said bassist Michael Lachowski, with which Henry wholeheartedly agreed. Following a cordial sit-down at Michael’s apartment over the New Year’s holiday of 2015, an exhaustive search began for live recordings by Pylon. More specifically, live recordings from Athens in the early ’80s. Oh, and that sounded as good, if not better, than their proper full-length albums. 

    Numerous dead ends followed, but finally, and somewhat fittingly, the multitrack recordings of Pylon’s final performance at the Mad Hatter in 1983 were unearthed. Once the tapes were transferred and subsequently mixed, the explosive and compelling sounds raised one very significant question: Why in the world did Pylon quit? 

    For a band whose legacy, in their original incarnation at least, was two full-length albums and a handful of singles, Pylon were first and foremost a live band who weren’t as interested in working in a studio. Pylon’s raison d’être was performing for a crowd, and now there’s conclusive validation. 

    Pylon Live is a double vinyl album recorded on the band’s home turf at the culmination of their powers, and the results could not be more stellar. An all killer, no filler set with nothing left on the cutting room floor, Pylon Live includes powerful versions of the Pylon canon from their first and second LPs and even the hard-to-find song “Party Zone” (previously available only on a DB Rec comp) and their never-before-released rendition of the “Batman Theme.” 

    When compared to the band’s prior body of work, Pylon Live bookends all of it; some might even say it’s a better representation of this Athens quartet, who thrived on bouncing around on stage infinitely more than sitting in a studio. 

    There’s little arguing that the Athens powerhouse trifecta of R.E.M., the B-52’s, and Pylon is peerless. And while all three bands have achieved great critical acclaim, only the first two had the commercial acclaim they deserved. Pylon Live intends to correct that. 

    Pylon Live was released on July 25, 2016, the birthday of deceased Pylon guitarist Randy Bewley, with release events scheduled for this summer in Atlanta and Athens. 

    Tracklist

    1 - Working Is No Problem
    2 - Driving School 
    3 - No Clocks
    4 - Altitude
    5 - Gravity
    6 - Crazy
    7 - K
    8 - Cool
    9 - Italian Movie Theme
    10 - Buzz
    11 - Danger
    12 - Reptiles
    13 - Stop It
    14 - Feast On My Heart
    15 - Beep
    16 - M-Train 
    17 - Volume
    18 - Weather Radio
    19 - Party Zone
    20 - Batman
      View product
      Eric Copeland - Goofballs
      Eric Copeland - Goofballs

      Eric Copeland - Goofballs

      $5.00

      Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: ‘Goofstep’. We’ll see if that one sticks…

      Eric explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:

      “i made it here in Palma at my studio, this is the first full record i’ve made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.”

      Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.

      Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric’s third solo album for DFA Records.

      Tracklist: 
      1) Boogieman
      2) Neckbone
      3) Disco Ball
      4) Bibbidi Bobbidi Boo
      5) Mixer Shredder
      6) Close Encounters
      7) Smearjob
      8) Do Whatcha Wah Wah

      COMPACT DISC AVAILABLE ON DFA BANDCAMP

      View product
      Delia Gonzalez - In Remembrance
      Delia Gonzalez - In Remembrance

      Delia Gonzalez - In Remembrance

      $5.00

      Initial pressing is on pink vinyl! Move quick!

      Delia Gonzalez is a name immediately familiar to DFA fanatics. As the story goes, Delia transplanted from Miami to New York City in the mid-1990s, working in various dance and guerrilla theatre troupes. It was around this time that she met synth wizard Gavin Russom, beginning a series of multi-disciplinary collaborations. Their first release for the label, 2003’s El Monte, was an early demonstration of the fledgling label’s ability to bridge the gap between the avant-garde and the rapidly exploding indie rock world.

      In Remembrance is the next landmark in Delia’s artistic pursuits. The project originated as a 2010 solo show of the same name at Galleria Fonti in Naples, Italy, and was further realized in 2012, with additional work, as part of the exhibition I Must Not Stop To Rest Here in Cologne, Germany. The project was further exhibited in Zurich. Both exhibitions were built around four 16mm ballet dance films, accompanied by the music composed by Gonzalez. In her words, “The film is meant to re-create the fleeting sensation of inspiration - that sacred feeling when suddenly your mind clears and you know exactly what you’re meant to create and become.”

      The films were exhibited in their third incarnation at the Clocktower Gallery in New York City in 2013. Delia enlisted New York underground musicians Bryce Hackford and Alice Cohen to perform a live, electronic adaption of the original piano score. Bryce later contributed four remixes, which are included on this album. Delia explains; “When I lived in Berlin I became good friends with the artist and musician Viktor Timofeev, who kept telling me about his best friend Bryce, who he played music with. In 2012 we were all in Vienna participating in a show entitled You Are Free. There I met Bryce and I instantly loved him. In 2013 I moved to NYC temporarily and ran into him at the New Museum and he said, “we should get together and play”. I took him up on it.”

      The original piano score was initially inspired by a text by Henry Miller as well as a theory by spiritual teacher George Gurdjieff, which states that “to play scales is to become more in tune with your inner self.” This coincided conceptually with the music that Delia had been making at the time.

      Musically, In Remembrance finds Delia Gonzalez again straddling the lines drawn between the fine art and pop worlds. This time, instead of the cosmic, arpeggiated synths of The Days of Mars , we are presented with something even more immediately beautiful. The music is immediately soothing and hypnotic, yet it also maintains a sinister undertone. Suspense and tension are expressed in a deceptively simple fashion, providing a soundtrack both mesmerizing and melancholy for the dancers in the film. Delicate layers of piano wind around each other, reflected in the mirrored motions of the dancers, filmed in leering close-ups. The four compositions combine to create a 30 minute avant-classical suite, bringing to mind Satie, or something plucked from Italy’s iconic Cramps Records in the seventies (John Cage’s Cheap Imitation is an reasonable comparison), or perhaps an alternate score to the arthouse horror film Dont Look Back by Nicolas Roeg.

      The second disc features remixes by previously mentioned live collabator Bryce Hackford. Bryce takes Delia’s exquisite piano score and loops, stretches, and consolidates it. There’s a range of treatments at play here - some pieces are layered with gauzy left-field electronic pulses while Track IV get a 4/4 dancefloor makeover, recommended to fans of both classic Detroit techno and newer left-field stars such as Actress. Asked to briefly discuss his mission statement in creating these remixes, Bryce simply stated that he wished that his remixes “maintain the hypnotic and simple beauty of the originals while opening them up to new spaces.”.

      In Remembrance will be released by DFA Records and [PIAS] Cooperative on April 28, 2015.  

      Tracklist

      A1 - Delia Gonzalez (I)
      A2 - Delia Gonzalez (II)
      B1 - Delia Gonzalez (III)
      B2 - Delia Gonzalez (IV)
      C1 - Bryce Hackford (Remix I)
      C2 - Bryce Hackford (Remix II)
      D1 - Bryce Hackford (Remix III)
      D2 - Bryce Hackford (Remix IV)
      View product
      Shit Robot - What Follows
      Shit Robot - What Follows

      Shit Robot - What Follows

      $5.00

      Marcus Lambkin aka Shit Robot returns with his third full length album for DFA Records, entitled What Follows. The 11-track album was conceived and recorded at Marcus’ home studio in a small town outside Stuttgart; worked on in various New York studios and then mixed over the course of 11 intense & coffee-fuelled days in DFA label mate Juan Maclean’s New Hampshire studio. 

      The album follows Lambkin’s previous long-players, From The Cradle To The Rave (2010) and We Got A Love (2014), which drew plaudits from the likes of The Guardian and Pitchfork, and featured Reggie Watts and James Murphy among the array of contributors. 

      The Dublin-born producer has enlisted the help of a stellar cast of guests for What Follows, with previous collaborators Alexis Taylor (Hot Chip) and DFA stablemates Museum of Love & Nancy Whang returning, alongside new faces Jay Green and leftfield fellow Dubliner New Jackson. 

      What Follows marks a departure in Lambkin’s process - a simple, but fundamental one: getting away from the computer. He said: “This record is a lot more analog than 'We Got A Love', almost all of it comes from connecting machines together and playing around.” What was your biggest influence? “Drum machines.” What began in Stuttgart was followed up on in New York, before being finished in an 11-day blitz in New Hampshire with Juan Maclean. 

      Lambkin: “This is the first time that I actually sat down and said, ‘I'm going to make an album now and I'm going to finish it by a specific date and time.’ I wanted to make a record that was more cohesive, that sounded like it all came from the one session. I wanted it to reflect my DJing style a bit more, less pop, less disco, more machines. There's no live bass and barring a few hi-hats, there's no live drums. 

      “I began in Stuttgart - simply by creating about 12 drum loops. I then synched these up to some gear and created some bass lines so I had some solid grooves to start with. Then I went to NY and spent a couple of days at Holy Ghost's studio playing around with Nick and his modular synth coming up with different sequences and sounds. I then took all this over to Transmitter Park Studios in Greenpoint and spent a few days with the wizard that is Morgan Wiley of Midnight Magic and Tippy Toes. He's one of my favourite keyboard players on the planet. Sometimes I had a specific thing I wanted him to do, but mostly I just played him some things I like and got him to jam out on what I had come up with or play some nice chords or chord progressions. 

      “I took all this back home and started to fool around with it and knock it into shape before sending it out for vocals. With the song I did with Museum Of Love, 'What Follows', Dennis and Pat were actually in Europe and they came by and stayed with me for a few days, so we made that one in Stuttgart over a few nights once I got the kids to bed. It was particularly fun and easy. I think the wine helped. 

      “Then I brought it all to Juan's World in New Hampshire where we drank a LOT of coffee and did some additional production and mixed everything. Finishing the record with Juan was a game changer for me. We worked so hard. We finished eleven songs in eleven days, no joke.” 

      The results are convincing - What Follows is definitely an album dedicated to dance music, but one that retains hallmarks of his previous LPs: good songs. Alexis Taylor turns in two memorable performances on lead single ‘End Of The Trail’ and album opener ‘In Love’; Museum of Love - Pat Mahoney and Dennis McNany - lend the album title track an air of something mined from the two months in between the death of Joy Division and the birth of New Order; and Nancy Whang gave such a strong vocal for ‘Lose Control’ that Lambkin and Maclean threw out the existing track and recorded the backing along with the vocal in one take, which the two producers working the machines live. Lambkin: “I had so much fun with Lose Control - and it inspired me to make so much more music. I've written 12 new tracks since finishing the record.” 

      Newbies Jay Green and New Jackson hit their marks too - Green - best known for fronting American punk bands Orchid and Panthers - narrates Is There No End as though it were sibling to From The Cradle To The Rave’s single Simple Things. New Jackson makes two appearances, on both Phase Out and OB-8 (Winter Version), adding oddball vocals and spaced-out Krautrock guitar arrangements. 

      How did the guests come about? Lambkin: “I didn't have a big plan, I just knew that I wanted to work with friends. I knew I wanted to do something with Museum Of Love again. I also knew I would do something with Nancy, I couldn't make a Shit Robot record without Nancy. Then while I was working on End Of The Trail, I could hear Alexis's voice in my head, it just seemed a perfect fit. New Jackson is my younger brother’s old room mate and I've wanted to do something with Jay ever since I made the Green Machine 12”s a few years back.” 

      What Follows was preceded by two 12” singles - Where Its At (Feat. Reggie Watts), backed with a killer remix from Johnny Aux - and original version of album closer OB-8. 

      Track List:

      1. In Love (Feat. Alexis Taylor)
      2. What Follows (Feat. Museum of Love)
      3. Ten Miles High
      4. Lose Control (Feat. Nancy Whang)
      5. End Of The Trail (Feat. Alexis Taylor)
      6. Phase Out
      7. Wir Warten
      8. Is There No End (Feat. Jay Green)
      9. OB-8 (Winter Mix) [Feat. New Jackson]
      View product
      Sinkane Album Bundle
      Sinkane Album Bundle
      Sinkane Album Bundle
      Sinkane Album Bundle

      Sinkane Album Bundle

      $29.98

      Both of Sinkane's albums for DFA - Mars and Mean Love  - at a special bundled price.


      Mars Tracklist: 
      1. Runnin'
      2. Jeeper Creeper
      3. Lady, C'mon
      4. Making Time
      5. Warm Spell
      6. Love Sick
      7. Mars
      8. Caparundi

      Mean Love Tracklist: 
      1. How We Be
      2. New Name
      3. Yacha
      4. Young Trouble
      5. Moonstruck
      6. Mean Love
      7. Hold Tight
      8. Galley Boys
      9. Son
      10. Omdurman

      View product
      The Crystal Ark - The Crystal Ark
      The Crystal Ark - The Crystal Ark

      The Crystal Ark - The Crystal Ark

      $22.98

      The debut LP by The Crystal Ark.

      The limited edition 2xLP comes in a silk screened sleeve printed inside & out and is an edition of 400 total.

      The Crystal Ark is the child of Gavin Rayna Russom and Viva Ruiz, and features contributions from LCD Soundsystem members Matt Thornley and Tyler Pope, among a cast of other DFA-related musicians like Alberto Lopez and Jaiko Suzuki. 

      Track List: 

      1. Ascension
      2. We Came To
      3. Morir Soñando
      4. Crossing
      5. Paradise
      6. Rhodes
      7. Rain
      8. Silver Cord
      View product
      YACHT - See Mystery Lights
      YACHT - See Mystery Lights

      YACHT - See Mystery Lights

      $22.98

      Single LP on WHITE vinyl in a beautiful, spot-glossed cover. Features Summer Song and Psychic City, among like 8 other tracks or so. Includes an instant digital download. 

      Tracklisting:

      1. Ring the Bell
      2. The Afterlife
      3. I'm In Love With a Ripper
      4. It's Boring / You Can Live Anywhere You Want
      5. Psychic City
      6. Summer Song
      7. We Have All We've Ever Wanted
      8. Don't Fight the Darkness
      9. I'm In Love With a Ripper (Party Mix)
      10. Psychic City (Version)
      View product
      The Juan Maclean - Tito's Way 2x12"
      The Juan Maclean - Tito's Way 2x12"

      The Juan Maclean - Tito's Way 2x12"

      $22.98

      2x12" single of Juan's breakout classic "Tito's Way", featuring a massive 11-plus minute remix from Linstrøm + Prins Thomas, plus additional edits from Reverso 68, and Booka Shade.

      Tracklist

      Tito's Way (Album Version)

      Titos Way (Lindstrom & Prins Thomas Remix)

      Tito's Way (Booka Shade Remix)

      Tito's Way (Reverso 68 Remix)

       

      View product
      Slim Twig - A Hound At The Hem
      Slim Twig - A Hound At The Hem

      Slim Twig - A Hound At The Hem

      $5.00

      Slim Twig is the name of a man, not of a band - though he has performed in many a group, some under his own moniker. Boasting a catalogue several underthe- radar releases deep, the Toronto native lays claim to a tremendously original work with his orchestrallyinflected, art rock album, A Hound At The Hem. Self-produced in the fall, 2010, Hound is a suite of narrative songs thematically inspired by Vladimir Nabokov’s Lolita. DFA is privileged to reissue this album in advance of the release of Twig’s newest works.

      Upon completing AHATH in 2010, Twig struggled to find wide release for it due to its uncompromising textural onslaught and disregard for genre. This course of events set the stage for the composition and release of Sof’ Sike, a somewhat more conventional set of pop songs released on Paper Bag Records, in 2012. The title of that work refers to Twig’s own conception of Hound as the hard-psych flipside to his work of that period.

      Recorded on Toronto Island in collaboration with fellow Torontonian, Louis Percival, the album features string arrangements by Owen Pallett, and other collaborators including Meg Remy (U.S. Girls), Carl Didur (Zacht Automaat), and the St. Kitts Quartet.

      As a conceptalbum exploring the troubling and the taboo and themes like the transformative power of lust, AHATH can be interpreted as an echolike response to Serge Gainsbourg and JeanClaude Vannier’s Histoire De Melody Nelson. Most of all, AHATH poses the question; where next for Slim Twig, this promising and original auteur?

      1. Heavy Splendour
      2. Clerical Collar
      3. Widow Were You Younger
      4. Shroud By The Sheetful
      5. All This Wanting
      6. Hover On A Sliver
      7. Maintain The Charade
      8. Blonde Ascending (Come Into The Clatter)

       

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      Guerilla Toss - Twisted Crystal
      Guerilla Toss - Twisted Crystal

      Guerilla Toss - Twisted Crystal

      $22.98

      TRACKLIST: 
      1) Magic Is Easy
      2) Jesus Rabbit
      3) Meteorological
      4) Hacking Machine
      5) Retreat
      6) Come Up With Me
      7) Unicorn Cigarette (Vinyl Only)
      8) Walls Of The Universe
      9) Jackie's Daughter
      10) Green Apple

      Analog synthesizers give tangible life to the works of
      Guerilla Toss. Whether it be the sound of a rocket ship, a kitten-with-a-wah, distorted dolphins, or a clavichord made out of honey-baked ham, the band consistently finds new ways to bring together the many ideas that combine to shape each new batch of art-rock puzzle pieces.  

      Twisted Crystal, Guerilla Toss’ new LP, feels more personal than ever for the band.  Angular yet irresistibly catchy, this collection of pop songs pulls influence from powerful groups like The Slits, ESG, Gina X, and early Madonna, with sing-speak vocals from Kassie Carlson nodding to legendary artists like Laurie Anderson, Grace Jones, and Lizzy Mercier Descloux – combining this all into a twisted, crystalline concoction.  

      Oracles and enigmatic egos are common lyrical themes, but charismatic instrumentality springs the listener back to extraterrestrial comfort. Old favorite sounds ring true from the trusty Sequential Circuits Six Track Synthesizer and Clavia Drum Machine. New, more refined sounds are molded and polished by drummer/producer Peter Negroponte, whose passion for perfection and creation goes far beyond an all-consuming Tetris effect.  Peter has truly excelled on this new recording, creating a complex networks of beats and sound that become easily intertwined with the rhythmic fabric of life.  

      Raised in a devoutly religious family, vocalist Kassie Carlson started performing at the age of five. She often participated in large pastoral choral performances, as well as her family’s four-part harmony gospel quartet, making her no stranger to the stage. Growing up under the fear of God leaves a distinct footprint on your perception. An omnipresent male dictates not only your present waking life but also the rest of your eternity. Discovering a rock band was more than self-expression for Kassie, it was a manifestation of a self-healing temple, a personal pipeline for power. What better way to part the waters of toxic sludge than a matriarchal shout? 

      Arian Shafiee, Guerilla Toss’ resident textural-guitar guru, is inspired by aspects of non-Western tuning and extended techniques. He designs moments of dense, glistening, pitch-shifted harmony and measured strumming that link classical impressionism to no-wave and early minimal music. His recent solo work truly comes through on this new record, as he tethers fantastical surreality to noise rock to deconstructed Middle Eastern pop music.

      Keyboardist Sam Lisabeth paws the keys with distinct virtuosity and expressive sass. A new member, Stephen Cooper (of the band Cloud Becomes Your Hand), binds the group with an urgent, disciplined, and melodic style. The hypnotic, ostinato-like basslines and up front rhythm tracks guide and grip each song like gravity, keeping the listener from swirling off into the cosmos.

      In albums past, Kassie’s performances resembled more of a manic, possessed high priestess; humming at the gates of hell, hacking telepathy and tugging the strings of every audience member. Twisted Crystal goes beyond this familiar darkness, leading us into a rhythmically calming charm with deep wisdom, serenity, and understanding. What is a twisted crystal? And who told you it would heal?

      At times the listener wanders through mazes of dizzying, alternately pulsing time signatures, but the roads always bounce, meet and magically snap back together. That meditative groove, both live and in the studio, has become signature for Guerilla Toss, drawing deep influence from 70s krautrock and experimental rock music like Tom Tom Club, Talking Heads, Brian Eno, Neu!, Cluster, Todd Rundgren, and La Dusseldorf.

      A constantly evolving, living breathing entity, the band now presents the album Twisted Crystal.  Enjoy the same surrealistic, kinetic healing energy of live Guerilla Toss, today in your own home.

      “Magic is Easy. Hypnotize yourself well.”

      View product
      Eric Copeland - Trogg Modal Vol. 1
      Eric Copeland - Trogg Modal Vol. 1
      Eric Copeland - Trogg Modal Vol. 1
      Eric Copeland - Trogg Modal Vol. 1
      Eric Copeland - Trogg Modal Vol. 1

      Eric Copeland - Trogg Modal Vol. 1

      $5.00


      Tracklist:

      1) Mateo
       
      2) 321 Contact
      3) Electric Mud
      4) Heads
      5) Build-A-Brain
      6) Fresco
      7) Hugo


      In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy. 


      Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described “rippers,” music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

       

       

      View product
      Eric Copeland - Trogg Modal Vol. 2
      Eric Copeland - Trogg Modal Vol. 2

      Eric Copeland - Trogg Modal Vol. 2

      $5.00

      **Pre-Order, all orders ship the week of March 18th

      Tracklist: 
      1) Beat It
      2) High score Zed
      3) United Banana
      4) Payoff
      5) BS Dropout 
      6) Light Fantastic
      7) Blazin
      8) Falo

      On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October’s Vol. 1. The former Black Dice member’s 'Freakbeat 4/4' agenda gets further refined here – Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as “late Night Flight proto tekno,” the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric’s textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and ‘jamming’ to a climate of uncanny smoothness and polish.    

      Where Vol. 1 was composed of “rippers,” Vol. 2 travels at its own pace, continuing to showcase Eric’s ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of “BS Dropout” to the blithe, video arcade soundtrack “High Score Zed.” Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years – arriving in 2019 with his mischievous sense of adventure firmly intact.

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      Slim Twig - Thank You For Stickin' With Twig
      Slim Twig - Thank You For Stickin' With Twig

      Slim Twig - Thank You For Stickin' With Twig

      $5.00

      Thank You For Stickin’ With Twig is the latest long-playing album from the artist known to the world (or at least to his mother) as Slim Twig. Coming out August 7, 2015 on DFA, you may be surprised to know that it represents the fifth album by the Toronto based songwriter / producer. Twig has released these previous records among a swath of EP’s, singles and one-offs, displaying in the process a complete disregard for genre or consistency. The evolution from Contempt!, his sample-stained 2009 debut, through to A Hound At The Hem, his symphonic tribute album to Nabokov’s Lolita (reissued by DFA in 2014), is not entirely linear, although intriguing all the same. Like so many surf-smoothed stones lining the beach shore, briefly unburied only to be discarded once deemed un-skippable, so Twig has gone about seeking the proper rock to cast at just the right angle. One can see why he extends a gratuity to those listeners who've stuck around.

      In what form then, do we now find the twenty-six-year old, self-proclaimed ‘wah wah master’? His record reissued last year was completed in 2011. So one might reasonably ask, what has Twig done since? After producing two albums for U.S. Girls (U.S. Girls on Kraak in 2011, Gem in 2012), and scoring two films (Sight Unseen & We Come As Friends (winner of a Special Jury Award at Sundance, among numerous other accolades), Twig found himself in 2013 at a creative impasse re: his own songwriting. He had been through full band incarnations live and on record. They featured a cast of Toronto heavies (members of Zacht Automaat, etc...). He briefly performed Slim Twig sets as a duo, featuring multimedia artist and musician, Meg Remy (U.S. Girls). They performed sets that combined versions of Twig’s released songs with freely structured improvisations, samples, and brightly melodic, synth textures. Something in this combination of the pop-minded and the cerebrally-produced has rubbed off on the recordings found on Twig’s latest.

      Thank You For Stickin’ With Twig is to date the most sonically immersive album in Twig’s discography. Where some records have focused explicitly on sample-based songwriting, while others have been completely live-recorded, the new album arrives at a perfectly produced fusion of fidelities. It hovers, glamorously caught between a cloud of obscurant, half-speed tape hiss, and the most stoned Jeff Lynne production you’ve ever heard. Twig flirts here with a variety of vibes, most often opting for a three dimensional approach whereby a warped tape aura is overlaid with colourful, laser-cut keyboard and guitar melodies. A fetishization of analogue texture is married to a digital approach. All the while, we find Twig irreverently raiding classic rock of its symbolism, sexuality, and social ambition for ulterior subversions. In this respect, TYFSWT's closest cousin may be Royal Trux's Accelerator

      Opening cut, 'Slippin Slidin’, establishes itself as a cock rock analogue to Kanye West’s similarly phallic 'On Sight', the bravura Yeezus introduction. We are welcomed by a blast of synth noise, soon followed by sexually agitated lyrics (supported by Meg Remy, whose vocals are featured prominently on much of the record) atop a deafening beat, distorted and sleazy. The immensity of the production (achieved in collaboration with co-producer Anthony Nemet and mixer Steve Chahley) represents an evolution of Twig’s approach, sustained at a fever pitch throughout the album.

      'A Woman’s Touch (It’s No Coincidence)' is a song sympathizing with the perspective of the Beatles’ wives. The song production sounds like a fusion of dub and baroque pop as played by the cartoon band in the Yellow Submarine movie. Many of the songs play referential sonic games like this, discursively incorporating familiar melodies, production styles or ideas (a fuzzy ballad on wage inequality is cheekily titled ‘Textiles On Mainstreet’), only to pair them with incongruous textures or themes. 'Live In, Live On Your Era', a song encouraging an embrace of one’s own cultural circumstance, is consciously styled as the most ‘retro’ sounding cut on the album (Jimmy Page leads and all), seemingly upending the lyrical content. On and on, the jokes and meta-sonic rock commentary continue like so many Zappa-esque indulgences. 

      The centrepiece of the album is composed of two songs sharing the middle of the running time. 'Roll Red Roll (Song For Steubenville)', titled after the football chant of the eponymous town’s high school team, eulogizes the tragedy of the young girl who was the tabloid subject of group sexual abuse (by said football team). Its opening - the most tranquil, dreamy instrumental passage on the record - is harshly interrupted by a mass of pitch-shifted martial drums and wildly panned, distorted fuzz lines. The disturbed atmosphere composes a sonic poem, detailing a narrative through a combination of sound and oblique lyrics (‘Everyone will love / everyone will love / the way you fold / Roll Red Roll’). Side B opens with 'Fog Of Sex (N.S.I.S)'. A cinematic fusion of plastic soul and flute score-for-horror-film, it comprises TYFSWT’s funkiest recording. With voicings from both Twig and Remy, sung from the perspective of someone unwilling to commit to a single gender identity, the song makes overt the album’s subliminal motive. Instability is addressed from a disenfranchised perspective (perhaps as a metaphor for the music itself, which refuses to stabilize or stay put). Twig himself has referred to his ambition of making “a protest album as obscured by smoke” (and what kind of smoke, we wonder?). In swift combination, these two songs make good on that claim. The lyrical voices here take on an (at times) humorously proletarian tone (‘I work a shift, just up the street / cleaning semen off of seats / it’s a way for ends to meet’) that is alien in the contemporary rock landscape, dominated as it is by reheated garage and psych leftovers. 

      The album closes with a triumphantly grandiose cover of Serge Gainsbourg’s instrumental ‘Cannabis’ (released as a 7” single on 4/20, and deliberately echoing Twig’s first LP for DFA, which openly shared its Gainsbourgian debt). The aim is somewhat clearer now. Slim Twig’s latest modulation of voice is to re-contextualize an era of ambition in produced rock music, dislodging the hackneyed and clichéd in the process. Sonically and politically, his aim is to be a rock n’ roll subversive in an era where that claim should rightfully be made by luddite cave-people. Context is everything, and Twig’s gift may be in zeroing in on that. He collages his sounds together (here as eclectic as The Love Below, or any Beck album) in a continuum where pop criticism is always recycling through what it chooses to lend cultural currency, if only for an instant. As of now, he’s sized up rock n’ roll, and determined it seems as good as any other vessel to commandeer for his creative impulse. Power to him. Rock may be dumb as a stone, but even so, now and then it’s smart to be dumb.

       Tracklist

      A1 - Slippin' Slidin' 

      A2 - A Woman's Touch (It's No Coincidence)

      A3 - She Stickin' With Twig

      A4 - Textiles On Mainstreet

      A5 - Stone Rollin' (Musical Emotion)

      A6 - Roll Red Roll (Song For Steubenville)

      A7 - You Got Me Goin'

      B1 - Fog Of Sex (N.S.I.S)

      B2 - Fadeout Killer

      B3 - Trip Thru Bells

      B4 - ...Out Of My Mind

      B5 - Live In, Live On Your Era

      B6 - Cannabis

      View product
      Guerilla Toss - Live In Nashville
      Guerilla Toss - Live In Nashville

      Guerilla Toss - Live In Nashville

      $22.98

      A live one from Guerilla Toss, experience the madness from the comfort of your home! 

      Live In Nashville finds G-Toss playing a decadent array of tracks across a variety of earlier releases, as well as tracks from their breakout 2016 LP "Eraser Stargazer". This limited 12" features cover art by Keith Rankin, and is pressed on heavyweight black vinyl. All orders ship with DFA stickers. 

      Tracklist: 
      1) Polly's Crystal (Live)
      2) 367 Equalizer (Live)
      3) Drip Decay (Live)
      4) Eraser Stargazer Forever (Live)
      5) Operate (Live) 
      6) TV Spell (Live)
      7) Operate (Reprise) (Live)
      8) Diamond Girls (Live)

      RECORDED MARCH 11 2016 AT "THE END" IN NASHVILLE TN

      View product
      Black Dice - Miles of Smiles
      Black Dice - Miles of Smiles

      Black Dice - Miles of Smiles

      $5.00 $9.99

      Smiles for miles. The Black Dice classic comes with Miles of Smiles on the A-side and Trip Dude Delay to the B-side in a beautifully collaged sleeve.

      Tracklisting:

      1. Miles of Smiles
      2. Trip Dude Delay
      View product
      Eric Copeland - Joke In The Hole 2xLP
      Eric Copeland - Joke In The Hole 2xLP

      Eric Copeland - Joke In The Hole 2xLP

      $32.98

      Eric Copeland's debut album as a solo artist on DFA.

      The double vinyl is covered inside and out with collages by Eric himself. Double heavyweight vinyl with a download card.

      Tracklisting:

      1. Rokzi
      2. Grapes
      3. Tinkerbell
      4. Flushing Meats
      5. Babes In The Woods
      6. Bobby Strong
      7. Shoo Rah
      8. Cheap Treat
      9. Kash Donation
      10. A Little Tit
      11. New Leather Boogie
      View product
      Larry Gus - I Need New Eyes
      Larry Gus - I Need New Eyes

      Larry Gus - I Need New Eyes

      $22.98

      DFA Records is pleased to announce I Need New Eyes, the new album from Larry Gus. 2013’s Years Not Living was a masterpiece of composition, pushing sampling to its limits within a conceptual framework provided by Life A User’s Manual, George Perec’s postmodern fiction masterpiece. 

      I Need New Eyes treads familiar sonic ground to Larry Gus’ previous works - but his beatmaker percussion, shill falsetto vocals, and found sounds form a gestalt more concise and clear than ever. The references to literature continue -  the title is based on a supposed quote by Proust, “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” This record was completed amidst two life-changing events - the birth of his first child, and his participation in Red Bull Music Academy in Tokyo. (Fellow attendee NV contributes backing vocals on Belong To Love.) He explains, “When you have kids, you realize that all of the infinite branches that you were wishing to explore are starting to being cut violently with a axe (held by the baby), and all infinite choices in your life (and lifestyle) start to shrink and diminish slowly. I decided on the title the moment I got back from Tokyo, upon realising that I could never be able to live there, now that I have a baby”. 

      His lyrics are brought to the forefront here - covering a wide variety of anxieties, personal and professional. “Don’t forget, the success of everyone else always includes failed attempts / but why can’t I figure it out for myself” he howls over swirling drum fills on NP-Complete, “No more polite comments / at least not from my friends” he croons in A Set Of Replies. This feeds into an alternate meaning for the title - “I need new, less jealous eyes” because envy and jealousy and bitterness are also things that recur a lot in my lyrics, always related to other musicians and things that they achieve.” 

      In spite of the of the heavy conceptual themes, there is a true jubilance to the sonics of the record. Twinkling synths and orchestral stabs mingle with handclaps and a thundering kick drum on All Graphs Explored, while funk guitars and endless layers of percussion and brass build around Larry’s bilingual vocals, climaxing in a double-timed drum solo. This is a record for fans of Caribou, Can, Panda Bear, and self-reflection.

      I Need New Eyes is released by DFA Records and [PIAS] Cooperative on October 2, 2015.

      Tracklist

      1 - Black Veil Of Fail
      2 - NP Complete
      3 - A Set Of Replies
      4 - Taking The Personal Away
      5 - Belong To Love
      6 - All Graphs Explored
      7 - The Sun Describes
      8 - Nazgonya (Paper Spike)
      View product
      Essaie pas - Demain est une autre nuit
      Essaie pas - Demain est une autre nuit

      Essaie pas - Demain est une autre nuit

      $5.00

      Montreal-based electronic duo Essaie pas is comprised of Marie Davidson and Pierre Guerineau. Both are respected musicians in their own right - Marie having released two acclaimed solo records, with Pierre being best known for production work on underground Canadian musicians such as Dirty Beaches and Femminielli. Essaie pas was born on a hot summer night in 2010, releasing some ultra-limited singles which culminated in their debut LP, Nuit de noce (Teenage Menopause Records) in 2013. The mix of drawling guitars, français mumbles, and minimal electronics caught the ear of DFA Records, who booked the pair to open for Factory Floor on their first North American tour.

       The origin story of -Demain est une autre nuit- begins when the band returned from their first European tour to find that they had lost both their studio space and apartment. La Brique, their studio, practice space and renowned underground music institution, had fallen victim to the city’s rapid gentrification and closed permanently. Conflicts with their wacky landlord had also left them without an apartment, leading them to return to Montreal’s winter without many prospects. They lucked into a temporary practice space during the off-hours at the offices of Le Filles Electriques, an independent interdisciplinary festival producer. This space soon became Pierre’s new studio, and Marie’s new home. The many corridors of the empty industrial building also provided a way for Marie to work out in the frigid Montreal winter nights, running “everywhere possible, listening to techno, acid, and italo disco, being mutually inspired by the space and the sounds.” About eight months later, Demain est une autre nuit (“tomorrow is another night”) was born. “This environment influenced our music,” says Pierre, “The sounds are more clear and open, the production has more depth, on a full frequency range.” Their living conditions on tour were another major influence, “Staying at different people’s places around the world for a whole year accentuates the feeling of being a stranger wherever you go, even in your own town, but also creates a feeling of being part of an international community, opposed to a scene that exists only in one city.” 

      Essaie pas’ music can not be tied to a specific genre It is a document of the encounter of two human beings mutually experimenting with music and sounds, and eventually falling in love while doing so. They are constantly pushing the boundaries of their comfort zone with new methods and technique, aiming to communicate that which is unspeakable.Their musical language is vibrant and varied - comparisons range from Film Soundtracks, Electronic Body Music, Disco, and Techno, with sensually-delivered lyrics exploring the themes of fantasies, obsessions, and the feeling of “The Void”. Marie explains, “The title comes from a joke we made when going to bed one morning, talking about our plans for the next evening.” Pierre adds, “Night is a place of freedom, a place where fantasies and obsessions are not tied by moral constraints. It’s also a time where the feeling of loneliness is stronger and when emotions and memories arise, whether you are facing it or running away from it. I think the tension and sense of urgency on the record comes from that dichotomy.”

      Facing The Music is an excellent demonstration of this dichotomy - its throbbing electronic percussion and sawmill synths racing towards a seemingly-inevitable climax, only to disintegrate in an instant. Similar in tone, Retox begins with an air-raid siren that explodes into electronic pulses and spiralling handclaps, with Pierre’s solemnly spoken vocals countering Marie’s sensual cadence. Lead single Le port du masque is a frenetic ode to obsession, about a man being obsessed with the ghost of an impossible relationship. Pierre explains - “I already had some of the lyrics and the idea of a woman’s mantra but months later, while I was jamming a motorik beat with a TR-505 through a delay pedal, I found the perfect foundation for it.” The band’s first composition, Carcajou appears here for the third time in an entirely different incarnation - Marie’s vocals alternately yearn and taunt, diving into and out of layers of drum machines and analog synthesizers. Closing track La Chute is the band at their most Angelo Badalamenti, with mournful organ and wheezing gasps giving way to what sounds like gentle applause, but in actuality is the last frames being fed through a film projector.

      1. Demain est une autre nuit
      2. Depassee
      3. Retox
      4. Carcajou 3
      5. Le port du masque est de rigeur
      6. Facing The Music
      7. Lights Out
      8. La chute

       

       

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      Eric Copeland - Mixbone
      Eric Copeland - Mixbone

      Eric Copeland - Mixbone

      $12.98

      2x12" EP on heavyweight black vinyl, limited to 300 copies. 

      Tracklist:
      1) Mixer Shredder (LNS Remix)
      2) Neckbone (NHK yx Koyxen Remix)
      3) Mixer Shredder (Physical Therapy's Tegel Mix)
      4) Neckbone (Cooper Saver Remix)
      5) Mixer Shredder (Machine Woman Remix)
      6) Neckbone (Machine Woman Remix)
      7) Mixer Shredder (Physical Therapy's Gatwick Mix) 

      On the 
      Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.”Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

      New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.”Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.
       
      Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.
       
      “Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

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      Crooked Man Album Bundle
      Crooked Man Album Bundle
      Crooked Man Album Bundle
      Crooked Man Album Bundle

      Crooked Man Album Bundle

      $44.98

      Both Crooked Man albums on 2xLP, one affordable bundled price.

      On Crooked Man - Crooked Man:
      The Crooked Man’s music blends wonky electronic rhythms, heavy bass and razor sharp, politically aware lyrics, often delivered by the honeyed tonsils of Pete Simpson. For proof, check out the banker‐baiting “Scum (Always Rises The Top)”, or the bittersweet social commentary of “Fools & Fanatics”. The Crooked Man may be world weary, but he’s still brimming with rage. Few could have foreseen a link between this jaded recluse and New York’s militantly forward‐looking DFA Records. But then again, the Crooked Man does have history. Read the complete copy and hear the LP here

      On Crooked Man - Crooked House
      The elusive Crooked Man returns to DFA with Crooked House, a maximalist take on electronic and house music that picks up where 2016’s self-titled LP left off. Teaming up again with Michael Somerset Ward (Clock DVA) and David Lewin (Bleep & Booster) in the studio, Richard Barratt crafts a comprehensive journey of hi-fi house belters with more sinister electro-pop mixed in for good measure. The LP is influenced by two historic epicenters of electronic music: Sheffield, UK, where Richard has had an illustrious career in a mix of legendary groups like Funky Worm, Sweet Exorcist, and The All Seeing I; and the NYC Loft-era disco sound, where extended grooves were layered with peak-time choruses. More on "Crooked House"+ Full LP audio. 
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      Larry Gus - Subservient
      Larry Gus - Subservient
      Larry Gus - Subservient
      Larry Gus - Subservient
      Larry Gus - Subservient

      Larry Gus - Subservient

      $22.98


      Tracklist: 
      1) Total Diseases (Subservience)
      2) A Likely Projection
      3) Text of Intent
      4) Taped Hands Here
      5) In This Position
      6) Ayler The Pilot
      7) The Sun Sections
      8) Readers & Authors
      9) Classifying A Disease
      10) Bare Concrete (Itea 97-09)

      Larry Gus
      (real name Panagiotis Melidis) returns to DFA with Subservient, his fourth release for the label. More pop-oriented than his previous albums, Subservient is a lush combination of “crisis funk pop and trad Mediterranean grooves.” Lyrics sung in Greek and English address Larry’s overwhelming struggles with being a father, husband, artist, and human in 2019. In the artist’s own words, this album is about “trying to understand empathy and act with it on everyday life,” as well as “the imperative of empathy above everything else.” 

      Subservient is sample-free, a first for Larry, who plays every instrument himself: a drum kit, an SM57 microphone, a guitar, a bass, a TE OP-1 synthesizer, and a Roland JV-1010 synth module. This is fourth-world power pop, as if Alex Chilton was produced by Eno and Hassell. The thoughtful, upbeat arrangements and gentle vocals are spacious and warm, and tend to offset whatever darker tone the lyrics might imply. Larry confronts more acute tensions, such as being a father in Greece during the crisis, and the parallels of a child’s sicknesses and adult ailments, as well as larger, more existential pressures – the grasp of nostalgia, the weight and meaning of making decisions, and the desire to move from hermeticism towards sociability. 

      The record graciously explores the nuance that can be found within delineated lines: pop and folk music, rooted in Greek tradition; internal anxieties and empathy expressed outward; the tightrope struggle of living in the present and wallowing in the past. 

      Larry will also be releasing a 7-inch single alongside the album, which features two A-sides, “Kerkis (Judas-Tree)” and “Foreign Steps,” from the same recording sessions as Subservient. The lyrics to “Kerkis (Judas-Tree)” were written by Efthimis Filippou, an award-winning screenwriter known for his work with director Yorgos Lanthimos on films like Dogtooth, The Lobster, and The Killing of a Sacred Deer. The 7-inch precedes an upcoming audio play, written by Efthimis and scored by Larry, to be produced with the Onassis Stegi (AKA Cultural Center) sometime next year. The audio play will be released on DFA in 2020.
       

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