All Vinyl

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]

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

DFA / REKIDS 12" / DFA2204 / 2008

A. Brooklyn Club Jam

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

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

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)

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)

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.”

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)

This remix 12" ships June 2018

Tracklist:
A1) Love Release (Ara Koufax Remix)
A2) High Times (Gerd Janson Discotheque Remix)
B1) Familiar Five (Justin Van Der Volgen Remix)
B2) Rocketship (Prosumer's Re-Transmission) 

Marcus Marr's 'Familiar Five: Remixed' EP, due digitally on May 18 via DFA Records, features remixes from Justin Van Der Volgen, Prosumer, Gerd Janson and Ara Koufax. In addition to a digital release, the EP will be available via limited edition 12” vinyl. 

“It was fun to ask some of my favourite producers to remix these tracks,” notes Marr. “I love Gerd’s remixes and play them loads. Prosumer is a great producer and I’ve been a fan of his for ages. Justin Van Der Volgen I also love - his originals and his remixes are always interesting. And Ara Koufax I’ve been a fan of since their tune ‘Brenda.’” 

Marr is no stranger to collaboration, working with Australian musician Chet Faker on 2015’s Work EP. Work yielded two hit singles, “Birthday Card” (Annie Mac’s BBC Radio 1 first play, #1 Hype Machine) and “The Trouble with Us” (#1 Hype Machine). The Familiar Five EP, however, shows him in his individual element, an artist and performer who understands just how to make superb music for both man and machine.

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.

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

dfa 2207 / 2008

A1. Summer Song

A2. I'm In Love With A Ripper (Party Mix)

B. It's Boring / You Can Live Anywhere You Want

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

PINK Vinyl!

A. End Of The World

B. Go To Sleep

We've got copies of the new, wonderfully trippy techno 12" from Abby Echiverri (LCD Soundsystem / The Bunker), out on Berlin's Patterns of Perception label.

We have copies here in NYC, so it's a reasonable shipping for us North Americans!

**

Abby Echiverri joins the Patterns of Perception imprint with Deformation, a diverse collection of playfully psychedelic techno tracks infused with a radiant cosmic energy.

Produced in 2021-22, Abby drew inspiration from the captivating physics simulations her partner was working on at the time, ultimately imbuing the music with an ethereal atmosphere that permeates the entire EP, and from which the tracks derive their names.

PTN03 presents a cohesive yet diverse collection of tracks, blending psychedelic energy with delicate and profound moments. Abby's music carries an almost hopeful quality, with drum programming that leans towards groove and shuffle, and the incorporation of diminished chords and progressions that pose questions to the listener.

Deformation is an intricate record that showcases Abby Echiverri's distinctive, three-dimensional approach to techno: one that never feels oppressive, but calls to mind a sense of exploration and freedom.

All tracks written and produced by Abby Echiverri
Mastering by Andreas Maan
Original artwork by Ray Pham

Tyler's newest EP on his own Interference Pattern Records, mixed by the mighty Dennis Bovell.

We got a box for the North Americans looking to avoid insane per-item shipping.

Special die cut sleeve designed by Lenny Vigden.

Four tracks of percussive madness.

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)

A1. The Brighter The Light
A2. The Brighter The Light (DJ Tennis Remix)
B1. The Brighter The Light (Len Leise Remix)
B2. The Brighter The Light (Octo Octa Remix)

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.

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)

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)

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

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

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

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

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. 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

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)

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

A. This Aching Deal

B. August 3rd (Arkitype Remix)

"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

Hand stamped white label promo in plain sleeve.
(dfa 2230a / 2009)

A. Happy House (Lazaro Casanova Remix)

B. Happy House (Paul Woolford Apocalypse Remix)

dfa 2291 / 2011

Written by Aaron Pfenning (Chairlift) and Dev Hynes (Blood Orange)

A. Equal Dreams Featuring Solange Knowles

B1. Equal Dreams (Instrumental)

B2. Asleep With The Lights On

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

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)

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

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.

Hand stamped white label in plain sleeve. 
(dfa 2453 / 2013)

Featuring Pat Mahoney (LCD Soundsystem) and Dennis McNany.

A. Never Let It End

B. Never Let It End (Hardway Bros Remix)