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The Juan Maclean - By The Time I Get To Venus 12"
The Juan Maclean - By The Time I Get To Venus 12"

The Juan Maclean - By The Time I Get To Venus 12"

$13.00

Back in our store for the first time in years. Confusing both critics and fans upon initial release, The Juan's first 12" is backed by "The more raucous" 41 Small Stars (aka Ad Rock!) version and rare instrumental TG-3X. 

A1: By The Time I Get To Venus

A2:  By The Time I Get To Venus (41 Small Stars Version)

B: TG-3X

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LCD Soundsystem - Give It Up 7"
LCD Soundsystem - Give It Up 7"

LCD Soundsystem - Give It Up 7"

$12.00

You may know these two guitar jams from the bonus disc of their 2005 Self-Titled LP. Super heavy 7" in black and white picture sleeve! 

Tracklisting:

  1. Give It Up
  2. Tired
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Guerilla Toss - Twisted Crystal
Guerilla Toss - Twisted Crystal

Guerilla Toss - Twisted Crystal

$20.00

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.”

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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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YACHT - Chain Tripping
YACHT - Chain Tripping

YACHT - Chain Tripping

$20.00

Tracklist: 
1) (Downtown) Dancing
2) Hey Hey
3) SCATTERHEAD
4) Loud Light
5) Blue On Blue
6) DEATH
7) Sad Money
8) California Dali
9) Stick it to the Station
10) Little Instant 

“We wanted to find a way to interrogate technology more deeply,” explains Claire L. Evans, one-third of the pop group YACHT. “From the ground up,” adds her partner and YACHT founder Jona Bechtolt. The group—rounded out by longtime collaborator Rob Kieswetter—would know: their seventeen-year career has been marked by a series of conceptual stunts, experiments, and attempts to use technology “sideways.” Even the band’s name speaks to this: YACHT is an acronym for Young Americans Challenging High Technology

Chain Tripping is their seventh album and third with DFA Records. Recorded between the band’s home in Los Angeles and Marfa, Texas, the ten-song collection marks a shift in the group’s relationship with technology. Rather than trying to comment on existing platforms from within their own filter bubble, the band stripped their process down and rebuilt it using a technology entirely new to them—Artificial Intelligence, and more specifically, machine learning. 

In order to compose Chain Tripping, YACHT invented their own AI songwriting process, a journey of nearly three years. They first tried to discover any existing YACHT formulas by collaborating with engineers and creative technologists to explore their own back catalogue of 82 songs using machine learning tools. Eventually they created their own working method, painstakingly stitching meaningful fragments of plausible nonsense together from extensive, seemingly endless fields of machine-generated music and lyrics, themselves emerging from custom models created with the help of generous experts in neural networks, deep learning, and AI.

The band’s characteristically frenetic pop sound is toned down on songs like “(Downtown) Dancing,” a scotch-tape disco track that marries an anxious, funky bass groove with the lo-fi sound of the NSynth, a neural synthesizer that uses a machine learning process called latent space interpolation to imagine new sounds in between traditional instrumentation. The NSynth appears all over Chain Tripping, notably on the jewel-like “Blue on Blue,” a euphoric love song wound with surprisingly omnidirectional melodies. The generative composition process “broke us out of a mold of concise, formal, four-bar patterns and let us accept longer, meandering riffs,” explains Kieswetter; like most of Chain Tripping’s standout tracks, the song contains lyrical fragments that coalesce, collapse, and reform with fluid ease. The process also surfaced surreal idioms, like “Loud Light’s” anthemic “I’m so in love / I can feel it in my car,” or the lovely phrase “palm of your eye,” which pins the lilting chorus of the driving “SCATTERHEAD” into place, a song that splits the difference between postmodern rock and no-wave dance music with wiggly ease.

We saw this album as an opportunity to teach the machine our values, our history, our community, and our influences,“ adds Evans. “This record is a product of a technological moment that is rapidly evolving. It taught us everything we wanted to know about ourselves: how we work, what moves us, and which ambiguities are worth leaning into. We didn’t set out to produce algorithmically-generated music that could ‘pass’ as human. We set out to make something meaningful. Something entirely our own.”

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Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"

Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"

$13.00

Now on vinyl for the first time!

DFA Records and Bokeh Versions have teamed up for a joint release - a reworking of the freaky post-punk stylings of Guerilla Toss by Athens, Greece-based musician and producer Dimitris Papadatos, a.k.a. Jay Glass Dubs.

The EP comes on the heels of the former’s latest record, GT Ultra. Jay Glass Dubs vs Guerilla Toss turns the hyper-bouncy pop and deeper, darker tracks of GT Ultra into four, stripped-down dub ruminations, each one spacier and weirder than the last.

The frenetic, zany tempos of songs like “Skull Pop” and “Can I Get The Real Stuff?” are transformed into slow, viscous existential crises that focus in on Kassie Carlson’s echoing vocals. Jay Glass Dubs works headphone magic with reverberating percussion and slinky basslines, as always keeping one foot in dub’s past but both eyes on its horizon.

Artist in demand and Bokeh-affiliate Patrick Savile’s artwork eloquently articulates the ethos of the EP – speedy, psychedelic textures are blurred and made malleable, gracefully reflecting the sounds of original album through a hazy prism.

Tracklist

A1 - Skull Dub
A2 - String Dub
B1 - TV Do Dub
B2 - Can I Get The Real Dub
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Shocking Pinks - End Of The World 7" PINK VINYL
Shocking Pinks - End Of The World 7" PINK VINYL
Shocking Pinks - End Of The World 7" PINK VINYL
Shocking Pinks - End Of The World 7" PINK VINYL
Shocking Pinks - End Of The World 7" PINK VINYL
Shocking Pinks - End Of The World 7" PINK VINYL

Shocking Pinks - End Of The World 7" PINK VINYL

$12.00

DFA EMI UK 7" / dfaemi  2176 / 2007 / Picture sleeve with promo sticker

PINK Vinyl!

A. End Of The World

B. Go To Sleep

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Black Dice - Cone Toaster 12"
Black Dice - Cone Toaster 12"

Black Dice - Cone Toaster 12"

$13.00

This track is basically the benchmark whenever we have a good chat around the office about a "classic DFA 12". Features a remix of Endless Happiness by EYE of The Boredoms on the flip.

Tracklisting:

  1. Cone Toaster
  2. Endless Happiness (EYƎ Remix)
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The Juan Maclean - One Day 12"
The Juan Maclean - One Day 12"

The Juan Maclean - One Day 12"

$13.00

Oh, the jokes we had with the title of this song. Well, there's only one. "Juan Day". Anyway. The followup to Happy House, features Alex Frankel on backing vox. Includes an instant digital copy. 

Tracklist

A1 - One Day

A2 - One Day (Marc Romboy Remix)

B1 - One Day (The Emperor Machine Remix)

B2 - One Day (Surkin Remix)

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Marcus Marr - Brown Sauce 12"
Marcus Marr - Brown Sauce 12"

Marcus Marr - Brown Sauce 12"

$13.00

DFA is pleased to announce the long-awaited followup to Marcus Marr’s acclaimed 2013 single “The Music”.

A music obsessive all his life, Londoner Marcus Marr’s first encounters with dance music were acid house records which augmented his vinyl collection of rock and soul, and attending all night parties under Brixton’s St Matthews church. Traveling to the south of England to watch DJ Harvey play a lengthy set, he saw the kind of power a DJ can wield over a willing crowd.

“The Music”, was featured prominently in the 2012 film “Pusher”, starring Richard Coyle and Agyness Dean. The single’s B-Side “Pleasure Moon” was used to open the 2014 Versace show in Milan. Additionally, it was placed at #3 in Spin Magazine’s “The 40 Best Dance Tracks of 2013”, bested only by Daft Punk and Todd Terje.

Marcus has the following to say about these two new tracks:

Brown Sauce: “Depending on the vibe of the night, if you come and see me DJ it’s likely you’re going to hear some futuristic music, as well as some disco, house and so on. I want people to be warned about that so I made “Brown Sauce”. I’ve been playing it all over the place for a good while now and it never lets me down.”

Peacemakers : “This one has features me on my bass guitar. I'ts a Fender Jazz and its usually there somewhere on most of my tunes. I bought it off a clueless Brummie punk years ago. He wanted only £90 for it - i was sure there was a catch but no, it was the genuine article.”

These two tracks are a taste of what we can expect in the future from Marcus Marr, who will be releasing his debut album on DFA in 2015. 

 Track List: 

  1. Brown Sauce
  2. Peacemakers
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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)
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Larry Gus - Years Not Living
Larry Gus - Years Not Living

Larry Gus - Years Not Living

$5.00

Inspired by the rural environment of his hometown of Veria, Greece, multi-instrumentalist / singer / producer Panagiotis Melidis started writing music as Larry Gus (from the Greek larigas, or larynx) in 2006, soon after the early demise of his previous band Ginger (a bass and drums duo with a sound similar to the early-’00s Providence scene, paired with hip hop overtones).

Melidis initially composed production music, and later on earned a reputation for intense and chaotic live performances. He retained Ginger’s primitive aesthetics of groove based music, along with an obsession for late-’60s / early-’70s free jazz, and combined them with sample-based techniques and crystal-clear psychedelic pop melodies, all merged into infinitely dense layers and polyrhythms.

Stitches, his first proper full-length, was released in 2009 for Greek hip hop label Cast-A-Blast, and Melidis began a yearlong residency at the Music Technology Group in Barcelona as an intern and postgraduate student. He then returned back to Veria to work on his next project, Years Not Living, an album inspired by Georges Perec’s 1978 book Life: A Users Manual and Lucio Battisti’s 1974 album Anima Latina. The sessions yielded a staggering 85 songs, and the entire process, set amidst Greece’s financial crisis, was documented and will be part of the feature film My Friend Larry Gus (directed by Vasilis Katsoupis), to be released in 2013.

Pared down to ten tracks, Years Not Living incorporates a wealth of diverse styles, ranging from ’60s / ’70s psychedelia and pop to hip hop and more.

Tracklisting:

  1. With All Your Eyes Look
  2. The Night Patrols (A Man Asleep)
  3. Taxonomies
  4. The Sun Plagues
  5. The Eternal and the Ephemeral
  6. Merely Today
  7. Pericles
  8. In Violet Ink (Misprints)
  9. The Percival Seascapes
  10. Paths Laid Down
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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]
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Delia Gonzalez - Horse Follows Darkness
Delia Gonzalez - Horse Follows Darkness
Delia Gonzalez - Horse Follows Darkness
Delia Gonzalez - Horse Follows Darkness

Delia Gonzalez - Horse Follows Darkness

$5.00

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album “In Remembrance”.

The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western. 

Delia explains that what she observed “was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.”

The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn’t changed - the cast, times and settings have, but we still hold onto the same ideal.

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman’s McCabe & Mrs Miller. 

The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to “going to the finest tailor”. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator” regarding the sound of the record.

The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to ‘Salon De Musique’, the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks. 

Delia Gonzalez is a Cuban-American musician and artist, based in both New York City & Berlin. Her disciplines include everything from composer to filmmaker, dancer / choreographer, sculptor, painter & performance artist. Her musical career with DFA Records began in 2004 when the label released the 12” single “Relevee”, followed by the album of cosmic acid-house “The Days of Mars”, with Delia and then musical partner Gavin Russom.

In 2015, DFA released Delia’s first solo album entitled “In Remembrance”, which was a full piano score for a 30 minute filmed ballet, a perfect example of the type of work Delia creates as a multi-disciplinary artist.
Tracklisting:

1. In Through The Light
2. Hidden Song
3. Roulette
4. Horse Follows Darkness
5. Vesuvius

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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 - Live In Nashville
Guerilla Toss - Live In Nashville

Guerilla Toss - Live In Nashville

$20.00

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

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Edward - Underwater Jams 12"
Edward - Underwater Jams 12"
Edward - Underwater Jams 12"
Edward - Underwater Jams 12"
Edward - Underwater Jams 12"
Edward - Underwater Jams 12"
Edward - Underwater Jams 12"

Edward - Underwater Jams 12"

$13.00

TRACKLIST: 


A) Mental Dive (14:57)
B The Lagoon (11:35)

On his DFA debut, German experimental techno producer Edward largely departs from the 4/4 grid he frequents and blurs the focus towards a more slippery, improvisational vibe. Fans of his Desert Sky alias, as well as his work reshaping classic tracks by Harmonia & Eno and Rolf Trostel of Tangerine Dream, will be quite pleased with Underwater Jams. These two new songs unfold at their leisure, going off on whizzing, kosmiche-influenced tangents, all the while guided by the hand drums of percussionist Geronimo Dehler. On A-side “The Lagoon,” the freedom of the long-form composition allows Edward to go deeper and more mesmeric, while the restrained stomp of B-side “Mental Dive” allows for an introspective dance floor moment.

Though he’s been releasing music for the past decade, Edward has always been a bit enigmatic, with a majority of his discography only available on vinyl. He remains as prolific as ever – in the last year alone, Edward has toured all over the world, playing esteemed clubs from Berghain to Fabric, and splitting bills with artists like Ricardo Villalobos and Oskar Offermann. His numerous releases on Giegling, Die Orakel, and White demonstrate his penchant for combining the psychedelic and the locked-in groove, but it’s the sprawling sense of adventure that makes this release one of the more idiosyncratic in Edward’s catalog.

Limited heavyweight vinyl with matte finish jacket and picture sleeve, rainbox gradient center label. Ships with bolt stickers. 
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Sinkane Album Bundle
Sinkane Album Bundle
Sinkane Album Bundle
Sinkane Album Bundle

Sinkane Album Bundle

$30.00

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

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Runaway - Brooklyn Club Jam 12"
Runaway - Brooklyn Club Jam 12"
Runaway - Brooklyn Club Jam 12"
Runaway - Brooklyn Club Jam 12"

Runaway - Brooklyn Club Jam 12"

$13.00

DFA / Rekids 12" / dfa 2204 / 2008

 

A. Brooklyn Club Jam

B. Brooklyn Club Jam (Brennan Green's Version)

 

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Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"
Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"
Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"
Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"

Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"

$13.00

DFA EMI UK 12" / dfaemi 2189 / 2007

 

A1. You Are The Space Invader

A2. Wheat For The Locust

B. You Are The Space Invader (An Optimo (Espacio) Mix)

 

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Pixeltan - Yamerarena 12"
Pixeltan - Yamerarena 12"

Pixeltan - Yamerarena 12"

$13.00

Pixeltan's latest effort – their first release in five years, and long overdue – is a 4 song EP that solidifies a sound that has been slowly (very slowly) been developing over the course of almost a decade now, and also manages to completely redefine what these 3 are capable of. The new tracks are both referential and reverential, while still being wholly of this time, modern, fun and very funky indeed.

On their new four-song EP, the band takes inspiration from a number of sources. On "Yamerarena-I," Pixeltan builds atop Afro percussion with steady bass and guitar lines, and Yoneta's matter-of-fact vocals, which veer from Japanese to English (Yamerarena means "can't stop" in Japanese). "Scatter" and "No More Delay" take a page – or at least a few notes – from Larry Levan's Paradise Garage disco songbook, while "I Told You So" shows an appreciation for ESG, but adds layers of dynamic percussive elements and showcases Yoneta's vocal ability to go from sweetly menacing to raw-throated screams within the song's mere four minutes. ("I told you so," she spits, before adding, as if to ward off any remaining doubts, "I told you so...bitch.")

The eclecticism of Pixeltan’s sounds is a natural byproduct of the musical experience each member brings to the trio: drummer Hisham Bharoocha formerly played with both Black Dice and Lightning Bolt; bass player Devin Flynn and singer Mika Yoneta are ex-members of Plate Tectonics. The Brooklyn-based threesome originally formed in 1998, and released their self-titled EP in 2001. The same year, they collaborated with DFA on a remix of their song "Get Up/Say What," which the public didn't hear until 2004. The resulting track – a throbbing mix of jittery bass, dancefloor beckoning handclaps, and Yoneta's alternately seductive and screeching banshee vocals – invoked an immediacy that resonated instantly with listeners.
 
- Kali Holloway

Tracklisting:

  1. Yamerarena-I
  2. Scatter
  3. I Told You So
  4. No More Delay
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The Rapture - Children 12"
The Rapture - Children 12"

The Rapture - Children 12"

$13.00

DFA + Bitches Brew UK / BITCH 025 / 2012

Limited edition HAND NUMBERED of 300!

Track originally found on 'In The Grace Of Your Love' LP

 

A. Children (DarkStarr Diskotek Remix)

B. Children (Ashley Beedle's Heavy Disco Joint)

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Black Meteoric Star - Dreamcatcher b/w Dawn 12"
Black Meteoric Star - Dreamcatcher b/w Dawn 12"
Black Meteoric Star - Dreamcatcher b/w Dawn 12"
White Label

Black Meteoric Star - Dreamcatcher b/w Dawn 12"

$10.00

Black Meteoric Star is the latest project by longtime DFA alumni Gavin Russom. The project is inspired equal parts Euro-disco, wonky early electronic body music from America's Midwest and an always present fascination with the outer reaches of global psychedelic rock. Gavin Russom began the recordings for Black Meteoric Star sometime in 2006. It was at this time that Carl Craig remixed Delia Gonzalez & Gavin Russom's single "Relevee", making it one of the years biggest dance club anthems. Three vinyl 12" singles by Black Meteoric Star will be released on DFA Records with extended original versions in 2009 along with a full self-titled CD that edits and compiles all six singles. There will be an edition of 100 of each 12" hand stamped and accompanied by a series of posters also designed by Russom. These releases will follow a narrative line and the six pieces of music tell a story of clubbing and the long journey through the night and into the next day.

In this project, Russom carries his ability to create rich sonic landscapes to the dance floor using minimal but intense arrangements and high-energy repetition. The third and final chapter is "Dream Catcher / Dawn". In "Dream Catcher" it becomes clear that neither the masculine nor the feminine side can win. They have to coexist, and can, when each side acknowledges its own strengths and resolves to use them toward a mutual end. In terms of the club land metaphor this is the point in the night where people hook up. As the longest of the six tracks its story is about total surrender. For me it evokes both lovers surrendering to each other and the devotee surrendering to his God. At this moment we acknowledge that there is no way out but through. "Dawn" comes. The bass line echoes the melody of "Death Tunnel", signaling return. Although we are beginning again everything looks, sounds and feels different. We are much stronger now. As the sun comes up and edges begin to become clear again, we drive slowly through the still sleeping city. Rhode Island native Gavin Russom now lives and works in Berlin. He has produced many remixes recently, including a new single by Croatian techno artist Petar Dundov, New York's avant garde duo Palms and a remix featured on the upcoming soundtrack for the remake of the movie Tron.

Tracklist

A - Dreamcatcher

B - Dawn

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The Juan Maclean - Tito's Way 2x12"
The Juan Maclean - Tito's Way 2x12"

The Juan Maclean - Tito's Way 2x12"

$20.00

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)

 

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Eric Copeland - Joke In The Hole
Eric Copeland - Joke In The Hole

Eric Copeland - Joke In The Hole

$5.00

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.

Also available on CD! 

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
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We Acediasts - Pre Acediasts 12"
We Acediasts - Pre Acediasts 12"
We Acediasts - Pre Acediasts 12"
We Acediasts - Pre Acediasts 12"

We Acediasts - Pre Acediasts 12"

$13.00

Tokyo group consisting of Takamoto Masaki (vocals), Yuta Suganuma (drums), Mori Fumi (bass) and Justin Simon (guitar), active 2000-2002. Originally a duo of Justin Simon on Roland TR-606, Fender bass and Korg MS-20 and Takamoto Masaki on vocals, later expanding to a 4-piece. Played regularly in Tokyo and played one show in NYC when there to record with the DFA in 2001.

Many tracks featuring Justin Simon and James Murphy. Cool printed insert featuring a picture of James wearing a Joy Division shirt. 

Tracklist:
Kousho
Ibasho
Omoshiroi Omoshiroi Omoshiroi
Anata Ga Suki Yo
Hitori Heiwa Na Nyopo
Kajiroudou
Un No li Yatsu
Kyoukai Ongaku

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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

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The Juan Maclean - You Can't Have It Both Ways 12"
The Juan Maclean - You Can't Have It Both Ways 12"

The Juan Maclean - You Can't Have It Both Ways 12"

$13.00

OG 12" from 2003 by The Juan Maclean

Two hot tracks of electro goodness from JUAN MACLEAN (SIX FINGER SATELLITE). The title track features female vocals from NANCY WHANG, while the B-side gets you an electro lullaby in the "sad robot" genre. Both tracks produced and mixed by JAMES MURPHY & TIM GOLDSWORTHY

A - You Can't Have It Both Ways (Live)

B - My Time Is Running Out


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Guerilla Toss - Flood Dosed EP
Guerilla Toss - Flood Dosed EP

Guerilla Toss - Flood Dosed EP

$15.00

Long-awaited vinyl version of Guerilla Toss' FLOOD DOSED, now on wax instead of magnetic tape. 

Cut incredibly loud at 45RPM, Featuring a new (bonus track) from the same recording session, "Teacher Speaks".

Ships in early March. 

  1. Realistic Rabbit
  2. Polly's Crystal
  3. Ritual In Light
  4. Teacher Speaks

 

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The Juan Maclean - Can You Ever Really Know Somebody 12"
The Juan Maclean - Can You Ever Really Know Somebody 12"

The Juan Maclean - Can You Ever Really Know Somebody 12"

$13.00

The Juan Maclean return to DFA with a stand-alone single, bursting with deep house elastic bounce and electronic pop flourishes, married to the deadpan earnestness of Nancy Whang’s vocal delivery.

"Can You Ever Really Know Somebody" is the kind of slinky song that is easily absorbed and difficult to forget. It is a taste of things to come, as The Juan Maclean prepares a brand new LP for DFA due out in Fall 2017.

The remix is courtesy of LA-4A, aka Ambivalent and legally known as American born producer Kevin McHugh. Stripping out the house music and replacing it with a grinding electro-acid template, LA-4A creates a lovely buzzing new bed of music for Nancy Whang’s vocals to rest on top of it. This is a remix with wildly successful results and a perfect companion to the original.


1. Can You Ever Really Know Somebody (Original)
2. Can You Ever Really Know Somebody (Instrumental)
3. Can You Ever Really Know Somebody (LA-4A Remix)
4. 
Can You Ever Really Know Somebody (LA-4A Dub)
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Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples) 12"
Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples) 12"

Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples) 12"

$20.00

Limited editon of 1000 hand-stamped and numbered copies, assembled at DFA in NYC. 

DFA is proud to release a long-gestating 12” single of wild interprations of Eric Copeland’s 2013 album “Joke In The Hole”. The Black Dice member received universal acclaim for the record, “Fringe though Copeland may be, this album is a serious coup for DFA—he walks the line between complete nuttiness and outright accessibility, and ends up with one of his best records to date.” (XLR8R) Starting us off is Panda Bear, who adds his trademark falsetto vocals and shuffling percussion, sweetening Eric’s black coffee beats. DFA’s own sonic collagist Larry Gus blends Eric’s mumbled vocals with bright percussion and a vocoded male choir, among many other audio dalliances. Meanwhile, Hyperdub’s Fhloston Paradigm (AKA King Britt) takes aim with his laser cannons, firing volleys at unrelenting waves of marching alien armies, before being swallowed up in a solar flare. Finally, Anthony Naples (Text Records, Trilogy Tapes) brings it back to the club with snaps, claps, and hi-hats, but it sounds like you left ‘em out in the rear window of your car on a sunny day. You know what we mean. 

Tracklisting:

  1. Cheap Treat (Panda Bear Version)
  2. Grapes (Larry Gus Remix)
  3. Cheap Treat (Fhloston Paradigm Remix)
  4. Bobby Strong (Anthony Naples Remix)

 

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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 - 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.

 

 

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Eric Copeland - Pidgin Coup Book
Eric Copeland - Pidgin Coup Book
Eric Copeland - Pidgin Coup Book
Eric Copeland - Pidgin Coup Book

Eric Copeland - Pidgin Coup Book

$20.00

A psychedelic and strange cut n' paste novel from Eric Copeland of Black Dice. Assembled and written entirely from cutout words and phrases sourced from a biography on Judy Garland. This 120 page book was published by YA Reach and is limited to fifteen copies in the DFA store. 

"Eric Copeland, fascinated by 21st century subliminal messages, used a biography on Judy Garland, “godmother of mind control”, to cut out letters from the second half of the book to include in the first. Thus creating sentences filled with toilet humor, slang, pop references and mind controlling instructions. Giving a sense of the underlying corrupted, over consumeristic world our society lives in today." (Copy via Printed Matter)
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Eric Copeland - Hermaphrodite 12"
Eric Copeland - Hermaphrodite 12"
Eric Copeland - Hermaphrodite 12"
Eric Copeland - Hermaphrodite 12"
Eric Copeland - Hermaphrodite 12"

Eric Copeland - Hermaphrodite 12"

$14.00

"Hermaphrodite" is a solo record comprised of samples, field recordings, vocal loops and drums that transform your brain from mellow to engaged to confused to greatly pleased. Tribal rhythms and noises that get you feeling slightly stoned, in a good way. CD version released on Paw Tracks. Eric Copeland is a super nice guy who is always pushing sounds in BD and on his own and "Hermaphrodite" is a testament to his ever pressing need to push audio boundaries. text taken from Post Present Medium

TRACKLISTING
1. Hermaphrodite
2. La Booly Boo
3. Oreo
4. Green Burrito
5. Wash Up
6. Spacehead
7. Tree Aliens
8. Scum Pipe
9. Dinca
10. Mouthhole
11. Fkd
12. Scraps

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

Crooked Man Album Bundle

$40.00

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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Factory Floor Album Bundle
Factory Floor Album Bundle
Factory Floor Album Bundle
Factory Floor Album Bundle

Factory Floor Album Bundle

$40.00

This package includes both Factory Floor 2xLP albums at a special bundled price.

"Factory Floor" (DFA2392)

"2525" (DFA2525)

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Larry Gus - Subservient
Larry Gus - Subservient
Larry Gus - Subservient
Larry Gus - Subservient
Larry Gus - Subservient

Larry Gus - Subservient

$20.00


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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Shocking Pinks - Shocking Pinks (White Label LP)
Shocking Pinks - Shocking Pinks (White Label LP)
Shocking Pinks - Shocking Pinks (White Label LP)
Shocking Pinks - Shocking Pinks (White Label LP)

Shocking Pinks - Shocking Pinks (White Label LP)

$28.00


UK white label promo with title sticker in plain sleeve. Includes printed 1-sheet with song titles. 
(dfaemi 2168lp / 2007)

 

1. Wake Up

2. This Aching Deal

3. How Am I Not Myself?

4. Second Hand Girl

5. End Of the World

6. The Narrator

7. Yes! No!

8. Emily

9. Blonde Haired Girl

10. Victims

11. Girl On The Northern Line

12. I Want U Back

13. Smoke Screen

14. Jealousy

15. Cutout

16. 23

17. You Can Make Me Feel Bad

 

 

 

 

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Museum Of Love - Museum Of Love (White Label full LP, hand stamped)
Museum Of Love - Museum Of Love (White Label full LP, hand stamped)
Museum Of Love - Museum Of Love (White Label full LP, hand stamped)
Museum Of Love - Museum Of Love (White Label full LP, hand stamped)

Museum Of Love - Museum Of Love (White Label full LP, hand stamped)

$20.00

Hand stamped white label promo in plain sleeve. 
(dfa 2422 / 2014)

Featuring Pat Mahoney (LCD Soundsystem, drums) & Dennis McNany (Jee Day)

1. Horizontalator

2. Down South

3. In Infancy

4. The Who's Who Of Who Cares

5. Learned Helplessness In Rats (Disco Drummer)

6. Monotronic

7. The Large Glass

8. And All The Winners (Fuck You Buddy)

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Shocking Pinks - This Aching Deal 7"
Shocking Pinks - This Aching Deal 7"
Shocking Pinks - This Aching Deal 7"
Shocking Pinks - This Aching Deal 7"

Shocking Pinks - This Aching Deal 7"

$12.00

DFA EMI UK 7" / dfaemi  2173 / 2007 / Picture sleeve

 

A. This Aching Deal

B. August 3rd (Arkitype Remix)

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Prinzhorn Dance School - Crackerjack Docker 7"
Prinzhorn Dance School - Crackerjack Docker 7"
Prinzhorn Dance School - Crackerjack Docker 7"
Prinzhorn Dance School - Crackerjack Docker 7"

Prinzhorn Dance School - Crackerjack Docker 7"

$10.00

DFA EMI UK 7" / dfaemi7 2178 / 2007 / picture sleeve

 

A. Crackerjack Docker

B. Service, Service

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The Juan Maclean - Give Me Every Little Thing 7"
The Juan Maclean - Give Me Every Little Thing 7"
The Juan Maclean - Give Me Every Little Thing 7"
The Juan Maclean - Give Me Every Little Thing 7"

The Juan Maclean - Give Me Every Little Thing 7"

$12.00

DFA EMI UK 7" / dfaemi7 2149 / 2005 / Picture sleeve with promo sticker

Sleeve has small crease / record unplayed

 

A. Give Me Every Little Thing (Radio Edit)
Featuring Vocals By James Murphy and Nancy Whang

B. La Chine (Previously Unreleased)

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Prinzhorn Dance School - Up! Up! Up! 7"
Prinzhorn Dance School - Up! Up! Up! 7"
Prinzhorn Dance School - Up! Up! Up! 7"
Prinzhorn Dance School - Up! Up! Up! 7"

Prinzhorn Dance School - Up! Up! Up! 7"

$12.00

DFA EMI UK 7" / dfaemi 2171 / 2007 / picture sleeve

 

A. Up! Up! Up!

B. Hamworthy Sports And Leisure Centre

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Still Going - Still Going Theme 12"
Still Going - Still Going Theme 12"

Still Going - Still Going Theme 12"

$13.00

dfa 2179 / 2007

Still Going are Eric Duncan (Dr Dunks / Rub N Tug) and Liv Spencer

A. Still Going Theme

B. On And On

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Eric Copeland ‎– Al Anon 12"
Eric Copeland ‎– Al Anon 12"

Eric Copeland ‎– Al Anon 12"

$13.00

Al Anon concludes Eric Copeland’s two part album entitled Alien In A Garbage Dump (available on CD from Paw Tracks). Where the first half offered a discombobulated collection of radio cross-signaling, here the alien finds its groove for a minute and tidies up the frequencies. There is still something outsiderish here, but with more of an effort to get inside, to play by the rules even? Or maybe the motivation is to sneak something subversive into the norms’ hideout? 

Since Al Anon was recorded at the same time as two Black Dice albums, there are obvious parallels in the results; an uncompromised sonic landscape. But outside the group setting, Copeland has found places one can only find alone: small inner dialogues and isolated mind caves where an idea may only last a moment. He captures and tweaks these ideas into fragments of many memories; a déjà vu record déjà vu record. Funny characters drop in and out. Songs come and go. Al Anonproves to be a strangely curated time capsule of OUR time right NOW; music where birds beat-box with car-stereo subwoofers and the neighbors’ Espanol sings on top the Sabbath siren. With all this going on, Copeland sometimes disappears into the anonymity, playing a ‘behind-the-scenes’ role, pushing cords and pulling buttons, laughing because the batteries are dying. Here the familiar becomes mysterious and the unknown feels normal and we can listen to this one all day trying to make those distinctions.

Edition of 500 copies with jaw-droppingly amazing black and white collage artwork by Copeland, screenprinted by VG Kids.

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Eric Copeland - Loaded Slogan Book
Eric Copeland - Loaded Slogan Book
Eric Copeland - Loaded Slogan Book
Eric Copeland - Loaded Slogan Book
Eric Copeland - Loaded Slogan Book
Eric Copeland - Loaded Slogan Book
Eric Copeland - Loaded Slogan Book

Eric Copeland - Loaded Slogan Book

$20.00

 

Loaded Slogan is a new book of t-shirt texts by Eric Copeland of Black Dice. 

Across 112 pages of lists, Copeland presents every slogan t-shirt he observed for one year, starting in March  2017. The resulting text reads as a poetic display of deranged musings, fashionable phrases, grammatical gaffes, and crude oddities.

The slogans were collected under the pretense that the shirts were not to feature any logos, mottos, brands, titles, teams, or bands.

"further adventures in the twisted, funny, and profound reappropriations Eric has brought us for years through his music and through his past books "Pidgin Coup" and "C&B in Palma" - Aeon Books

 

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Eric Copeland - Shit Talk Book
Eric Copeland - Shit Talk Book
Eric Copeland - Shit Talk Book
Eric Copeland - Shit Talk Book
Eric Copeland - Shit Talk Book

Eric Copeland - Shit Talk Book

$20.00

Eric Copeland presents his latest book Shit Talk -  a collection of public comments, pulled word for word from YouTube, all focused on Black Dice, the divisive band he co-founded almost 2 decades ago.  

112 pages of plain text comments showcase both the passion and the frustration of Black Dice’s fanbase. You'll find casual observations, ardent rants, stoned diatribes, and lots of name calling. Emerging through it all is a detailed narrative of noise and experimental music, DIY scene politics, and an archive of passionate fandom.
 
The book is dedicated to “all the know-it-alls, naysayers, haters and baiters…the big mouths and big fans, comedians and aliens. Thank you!' 

All Comments compiled by Eric Copeland
Cover Art by Bjorn Copeland
Available in an edition of 40 in the DFA store.  
Now shipping.  

 

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