2015 Releases

Dan Bodan - SOFTY SOFT Vol. 1
Dan Bodan - SOFTY SOFT Vol. 1

Dan Bodan - SOFTY SOFT Vol. 1

$1.99

Softy Soft Vol. 1 is the first selection of reworks of material from Dan Bodan’s acclaimed album SoftSofty Soft is Dan Bodan commissioning friends, peers, and underground legends to bring Soft from the bedroom to the club. Montreal’s CFCF kicks off by adding layers of dance-pop piano and rolling basslines to Romeo, transforming it into a catwalk strut. It’s backed up with the “Capulet’s Shallow Shame Re-think” by Los Angeles producer Draveng (who recently released a great EP on Soft co-producer Physical Therapy’s Allergy Season label), which oscillates and swirls in the lower registers, with only glimpses of Dan’s vocals peeking through the murk. Stay tuned for future installments, which will feature remixes by E+E, Howie B, and Low Concept, among many others.

 

Tracklisting:

  1. Romeo (CFCF Bonus Groove Remix)
  2. Romeo (Draveng Capulet's Shallow Shame Re-think)
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Dan Bodan - SOFTY SOFT Vol. 2
Dan Bodan - SOFTY SOFT Vol. 2

Dan Bodan - SOFTY SOFT Vol. 2

$4.99

With the new year, we return to Soft by Dan Bodan. SOFTY SOFT Vol. 2 consists of a selection of remixes curated by Dan, featuring soon to be infamous names from the global music underground. Vol. 2 features remixes from Berlin’s Lotic and KABLAM, UNO noisemaker Gobby, club collagist E+E and soon to be well known Draveng from L.A.

 

Tracklisting:

  1. Jaws of Life (Lotic Remix)
  2. Reload (KABLAM Reload Upload Remix)
  3. Anonymous (Gobby Remix)
  4. Romeo (Draveng Rosa Undercover Edition)
  5. A Soft Opening (E+E Remix)
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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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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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Guerilla Toss - Flood Dosed (Cassette)
Guerilla Toss - Flood Dosed (Cassette)
Guerilla Toss - Flood Dosed (Cassette)
Guerilla Toss - Flood Dosed (Cassette)

Guerilla Toss - Flood Dosed (Cassette)

$8.00

Limited edition of 300 cassettes. Ships early October. 

New Age Rage. This is the sound of acclaimed underground band Guerilla Toss. 

Ecstatic, vital, and brilliantly unhinged, Guerilla Toss promotes positive energy and twisted spirituality through the less-traveled path of brutal, intelligent, live rock and roll dance music. Like a hurricane of healing bliss, a Guerilla Toss concert is more of a ritual than a performance. The group is lead by vocalist/poet Kassie Carlson her vivid, imagistic lyrics covering a full spectrum of frequencies, subject matter, and emotional depth. Co-founder, ringleader and most importantly, drummer Peter Negroponte, contributes a sense of rhythm and syncopation equal parts academic and raw, providing a solid foundation for the world-class weirdos making up the rest of the group.  
Guitarist Arian Shaifee combines elements of noise, skronk, metal shred, and R&B, often all in the same song. Newly added bassist Phillip Racz brings his keen sense of punk jazz to the table, taking the groove factor to a whole new level. And then there’s Sam “Coach” Lisabeth – the latest heir to the GT synthesizer chair – laying down lush pads and sub synth bass bombs that penetrate NYC’s core from Brooklyn’s grimiest DIY venues to the midtown Trump towers. This unit, playing together, can create vibrations powerful enough to knock the toupee off of that fascist capitalist’s big head. It is the unique pairing of musical voices and backgrounds that makes Guerilla Toss such a special party band. But they are more than that – GT gets real when you pay close attention. Their music is inspired by both tragedy and beauty, drug addiction/mental illness and the re-birth of the soul through spiritual practice and psychedelic drug healing - helping the listener overcome these mind-fuck hardships. 

            

Guerilla Toss have lived by (admitted fan/supporter) Henry Rollins “Get in the Van”-style promotion; touring extensively around the USA, Canada, and Europe since their inception in 2011. They played pigsties, punk houses, liberal arts colleges, and the occasional opening slot for iconic bands such as Mission of Burma, Merzbow, & Black Dice.  Recently, the band affixed a Grateful Dead “steal yr face” decal to the bumper of their well-traveled minivan - a signifier of their commitment to unique setlists and unpredictable surprises at each and every performance. Guerilla Toss have also been prolific recording and releasing multiple releases on vinyl, tape, and CD on respected underground labels labels such as Feeding Tube, John Zorn’s TZADIK, NNA Tapes, Infinity Cat and others.  
After a month long winter jaunt to Europe to cap off 2014, GT went into hibernation for five months, the longest they had gone without touring or playing shows. They emerged with a new batch of incredible material, coupled with the exciting news that they had signed to New York’s DFA Records - the next logical step in the band’s mission to becoming the worlds largest rage-psych phenomenon. 
This brings us to today – GT is more active than ever, with an impressive list of upcoming tour dates, and their first release with DFA. Up first is a cassette/digital EP entitled “Flood Dosed” out in October 2016, followed by a full-length LP entitled to be released in early 2016. Each song could have been written on a different planet but all within the same galaxy. The old warm blanket of GT chaos is still present but now with added layers of harmony and melody that were only hinted at on previous releases.
It’s a good time to be Guerilla Toss fan. You can follow your parents on their next trip to Peru for their annual Ayahuasca ceremony, or you could catch the band’s next live show. The choice is yours.

 

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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

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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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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Ninos Du Brasil - Aromobates NDB
Ninos Du Brasil - Aromobates NDB

Ninos Du Brasil - Aromobates NDB

$8.99

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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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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    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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    Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes
    Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes

    Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes

    $10.99

    Prinzhorn Dance School’s spartan sonics have often lead to some hand-wringing when trying to play out their records ‘in the club’. In the first 7 years of their existance, there was a sole club-friendly remix in their entire catalog. It is for these reasons that we’re really stoked to announce that we now have a second.

    DFA veteran Shit Robot takes the track “Reign” from their imminently released third album “Home Economics” and turns it into a deep, dark floor-filler. The band’s pleading vocals dive in and out of a throbbing bassline, with new robotic percussion seamlessly blending with the band’s original bangs and clangs.

    The flip features that previously alluded to Optimo (Espaco) mix of You Are The Space Invader - previously only available commercially in digital form, this is the
    first (slightly) wider vinyl release of this classic remix. An edition of 500 hand-stamped and numbered white label copies, not to be pressed again for another 7 years or so. Probably.

    Tracklist:

    1. Reign (Shit Robot Remix)
    2. You Are The Space Invader (An Optimo (Espacio) Remix)

     

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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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    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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    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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    Slim Twig - Thank You For Stickin' With Twig
    Slim Twig - Thank You For Stickin' With Twig

    Slim Twig - Thank You For Stickin' With Twig

    $15.99

    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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