Vinyl Records

Our favorite, vinyl records! Use the handy categories in the dropdown above, or browse new arrivals below. The choice is yours!
Slim Twig - Thank You For Stickin' With Twig (Deluxe Framed Gold Vinyl)
Slim Twig - Thank You For Stickin' With Twig (Deluxe Framed Gold Vinyl)

Slim Twig - Thank You For Stickin' With Twig (Deluxe Framed Gold Vinyl)

$59.99

PREORDER ITEM ARRIVES TO YOU AROUND AUGUST 7TH. 

Only 10 copies available via DFA Direct. This deluxe edition features the limited edition gold vinyl edition of the LP, in a custom frame, with a signed and numbered certificate of authenticity signed by Slim Twig and representatives from DFA Records. Includes a digital download on release date, and instant downloads of Slippin' Slidin' and Cannabis. 

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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.

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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

$17.99

PREORDER ITEM ARRIVES AROUND AUGUST 7TH. LIMITED NUMBER OF COPIES ON METALLIC GOLD VINYL. 

Includes digital copy on release day, and instant digital downloads of new tracks Slippin' Slidin' and Cannabis. 

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.

 

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LCD Soundsystem - 45:33
LCD Soundsystem - 45:33

LCD Soundsystem - 45:33

$27.99

Out of print for like 2 years! So many people on Discogs are gonna be so mad we  repressed this. 3/4 of an hour of music (give or take) spread over two discs. It's great. Fill this gaping hole in your LCD collection today!
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Holy Ghost! - Hold On (Remixes)
Holy Ghost! - Hold On (Remixes)

Holy Ghost! - Hold On (Remixes)

$2.99 $9.99

Holy Ghost! return for a brief hello while they complete their debut album and prep a new single for DFA. Kindred spirits and label-mates Mock & Toof hold up their end of the remix trade with not one but two remixes, both quite different interpretations--a playful stab at minimal techno and a psychedelic disco funk.  

"'Hold On' [is] a hybrid of trad '70s American disco and more synth-heavy Italo shapes.... Quite delightful." --Boomkat

Tracklisting:

  1. Hold On (Mock & Toof Remix)
  2. Hold On (Mock's Mod Mix)
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Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples)
Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples)

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

$10.99

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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Slim Twig - Cannabis (Limited Edition 7")
Slim Twig - Cannabis (Limited Edition 7")
Slim Twig - Cannabis (Limited Edition 7")
Slim Twig - Cannabis (Limited Edition 7")

Slim Twig - Cannabis (Limited Edition 7")

$4.20

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.

As ever,

ST.

April 20th, 2015.

Toronto, Canada.

Track Listing:

  1. Cannabis
  2. Fadeout Killer (Intrumental)
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Walter Jones - I'll Keep on Loving You
Walter Jones - I'll Keep on Loving You

Walter Jones - I'll Keep on Loving You

$8.99

Here's a review from our pals at Resident Advisor. Probably one of the best twelves DFA has ever pressed. Only a few left. 

 "That spectral voice that presides over "I'll Keep On Loving You," the A-side to Walter Jones' debut 12-inch for DFA isn't some Julee Cruise wannabe. It's Jones himself, reverbed to the max, and transformed into a ghostly presence over the slo-motion disco groove that propels the song forward ever so slowly. "I sound just like Luciano Pavarotti in the car, alone, with the radio blaring," Jones told The Fader earlier this year. But this is even better—a perfect complement to one of the most seductive beats you'll hear all year.


"Living Without Your Love" has the same lo-fi feel as its predecessor, picking up oooohs and aaaahs to counterpoint the shampoo synth and sharp-pricked guitar lick (provided by none other than fellow deep house producer Juju). It loses some of the vibe in its instrumental reworking, but unless you want to put your own vocals over top, I suggest you keep with the vocal version anyway. If this track is as big of a hit as it should be on nu-disco dance floors, the clubbers will be begging for it."

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Shit Robot - Where It's At (Stamped White Label)
Shit Robot - Where It's At (Stamped White Label)

Shit Robot - Where It's At (Stamped White Label)

$11.99

Limited edition of 100 black vinyl.
Get this hot new Shit Robot track early, on white label vinyl! Ships now! You'll get wavs and mp3s on April 28th, when the track is commercial released. 
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Shit Robot - Wrong Galaxy / Triumph!!! - White Vinyl
Shit Robot - Wrong Galaxy / Triumph!!! - White Vinyl

Shit Robot - Wrong Galaxy / Triumph!!! - White Vinyl

$9.99

Not even sure how or why these exist! The debut Shit Robot single was pressed in an edition of 30 white labels on white vinyl way back in like 2005 or whatever. We have 20 of 'em. So uh. Time to buy a third copy of this 12", I guess?
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Michoacan - In the Dark of the Night
Michoacan - In the Dark of the Night

Michoacan - In the Dark of the Night

$4.99

The one-two kick drum beat that starts “In the Dark of the Night” functions as a bit of a tease. Instead of just establishing the languid pace of the track, it has the power of suggestion, and its stark nakedness raises the question of just what will happen when the music fully launches. When, a few seconds later, a punch-drunk, flanging keyboard enters the procession, it’s the first clue that we are in for an off-kilter ride; the sauntering bassline that next appears adds a springy, funk bounce. But it’s the tripped-out, multi-tracked vocals of Fernando Miranda Rios – aka Michoacan, the producer behind this slow reveal – that give the song its peculiar, space-y vibe; it’s a bit like David Byrne with funk aspirations. Taken altogether – and there is plenty more, including tinkling piano notes; bits of percussion; and electrical washes – there’s a vaguely cosmic feel. The song coalesces, using funk to lure you to the dance floor, then intoxicating you to keep you there.

The Side B re-mix – courtesy of Italy’s Clap Rules – actually feels like more of a re-build: The song has been taken apart and put back together with all brand new parts. Instead of the more relaxed, dazed funk at the core of the original, it’s a glittery, disco ball-splattered track with funk elements scattered here and there, and glossy keys all around. 

“In the Dark of the Night” is Michoacan’s debut DFA release. He has already created music for Grayhound, Headinghome, Lektroluvv, Smash Hit Music Co., Speak Recordings, Bearfunk and Tiny Sticks. 

 

 

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

Prinzhorn Dance School - Home Economics

$14.99

ALL ORDERS 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.

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Shit Robot - Where It's At
Shit Robot - Where It's At

Shit Robot - Where It's At

$10.99

Limited edition of 600 light-green colored vinyl.

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.

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Tim Burgess ‎– Oh No I Love You More
Tim Burgess ‎– Oh No I Love You More

Tim Burgess ‎– Oh No I Love You More

$14.99

This remix re-issue of Tim Burgess' LP from last year, Oh No I Love You, has managed to transform itself into an entirely other entity. By enlisting a whole list of collaborators, Burgess has completely remoulded his original work, in parts triumphantly, in other parts less so. It is quite a brave decision by any artist to give their contemporaries free rein to alter and edit their material. I cannot be certain how much involvement Tim had in its production, but new record Oh No I Love You More has shed the style of its predecessor altogether.
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Gavin Russom - The Telstar File
Gavin Russom - The Telstar File

Gavin Russom - The Telstar File

$14.99

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

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Delia Gonzalez - In Remembrance
Delia Gonzalez - In Remembrance

Delia Gonzalez - In Remembrance

$24.99

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.  

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Ninos Du Brasil - Aromobates NDB (Limited White Label on Blue Vinyl)
Ninos Du Brasil - Aromobates NDB (Limited White Label on Blue Vinyl)

Ninos Du Brasil - Aromobates NDB (Limited White Label on Blue Vinyl)

$9.99

PREORDER ITEM SHIPS JAN 20. 

DFA is pleased to announce a new 12” single by Ninos Du Brasil.

Ninos Du Brasil are Nicolò Fortuni and Nico Vascellari,
an Italian percussion duo with a background in visual art. Through their aptitude with drumming, they are masters at fusing the seemingly disparate influences of punk, tribal techno, and batacuda, emerging with a sound that is truly singular. The project takes its rhythmic backbone from Brazilian carnival music, and the duo injects each track with the frothy attitude of punk and the shuffling dancefloor domination of techno.

Nico Vascellari had the following to say of these two tracks: “These two songs are meant to be poisonous and malignant, As if somebody had the idea of inviting us to a party between the bushes of Queimada Grande (Snake Island, Brazil.)”

“... it’s unclear who’s doing what. Some of the elements belong together, according to tradition, and some of them don’t; there’s a little thrill in the friction.” - New York Times

“It bears no baggage, no symbolism, no risky appropriation or titles, just a refined, focused dimension and a riveting set of textures that showcase the group’s intricate techniques, all of it imbued with their own menacing panache.” - Tiny Mix Tapes

“...humid, vibrant and intoxicating on one hand, dark, nightmarish and unforgiving on the other.” - Juno Download

 

 Track List: 

  1. Aromobates NDB
  2. Clelia Clelia
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    Marcus Marr - Brown Sauce (Limited White Label)
    Marcus Marr - Brown Sauce (Limited White Label)

    Marcus Marr - Brown Sauce (Limited White Label)

    $9.99

    Hand-stamped white label of Marcus Marr's Brown Sauce. Limited to 100 numbered copies.

     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. Its 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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    Ninos Du Brasil - Aromobates NDB
    Ninos Du Brasil - Aromobates NDB

    Ninos Du Brasil - Aromobates NDB

    $10.99

    DFA is pleased to announce a new 12” single by Ninos Du Brasil.

    Ninos Du Brasil are Nicolò Fortuni and Nico Vascellari,
    an Italian percussion duo with a background in visual art. Through their aptitude with drumming, they are masters at fusing the seemingly disparate influences of punk, tribal techno, and batacuda, emerging with a sound that is truly singular. The project takes its rhythmic backbone from Brazilian carnival music, and the duo injects each track with the frothy attitude of punk and the shuffling dancefloor domination of techno.

    Nico Vascellari had the following to say of these two tracks: “These two songs are meant to be poisonous and malignant, As if somebody had the idea of inviting us to a party between the bushes of Queimada Grande (Snake Island, Brazil.)”

    “... it’s unclear who’s doing what. Some of the elements belong together, according to tradition, and some of them don’t; there’s a little thrill in the friction.” - New York Times

    “It bears no baggage, no symbolism, no risky appropriation or titles, just a refined, focused dimension and a riveting set of textures that showcase the group’s intricate techniques, all of it imbued with their own menacing panache.” - Tiny Mix Tapes

    “...humid, vibrant and intoxicating on one hand, dark, nightmarish and unforgiving on the other.” - Juno Download

     

     Track List: 

    1. Aromobates NDB
    2. Clelia Clelia
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    Marcus Marr - Brown Sauce
    Marcus Marr - Brown Sauce

    Marcus Marr - Brown Sauce

    $10.99

    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. Its 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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    Eric Copeland - Ms Pretzel
    Eric Copeland - Ms Pretzel

    Eric Copeland - Ms Pretzel

    $13.99

    12" Vinyl EP in a picture sleeve featuring collaged artwork by Eric Copeland himself. 

    Ms Pretzel is a 4 track, 20-minute EP of brand new material by Eric Copeland (Black Dice, Terrestrial Tones). This is Eric’s return to DFA after the release of an acclaimed single on Ron Morelli’s underground dance juggernaut L.I.E.S., which followed his beloved 2013 album “Joke In The Hole”, his solo debut for DFA.

    The music on Ms Pretzel most certainly continues to break new sonic ground, a process which has gradually unfolded over the last few years via many prior works on seminal underground labels such as Underwater Peoples, Escho, Post Present Medium, and Catsup Plate, among many others. Ms Pretzel takes Eric’s outsider fascination with 4/4 dance music and twists it yet again. It is the sound of Eric Copeland throwing a wobbly dance party in a junkyard. DFA could not be more excited to host this gritty event.

    “If Copeland is interested in the conventions of clubland, it’s at the point where someone’s puking on their shoes outside the venue, a distant throb of bass beating into their brain through the brickwork.” - Pitchfork

    “The rhythms might be recognisably house or hip-hop, but Copeland pulls and squeezes their structures like accordions.” - Resident Advisor

    “Though constantly teetering on a knife’s edge - to be expected in such mental, syncopated mashups - this is wildly colourful and knowingly absurd music.” - The Quietus

     

    Tracklisting:

    1. Ms Pretzel
    2. SXIXO
    3. Scum of the Cream
    4. A1EZOK
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