Steal Yr DFA Shirt Preorder
Fresh new Steal Yr DFA tees in fresh new colors – our first run of this shirt in three years, printed on Gildan SoftStyle ringspun cotton tees. Limited quantities, so order now. All pre-orders ship with new bolt logo stickers and our fall 2017 sampler CD. Once they're gone, they're gone!
**All shirts ship out at the end of November.
LCD Soundsystem - American Dream (2xLP Edition)
•140 gram double LP
•full color gatefold jacket / inner sleeves
•digital download code included
1. Oh Baby
2. Other Voices
3. I Used To
1. Change Yr. Mind
2. How Do You Sleep?
2. Call The Police
3. American Dream
1. Emotional Haircut
2. Black Screen
LCD Soundsystem - American Dream (Cassette Edition)
•full color 5 panel inner card
•clear cassette shell
•custom silk screened cassette shells & cases
1. Oh Baby
2. Other Voices
3. I Used To
4. Change Yr. Mind
5. How Do You Sleep?
2. Call The Police
3. American Dream
4. Emotional Haircut
5. Black Screen
Perel - Die Dimension
The debut single from Perel on DFA, featuring remixes from Jayda G and Massimiliano Pagliara. Limited to 300 copies.
a1. die dimension
a2. pastarella al limoncello (12" version)
b1. pastarella al limoncello (massimiliano pagliara remix)
b2. die dimension (jayda g remix)
Dawn People - The Star Is Your Future
Both veterans of the underground experimental scene, the duo entered into the project preparing to make a serious racket. In time, their mutual appreciation for breezy 70’s jazz fusion, kraut rock, and library funk became apparent, setting the course for the sessions. In the summer of 2016, they started tracking live jams with drums and electronics at the Outlier Inn studio in upstate New York with engineer Josh Druckman. As the tracks took shape, Forte and Druckman arranged the material and Negroponte overdubbed guitar, synthesizer, bass, and percussion. Finally, the tracks were handed to Abe Seiferth for mixing and post production.
Dawn People’s dense, funky, and psychedelic music is the result of the wide range of musical influences of the collaborators. Nick Forte’s resume spans influential hardcore punk band Rorschach, post-punk outfit Beautiful Skin, and recent underground sensation Raspberry Bulbs. With Dawn People, Forte digs deep into his own childhood nostalgia: making mixtapes from the early NYC hip hop show “Rap Attack”, watching Christian Marclay experiment with vinyl on the TV show “Night Flight”, and his first musical instrument, the Casio SK1 sampler keyboard.
Peter Negroponte is a virtuosic drummer and guitarist whose influences are rooted in rock & roll, jazz, funk, fusion, and free improvisation. In reaction to his brief stint at the New England Conservatory, Negroponte sought to transcend what he felt to be an esoteric approach to making “experimental” music by forming the psychedelic-art-rock-noise-funk band Guerilla Toss. He has worked with an array of contemporary DIY labels such as Feeding Tube, NNA Tapes, Digitalis, and John Zorn’s Tzadik.
The sound of this LP harkens back to a time not too long ago, in the early - mid 90’s, with groups like Air, Cornelius, Stereolab, Tortoise, and Cibo Matto. All these artists combined a love of Krautrock & David Axelrod records into a lushly produced jigsaw puzzle of live instrumentation, editing, sampling, and immaculate production. It is a genre that Pitchfork’s Eric Harvey recently described as “recombinant pop”, which is applied to “adventurous, sample-driven and style-copping music”.
The Star Is Your Future shifts aesthetically and dramatically between sections and phrases, woozy in the best way and never unfocused. Together, Forte and Negroponte have cobbled together a dazzling scope of sonic elements to create something cohesive and mesmerizing – put on the record and get lost in the haze.
1. Be Cool Tonight
2. Get Life
3. Inner Refuge
4. Never Be Afraid
6. Wishing Ring
7. Dawn People
8. Chew On Air
9. The Star Is Your Future
The Juan Maclean - The Brighter The Light (Pre-Order)
Pre-Order! Ships Beginning of December, 2017
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)
“The Brighter The Light” emerged while Juan waits (somewhat) patiently in Brooklyn for Nancy Whang to return from touring with her ‘side gig,' LCD Soundsystem. Taking the tiniest splice of a demo vocal and sprinkling it throughout, Juan spun off the work being done for the next LP and created a new piece altogether, offering the smallest glimpse of what is to come, but ending up with something with a completely different purpose: his DJ set.
The remixes are a truly euphoric bunch of tracks, coming from Australia’s Len Liese (yes his remix is Balearic AF), DJ Tennis, (fresh from his fantastic DJ Kicks released in July) and Octo Octa, who contributes her second remix for The Juan Maclean (look up her remix of 'Here I Am' from 2014, it’s brilliant).
There are already two more singles being planned (with a similar club-driven purpose) to tide over fans and DJ sets while Juan and Nancy finish work on their fourth LP, to be released in 2018.
Jay Glass Dubs vs Guerilla Toss (Cassette)
1) Skull Dub
3) TV Do Dub
4) Can I Get The Real Dub?
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, which was released this past June. 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.
released October 9, 2017
Artwork by Patrick Saville
Mastered by Joe Lambert @ JLM
Original source tracks by Guerilla Toss, from their album GT Ultra.
Remixed and produced by Jay Glass Dubs
CCFX - CCFX EP
CCFX is a new supergroup out of Olympia, Washington resulting from a merger between two seminal Olympia pop music outfits; CC Dust and Trans FX. On their debut self-titled EP, artists Chris McDonnell, Mirče Popovic, Mary Jane Dunphe and David Jaques offer a record that is at once a showcase and aberration of what is currently coming out of the Pacific Northwest.Recorded and (re)mixed with local OG Captain Tripps, the EP's sound partially recalls late 90’s/early 00’s indie pop as chiming, melodic guitar parts counter and complement Mary Jane’s brilliant voice. In the same vein of the past few decades' most beloved and coveted hitmakers (both in the clubs as well as on the radio), the music feeds on a sense of nostalgia not necessarily specific to any one time or place – sun-kissed riffs seem to go on forever, supported by a steady breakbeat.
The timbre of the music is warm and just slightly fuzzed out, and the expressive quality of Mary Jane's voice is pushed to the front. The b-side's "Ode," a late CC Dust piece, and "2Tru," written by Popovic, were put together around the time of Trans FX's The Clearing, whereas "The One to Wait" and "Venetian Screens" found Dunphe, Jaques and McDonnell picking up where they left off a year later, swept up in the productive frenzy leading to TFX's latest effort, Gaslit.
CCFX, over the course of this palpable evolution, have struck that rare yet essential balance between heartfelt sincerity and calculated disillusionment, bearing the mark of a project which is as fearless as it is humble, out there living as big as it wants to be. These four tracks grant listeners access to suppressed and superseded feelings from youth, paired with a backwards glint of whatever strange luxury this epoch's future might still hold. FFO St Etienne, Q Lazarus, Yeah Yeah Yeahs, dancing, celebrations, success stories, TFX, CCの, etc.
NHK yx Koyxen - Exit Entrance
Exit Entrance is the DFA debut for Kohei Matsunaga aka NHK yx Koyxen.
Kohei has been making / releasing music since 1997 and has recorded for such iconic labels as Mille Plateaux, Important, Pan & Diagonal. His latest recordings explore intricate drum programming, lush melodies & sparkling arrangements. Touchstones include the legendary Clicks & Cuts compilations from the 1990’s as well as Aphex Twin & Autechre. RA called his music “bombastic techno funk….unpredictable but rarely disappointing.”
Exit Entrance is a collection of new songs that snap and flicker unlike anything Kohei has done in the past. There is a clarity and beauty to these tracks that bursts out of the speakers in a three dimensional way, matching the 3D glasses that the artist wears during all his live performances. The elegant arrangements and crisp drum breaks match the concise song titles – Kohei foregoes the typical impenetrable track names made up of numbers and shorthand, and opts for a more direct emotional sincerity through the sonic themes of the record.
Not all the music here falls into the same exact formula. As the album heads towards a close, after several tracks of harmonious beauty, we get “Outset (for Mika Vainio),” a somber hushed techno tune, dedicated to his late friend and musical collaborator, who unexpectedly passed away earlier this year as the record was being completed. What follows after this track is perhaps the real catharsis, as “Dented” ominously kicks off with acidic stabs and rolls into a tumultuous dirge of gritty techno.
In this regard, Exit Entrance can play out like a life cycle, a mini opera of birth and beauty, of sorrow and mourning. It is one of the most direct and honest records Kohei has ever made, and DFA is beyond proud to present this work from such an esteemed creative force in the electronic avant-garde world of music.
7) Outset (for Mika Vainio)
COMPACT DISC AVAILABLE ON DFA BANDCAMP
Eric Copeland - Goofballs
Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: ‘Goofstep’. We’ll see if that one sticks…
Eric explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:
“i made it here in Palma at my studio, this is the first full record i’ve made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.”
Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.
Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric’s third solo album for DFA Records.
3) Disco Ball
4) Bibbidi Bobbidi Boo
5) Mixer Shredder
6) Close Encounters
8) Do Whatcha Wah Wah
COMPACT DISC AVAILABLE ON DFA BANDCAMP
Guerilla Toss - GT ULTRA
GT Ultra is the second full length album by Guerilla Toss on DFA Records. The album demonstrates a remarkable shift in sound, musicianship and songwriting, without ever giving up the unhinged quality that made their earlier recordings so exciting.
The album title GT Ultra is a clever nod to ‘Project MK Ultra’, the government sponsored experiments using new experimental drugs to explore mind control, torture and forced confessions, often with LSD as their drug of choice. These tests lasted from the mid 1950’s-1960’s, but with a new administration in the white house, government sponsored torture is fresh again on many minds.
The songs on the album ricochet back and forth between hyper bouncy pop and deeper darker longer, more nuanced tracks. Peter Negroponte’s drumming, always a major highlight for the band, are in full force once again, this time bringing a Nassau/Compass Point feel to many tracks, like the classic recordings of Grace Jones and Talking Heads.
Kassie’s vocals and lyrics are both more personal and more cryptic than ever. But you can hear every word this time, and there is a lyric sheet. As preferred, the meaning is within the listener. It is a dream state record for sure, meant to take you along on a similar vibe that the band has been tripping on these past few years, filled with an insistence to “hydrate, gyrate, think straight, no weight”, all the while under the influence of golden beams of orange sunshine, glimmering glitter and kaleidoscopic bursts.
It is no mistake the album is wrapped in vintage blotter acid, created by legendary LSD archivist and artist Mark McCloud and The Institute of Illegal Images, based out of San Francisco.
1. Betty Dreams Of Green Men
2. Can I Get The Real Stuff
3. Crystal Run
4. TV Do Tell
5. The String Game
6. Skull Pop
7. Dog In The Mirror
8. Dose Rate
Delia Gonzalez - Horse Follows Darkness LP
The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.
Delia explains that what she observed “was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.”
The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn’t changed - the cast, times and settings have, but we still hold onto the same ideal.
Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman’s McCabe & Mrs Miller.
The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to “going to the finest tailor”. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator” regarding the sound of the record.
The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to ‘Salon De Musique’, the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.
Delia Gonzalez is a Cuban-American musician and artist, based in both New York City & Berlin. Her disciplines include everything from composer to filmmaker, dancer / choreographer, sculptor, painter & performance artist. Her musical career with DFA Records began in 2004 when the label released the 12” single “Relevee”, followed by the album of cosmic acid-house “The Days of Mars”, with Delia and then musical partner Gavin Russom.
In 2015, DFA released Delia’s first solo album entitled “In Remembrance”, which was a full piano score for a 30 minute filmed ballet, a perfect example of the type of work Delia creates as a multi-disciplinary artist.
1. In Through The Light
2. Hidden Song
4. Horse Follows Darkness
Guerilla Toss & Friends Cassette 3-Pack
3 Cassettes for one bundled price, all featuring music by Guerilla Toss, including remixed, and boldly re-worked tracks, as well as solo recordings from drummer Peter Negroponte.
This limited 3 pack ships with new DFA stickers, a DFA sampler, Guerilla Toss buttons, and is limited to 20 bundles.
1) Jay Glass Dubs vs Guerilla Toss - Collaborative release between London's Bokeh Versions and DFA.
"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, which was released this past June. 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."
2) Do Pas O - "Join The Fucking Drum Circle"
Peter Negroponte's debut solo release on Chicago's Hausu Mountain label. Echoes of psychedelic home recordings are met with meticulous and forward thinking drumming.
3) Giant Claw vs Guerilla Toss - Collaborative release between Ohio's Orange Milk Records and DFA.
"What we have here is an EP entitled Giant Claw VS Guerilla Toss, and is in the spirit of dub records though one where the 2 parties might meet @ Palisades rather than Uptown. Giant Claw takes five prime Guerilla Toss tracks and zaps them with his wild blend of elastic 808 rhythms, merging the crazy R&B vocal sample style he is known for with Kassie’s sing/shout rapid-fire poetic delivery."
Nils Bech - Echo LP
Echo is on black vinyl with a full color art inner sleeve.
“Echo”, the first album for DFA from acclaimed Norwegian avant garde pop vocalist Nils Bech. It is set for release on October 14th.
A busy stage actor and singer already well known in his native Norway for three albums released on Oslo’s Fysisk Format, “Echo” marks a pivotal turning point for Bech, and something of a radical sonic departure too. The keys to the seachange lie with Bech’s new collaborator, the young underground DJ, producer and beat maker Drippin’, known for his work with American rap artists such as LE1F and Cakes Da Killa. As a result, where his previous work was strange, ethereal and otherworldly – completely and utterly unique - “Echo” throbs with a renewed sense of vigour and urgency, without losing any of the idiosyncratic beauty which marked Bech’s work out before.
The sound created here is strange and immediate. Stuttering sharp bass kicks combine with clanging 5-alarm snare drums made of glass, orchestra stabs and melancholy piano lines jump in and out of the arrangements. These new elements and ideas are married to the already singular voice of Nils Bech, with “Echo” becoming something new, exciting and 100% Norwegian - homegrown and ready for the world. Just listen to new track “Waiting” for evidence of his truly inimitable vision, as martial drums anchor Bech’s floating, weightless vocals, to create something swoonsome, beguiling and defiantly its own creature.
The music comes to full fruition when performed live, as proven at two packed performances at the 2016 By Larm Festival where Nils was joined onstage by both Drippin’ & Øyvind Mathisen, who also produced, arranged and played on the album alongside Bech. Make sure not to miss the completely original and striking sound of Nils Bech.
- Too Little Too Late
- Glimpse Of Hope
- Please Stay
- Drip, Drip
- Let Go
- A Sudden Sickness
DFA Records Compilation #1 2xLP
This magical mythical first group of releases from DFA included “House of Jealous Lovers” by The Rapture, “Losing My Edge” & “Give It Up” by LCD Soundsystem. It also included two very different approaches to dance music from The Juan Maclean – “By The Time I Get To Venus” and “You Can’t Have It Both Ways”, which subtly introduced the world to the vocal powers of Nancy Whang.
Black Dice also released a 12” single, throwing their noise roots behind a 4/4 screech and created one of the most unique singles in the DFA catalog with “Cone Toaster”.
The compilation was edited to fit onto one CD, more a sampler than a completist’s anthology. In hindsight, it should have been an anthology of the first 5 singles in full but the A sides had enough momentum happening to make the sampler a bonafide success for the label.
The 8.0 review from Pitchfork in 2003 helped cement the DFA label as both the leaders of a new production approach, as well as a collection of artists who could co-exist make music together and please both the discerning DJ and the indie rock enthusiasts.
In the review, the writer Nick Sylvester calls DFA “The Neptunes of the discopunk underground”, which maybe seems funny and far-fetched now, but back in 2003 was a compliment and comparison that DFA were very willing to accept. It is now 2016 and both parties continue to work and stay busy and relevant. Success being relative, this compilation represents the humble beginnings of the label and the birth / re-birth of DFA flagship artists The Rapture, The Juan Maclean, LCD Soundsystem & Black Dice.
This is the first time this title has ever been pressed to vinyl.
Crooked Man - Crooked Man 2xLP
See that man on a far off hill, working his dog while attempting to find shelter from the howling wind and driving rain? That’s the Crooked Man, the very antithesis of the modern dance music producer. He lives a simple life, dragging his world‐weary soul across the moors in an endless bid to escape the fallout from 30 years spent at the forefront of Sheffield’s electronic music scene. Once regarded as one of the Steel City’s greatest selectors, he now admits to being gripped by fear at the idea of DJing, and refuses to spend any time in nightclubs.
He may be ill at ease with the darkroom throb of 21st century clubs, but the house music the Crooked Man produces is as weighty, alien, raw and left of‐centre as anything you’d get from many a hyped young producer. He’s assisted in his studio endeavours by two other Sheffield survivors: former Clock DVA man Michael Ward, and David Lewin, once the other half of Bleep & Booster with former ABC and Vice Versa man Stephen Singleton.
The Crooked Man’s music blends wonky electronic rhythms, heavy bass and razor sharp, politically aware lyrics, often delivered by the honeyed tonsils of Pete Simpson. For proof, check out the banker‐baiting “Scum (Always Rises The Top)”, or the bittersweet social commentary of “Fools & Fanatics”. The Crooked Man may be world weary, but he’s still brimming with rage. Few could have foreseen a link between this jaded recluse and New York’s militantly forward‐looking DFA Records. But then again, the Crooked Man does have history.
Raised a farm boy, his life changed when he first heard the industrial funk and futurist electronic pop of local bands Cabaret Voltaire and the Human League. Bored of having no decent parties to go to, he became DJ Parrot and began promoting the soon to be legendary Jive Turkey events in 1985. Alongside his DJ partner Winston Hazel, he united Sheffield’s disparate dancers by joining the dots between Northern Soul, disco, hip‐hop, electro and the emerging underground dance sounds of Chicago, Detroit and New York.
In 1987, an early foray into music production accidentally created a hit record, the major label‐signed “Hustle (To The Music)” by Funky Worm. The commercial desires of a large, conservative label proved hugely frustrating, and he soon yearned to break free and head back underground. Salvation came from within Sheffield, with the launch of Warp Records. He teamed up with Cabaret Voltaire’s Richard H Kirk under the Sweet Exorcist alias, delivering the peerless “Testone” in 1990, one of the landmark records of the bleep era. The pair went on to release the first album on Warp, C.C.E.P., in 1991.
Many records under different aliases followed, for both independent and major labels, before Parrot once again found himself chart‐bound as part of eccentric Steel City trio All Seeing I. Their debut album, 1999’s Pickled Eggs & Sherbet, featured contributions from some of Sheffield’s finest, including Jarvis Cocker and The Human League’s Phil Oakey.
Since then, Parrot has kept a low profile. When not working his sheepdogs, he’s quietly produced for Roisin Murphy, Add N To (X), Richard Hawley and Toddla T, amongst others. His decision, some years back, to revisit his love of raw, bass‐heavy house music merely marks another twist in the winding path of the Crooked Man.
- Coming Up For Air
- This Machine (Kills Me)
- The Girl With Better Clothes
- Scum (Always Rises To The Top)
- Fools And Fanatics
- Try Me
- I'll Be Loving You