Set of 4 / only $5!
Set of 4 / only $5!
Limited edition LP in a randomly colored sleeve, features a bonus 4-track 12" EP.
Hot Chip will release their sixth album and second for Domino, Why Make Sense?, on 18th May 2015. Recorded in Oxfordshire and London and produced by Hot Chip with Mark Ralph, Why Make Sense? is the band’s follow up to 2012’s critically acclaimed In Our Heads.
Due to a unique and bespoke printing technique, new album “Why Make Sense?” will come in one of 501 different colours. Combined with subtle variations of the design, this means every copy of the album, on both CD and LP, will feature completely unique artwork.
Shit Robot and DFA are psyched to release “Where It’s At” another in a long-running series of collaborations with the singer/comedian/television star Reggie Watts. Reggie Watts’ vocal performance runs the gamut of Chicago dance music history - from the gloom and melodrama of iconic label Wax Trax, to the jubilant choruses of Frankie Knuckles’ house anthems. But let’s not de-emphasize the solid instrumentation provided by Mr. Marcus ‘Shit Robot’ Lambkin – we’ve got that classic DFA bassline, claps, and bleeps and bloops aplenty – mixed and manipulated by none other than our own James Murphy. The flip features a remix by London producer Johnny Aux, who turns the track into a staticy, stripped down, raw Deep House banger, with hissing glimmers of icy cymbals peeking through the smog.
PREORDER ITEM SHIPS MAY 12THish. YOU'LL GET THE DIGITAL THEN TOO. Hand numbered and stamped at the DFA office.
Prinzhorn Dance School’s spartan sonics have often lead to some hand-wringing when trying to play out their records ‘in the club’. In the first 7 years of their existance, there was a sole club-friendly remix in their entire catalog. It is for these reasons that we’re really stoked to announce that we now have a second.
DFA veteran Shit Robot takes the track “Reign” from their imminently released third album “Home Economics” and turns it into a deep, dark floor-filler. The band’s pleading vocals dive in and out of a throbbing bassline, with new robotic percussion seamlessly blending with the band’s original bangs and clangs.
The flip features that previously alluded to Optimo (Espaco) mix of You Are The Space Invader - previously only available commercially in digital form, this is the
first (slightly) wider vinyl release of this classic remix. An edition of 500 hand-stamped and numbered white label copies, not to be pressed again for another 7 years or so. Probably.
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 Don’t 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.
Home Economics, the new album from Prinzhorn Dance School, is available on June 9th from DFA and [PIAS] Cooperative.
ALL PREORDERS COME ON WINE-COLORED VINYL, AN EDITION OF 1000.
“When our first album came out,” Tobin Prinz (guitar, voice) remembers, “we were awkward, miserable...” “Nervous, uncooperative” chips in Suzi Horn (bass, voice, drums), pausing just long enough for Tobin to supply the punchline - “and now look at us!”
Prinzhorn Dance School are still recognisably the same spiky Brighton-based duo whose ultra-rigorous debut cut through the excess of 2008 like a scimitar through bacon fat. But with their trademark stripped-down intensity now winningly off-set by moments of unabashed tenderness, their third album Home Economics continues and even accelerates the move away from austerity and into human warmth begun by its acclaimed 2011 predecessor Clay Class.
The starting point for the new record was the band’s “amazing” first US shows - two of their own and a triumphant showing at DFA’s 12th anniversary - in May 2013. Inspired by their American adventure, Prinzhorn Dance School brought the recording process into the heart of their everyday lives. Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard-drive wrapped in a sleeping bag in a specially-adapted suitcase, Home Economics gave them an escape route from “that frustration you feel when you spend days trying to recapture the intimacy of a particular moment”, Tobin remembers. “This time we could just use the original take, so sometimes these songs are almost like field recordings”.
All the best six-track albums - The Fall’s Slates, Orange Juice’s Texas Fever - know exactly what they want to say and how they intend to say it. Home Economics shares that infectious sense of urgency. There’s not an inch of spare meat on it - from Reign’s snatched moment of optimism, through Battlefield’s restorative meeting of minds with an urban fox on a drunken walk home in the early hours, to Let Me Go’s concluding tribute to “a love that won’t rewind and will not be deleted”. Spindly yet sensuous, together and alone, exquisitely sad but somehow full of hope, Prinzhorn Dance School knit together disparate and even opposite fragments into an utterly satisfying whole.
An edition of 200 7" singles in dead-stock leafy sleeves. Includes a digital copy in a few weeks, once we master it. Stay tuned.
Ahead of his forthcoming album for DFA Records this July, Slim Twig is sharing a very special cover of Serge Gainsbourg’s “Cannabis.” The ‘Cannabis’ 7” will ship on 4/20, ahem, April 20th and a free download of the “Cannabis” single will be available to stream at weedtransfer.com. The ‘Cannabis’ 7” follows A Hound At The Hem, released last year by DFA. As a concept album exploring the troubling and the taboo and themes like the transformative power of lust, A Hound At The Hem could be interpreted as an echolike response to Serge Gainsbourg and Jean-Claude Vannier's Histoire De Melody Nelson. Hear more about Slim Twig’s upcoming projects for DFA below:
Happy 4/20. We’ve had a few pass by without a hint of any new Twig to pack pipe with. Not that the pot holiday has been synonymous with my work, but I’ve had an obsession these past few years trying to engineer tunes that might emulate the tactile engagement we feel with music when stoned, without having to spark up (not that it’ll hurt in any case). Today is as good a day as any to let you know those experiments will be released on DFA this year.
My cover of Serge Gainsbourg's ‘Cannabis’ composition is not emblematic of this technique. I’m not quite ready to unveil everything to you just yet. It lends itself better as a national anthem of where I’ve set up shop. Sometimes a feeling creeps up on you that words can’t transcend. My take on ‘Cannabis’ is a moment like this.
I thank mister Gainsbourg for yet another cosmic assist. I also thank the U.S. Girl for her impassioned vocals, Steve Chahley for his master mixing and all the other wonderful collaborators who have helped to serve up my vision.
My forthcoming album is the kind of record that will ripen under the enhancement of your imagination. It is my hope that by imbibing the substance of this ‘Cannabis’ 7" you will find yourself in exactly the condition to appreciate what I’ve rolled up next.
April 20th, 2015.
PREORDER SHIPS MAR 21
Three new tracks from synth wizard Gavin Russom, white label vinyl packaged in a silkscreened sleeve with artwork from Gavin himself.
It’s no exaggeration to say that Gavin Russom is on a roll. The US producer released two of 2014’s finest records on Entropy Trax and now he follows them with this white-label number for Ron Morelli’s label. Loosely based on house and techno conventions, L.I.E.S 025.5, like the two Entropy Trax releases, shows that the US producer’s work has the kind of depth and attention to detail that is sadly lacking in most modern electronic music productions.
This three-tracker draws on familiar tropes, but in the same way that “Enthroned” saw Russom deliver a multi-dimensional take on dubbed out disco, each composition on L.I.E.S 025.5 delivers a number of new perspectives. “The Telstar File” achieves the near impossible and succeeds in revitalizing the 303. Russom’s pulsing acid line evolves in tandem with a greyscale synth and both elements are pushed along by distorted kicks and machine-gun fire percussion.
“Brood Queen” sees Russom turn his attention to the type of horror strings’ n’ synth combination one might expect to hear on a Giallo Disco release, but in a radically different context. Supported by steely, resonant drums and a stream of ink-black bass tones, it really lives up its title, reliving the panic of a stage actor caught off guard, struggling for that elusive phrase.
Best of all though is “Mantle of Stars”. Much like “The Beneficent, The Merciful” from last year’s second Entropy Trax record, this is a really unusual production from Russom. The same kind of rolling, robust drums that featured on “Brood Queen” act here as support for a cast that includes doom-laden guitars, a searing bass and a gnarly, distorted noise, like a hedge trimmer rubbing against a garden wall. These seemingly incompatible elements all hang together harmoniously and even retain a dance floor focus. The sense you get from this record for L.I.E.S., and Russom’s work generally, is that anything is possible and that’s something worth coming back for again and again.
Richard Brophy, Juno Plus