Vinyl Records

Our favorite, vinyl records! Use the handy categories in the dropdown above, or browse new arrivals below. The choice is yours!
Panthers - Goblin City
Panthers - Goblin City

Panthers - Goblin City

$4.99

Side A  

Goblin City - (Holy Ghost! Remix)

Side B

Goblin City  (Run Roc Mix)

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Sinkane x Peaking Lights - Mean Dub
Sinkane x Peaking Lights - Mean Dub

Sinkane x Peaking Lights - Mean Dub

$12.99

Approaching a busy festival season, including a performance at Glastonbury Festival this weekend plus Womad and Meltdown later in the summer, Sinkane has joined forces with Peaking Lights for a 12” EP release entitled Mean Dub, to be released on August 21st via DFA/City Slang.

 With a magical dub overhaul unique to Peaking Lights, Aaron Coyes has given a bass rich enhancement of four original Sinkane songs from last year’s celebrated album Mean Love.
 
Including stand-out tracks and BBC 6Music favorites "Hold Tight" and "How We Be," there is also special attention given to one of the band's signature live jams "Galley Boys," a song that succinctly explores the spiritual overlap of reggae and country western music with floating pedal steel atop a heavy reggae beat.
 
Combined with Peaking Lights' dub aesthetic, there is perhaps no finer example of the stylistic multiverse for which Sinkane is known, than this version of "Yacha." It is the first taster from this 34 minute EP.
 
The two bands met whilst on tour with The Atomic Bomb Band (the William Onyeabor tribute project for which Gallab acts as music director), and quickly developed a mutual admiration for each others work.
 
Dub is the epitome of music to me”, says Sinkane’s Ahmed Gallab. “It's the concept of re-defining, re-appropriating, and re-interpreting an idea. Putting a different spin on something that already exists. It's collaboration and renovation. I've always wanted someone to make dubs of Sinkane songs and these Peaking Lights joints have come out really beautifully and have shed an amazing new light and energy on our music. We can’t thank Aaron enough for these jams and the amount of work he has put into them."
 
Aaron of Peaking Lights commented: “Sinkane are such a pleasure to tour with! When I first heard Mean Love I was blown away by it's soulful psychedelia - not just a wash of reverb and delay psychedelic, but literally a new mind expanding approach to songwriting… Then I got into the stems to do the dub, and the fire within was lit!
 
Ahmed’s voice is amazing! Jaytram’s drums and Ish’s bass are fully locked in, and Johnny is a straight up shredder on guitar. I'm really, really happy with how these turned out, I hope you dig’em too. I hope I kept enough of the original essence that was already so beautifully laid out and freaked out enough for your trip.
 
Enjoy, brothers and sisters!"
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Larry Gus - I Need New Eyes (Ltd. Ed. Blue Vinyl)
Larry Gus - I Need New Eyes (Ltd. Ed. Blue Vinyl)

Larry Gus - I Need New Eyes (Ltd. Ed. Blue Vinyl)

$17.99

THIS WILL SHIP IN EARLY OCTOBER. All copies are on first-pressing-only blue vinyl. 

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.

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LCD Soundsystem - Yr City's A Sucker (Limited Edition White Label)
LCD Soundsystem - Yr City's A Sucker (Limited Edition White Label)

LCD Soundsystem - Yr City's A Sucker (Limited Edition White Label)

$12.99

SHIPS EARLY OCTOBER

This is DFA co-founder Jon Galkin's favorite LCD Soundsystem song, just FYI. It's also the last track on the bonus disc of their 2005 self-titled LP.  Now cut at 45! Hand-stamped white label. 

This will ship in early October, and is a numbered edition of 500. 

Tracklisting:

  1. Yr City's A Sucker
  2. Yr City's A Sucker (Instrumental)
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LCD Soundsystem - Give It Up (Limited Edition White Label 7")
LCD Soundsystem - Give It Up (Limited Edition White Label 7")

LCD Soundsystem - Give It Up (Limited Edition White Label 7")

$8.99

We found the parts to this long-out-of-print LCD Soundsystem 7"! You may know these two guitar jams from the bonus disc of their 2005 Self-Titled LP. Super heavy 7" hand-stamped white label single that also includes a copy of the picture sleeve! 

This will ship in early October, and is a numbered edition of 500. 

Tracklisting:

  1. Give It Up
  2. Tired
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Holy Ghost - It Gets Dark
Holy Ghost - It Gets Dark

Holy Ghost - It Gets Dark

$9.99

Hand-stamped white label with bonus Holy Ghost! logo sticker and digital download card. Limited to 600 copies.

 

A1 It Gets Dark (Original
A2 It Gets Dark (Instrumental)
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Capracara - King of the Witches
Capracara - King of the Witches

Capracara - King of the Witches

$5.99

The man behind the name Capracara is Englishman Jonathan Burnip, who has released 2 acid drenched singles on UK label Soul Jazz and remixed for the likes of Matt Edward’s Rekids label and Kill The DJ. He also remixes as one half of Tiger Timing and has contributed to the esoteric disco label History Clock. His latest project is 'Churchill's Leopards' with Joel Martin of Quiet Village.

'King of the Witches' takes its cues from the psychotronic, primitive electronics of early house music and ancestral rhythms of heathen drum machines. Chock full of wonky leftfield quirkiness and primitive sounding gear, the song is geared for the headz and the headphones and is so uniquely catchy and bouncy, it sounds more Jean Jacques Perry than Jacque Lu Cont.
The remix comes courtesy of NYC legends Rub ‘N’ Tug (Thomas Bullock and Eric Duncan), who create what will inevitably be one of the remixes of 2009, and no it is not too early to make that statement. They flip what might sound quaint into something sinister and ever-growing, a dark loopy anthemic interpretation that does nothing but help cement their status as the most creative and exciting remixers and musicians working today.

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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. 

----

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)

$4.99 $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

$5.99

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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