Vinyl Albums

Full-lengths. That means records that last longer than a single. Well, most of these are longer than the singles. We have some really long singles. 

Dan Bodan - Soft

Dan Bodan - Soft

from $9.99

Dan Bodan - Soft

Dan Bodan - Soft

$9.99

The cassette is an edition of 300, and is a special split release with Vancouver's 1080p. 

Includes a digital download.

Comes in a custom matte sleeve with spot gloss embellishments. Album illustrations courtesy of contemporary artist Julien Ceccaldi. This is one of the nicest records we have ever pressed. I promise. 

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“I write about the things I know, but it should be interesting for other people. So I want it to be like a really great roman-a-clef, or reading your older sisters diary.” - Dan Bodan

“Soft”, the new album from Dan Bodan, is a rose-scented journey through millennial love issues, Soundcloud collage, and post-empire paranoia. Co-produced with Physical Therapy and Ville Haimala (Renaissance Man) and featuring M.E.S.H., 18+, Great Skin, Latisha Faulkner, Dena Yago, and Stadium.

Berlin based songwriter Dan Bodan was born in the wide open Canadian prairies and raised in Montreal. Reared on the city’s underground noise and experimental music scene, Bodan moved to Berlin 8 years ago. Blossoming in the city’s unique mixture of crumbling old-world european values, start-up philanthropy, sleepless techno and epic grey skies, he began writing songs to soundtrack his train rides through the city and make sense of it all.

Working together with a team of world-class producers, poets and artists, he writes songs to fit comfortably in that space between the finger and the mousepad, the bedroom and the club, the earth and the ether.

“He blows in like a sweet guardian angel over the beat, making a track so light it feels almost like daylight peeking into a dark nightclub.”
- The Fader

“The real star is his voice, which quivers as it rises and falls through each line, powerful but slightly fragile”
- Resident Advisor

 Track List: 

  1. A Soft Opening
  2. Anonymous
  3. Romeo
  4. Soft As Rain
  5. For Heaven's Sake (Let's Fall In Love) <3
  6. Reload
  7. Jaws of Life
  8. Rusty
  9. Catching Fire
  10. Good Time Summer

 

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Slim Twig - A Hound At The Hem
Slim Twig - A Hound At The Hem

Slim Twig - A Hound At The Hem

$15.99

We have 100 copies on pink vinyl out of a total pressing of 600. Comes in a deluxe gatefold sleeve with lyrics. Totally beautiful. We'll have photos soon. 

Purchasing now gives you an instant digital download of "Maintain The Charade".

Slim Twig is the name of a man, not of a band - though he has performed in many a group, some under his
own moniker. Boasting a catalogue several underthe- radar releases deep, the Toronto native lays claim to a
tremendously original work with his orchestrallyinflected, art rock album, A Hound At The Hem. Self-produced in the fall, 2010, Hound is a suite of narrative songs thematically inspired by Vladimir Nabokov’s Lolita. DFA is privileged to reissue this album in advance of the release of Twig’s newest works.

Upon completing AHATH in 2010, Twig struggled to find wide release for it due to its uncompromising textural onslaught and disregard for genre. This course of events set the stage for the composition and release of Sof’ Sike, a somewhat more conventional set of pop songs released on Paper Bag Records, in 2012. The title of that work refers to Twig’s own conception of Hound as the hard-psych flipside to his work of that period.

Recorded on Toronto Island in collaboration with fellow Torontonian, Louis Percival, the album features string arrangements by Owen Pallett, and other collaborators including Meg Remy (U.S. Girls), Carl Didur (Zacht Automaat), and the St. Kitts Quartet.

As a conceptalbum exploring the troubling and the taboo and themes like the transformative power of lust, AHATH can be interpreted as an echolike response to Serge Gainsbourg and JeanClaude Vannier’s Histoire De Melody Nelson. Most of all, AHATH poses the question; where next for Slim Twig, this promising and original auteur?

  1. Heavy Splendour
  2. Clerical Collar
  3. Widow Were You Younger
  4. Shroud By The Sheetful
  5. All This Wanting
  6. Hover On A Sliver
  7. Maintain The Charade
  8. Blonde Ascending (Come Into The Clatter)

 

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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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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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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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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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Syclops ‎– A Blink Of An Eye
Syclops ‎– A Blink Of An Eye

Syclops ‎– A Blink Of An Eye

$8.99

Syclops is trio Sven Kortehisto, Hanna Sarkari and Jukka Kantonen. First to appear on a Bubble Tease 12 in 2001, followed by two singles for Tirk and finally with the debut album 'I've Got My Eye On You' on DFA in 2008. 'A Blink Of An Eye' is the long awaited successor with 10 tracks of future funk. Ranging from the nastiness of 'Jump Bugs' to the fragile beauty 'Ray & Claire' it's classic Syclops all the way. Available double LP via Running Back and produced by Maurice Fulton. 

 Tracklist 

A1 Unmatched 6:23
A2 Jump Bugs 6:13
B1 Karo's B 6:07
B2 5 In 6:02
B3 Got To Get Up For Monday 5:58
C1 Sarah's E With Extra P 5:52
C2 Michele's H With C 6:18
D1 Raj & Claire 6:04
D2 Back When Lynn (The Classic) 5:59
D3 A Blink Of An Eye 6:19
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Boof ‎– The Hydrangeas Whisper
Boof ‎– The Hydrangeas Whisper

Boof ‎– The Hydrangeas Whisper

$14.99

*PLEASE NOTE all remaining copies are in great condition, but contain minor surface wear n tear from storage. 

Fulton's been pursuing BOOF on and off over the past 15 years, and the flower-themed project houses some of his prettiest work. His instrumental and production prowess has never been in question, but 
The Hydrangeas Whisper ups the bar, marrying dubby synths and free-flowing guitar improvisation, dipping and diving in and out of various genres. The Hydrangeas Whisper feels like a culmination of sorts, the best of a grip of albums Fulton's issued over the past decade. He's beat the house LP problem by making something that feels like a DJ set, with stylistic leaps and no breaks between tracks. In fact, his intricate sound seems natural for this format. In a climate where scores of anonymous producers are handing in equally indistinguishable tracks, Fulton's carving out his odd, incredibly personal path.

Tracklist 

SIDE A 
01. Intro To It's Sunny S Outside 
02. Birgit Boogie 
03. The Hydrangeas Whisper  
SIDE B 
04. Cat Soulcat Strut 
05. Backlash 
06. Pete Found His Z 
Side C
07. Emi's M 
08. Just On The Swings 
Side D
09. Tomoko's O 
10. Solar Eclipse On A Friday Morning 

 

 

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Carter Tutti Void - f (x) [White Vinyl]
Carter Tutti Void - f (x) [White Vinyl]

Carter Tutti Void - f (x) [White Vinyl]

$22.99

LIMITED EDITION WHITE VINYL

Containing all new studio recordings Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut  album ‘Transverse'. 

Featuring their distinctive metallic guitar sound, distorted vocals, resounding bass lines and electro industrial rhythms this music is not for the fainthearted. 

The vinyl album has five tracks and comes with a free digital download code. 

f (x)  will be released worldwide by the legendary Industrial Records label (home of Throbbing Gristle since 1976).

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Eric Copeland ‎– Limbo
Eric Copeland ‎– Limbo

Eric Copeland ‎– Limbo

$13.99


Limbo extends his ouvre of layered, pitched, and all-out fucked sounds toward an easier place, a more familiar musical terrain. More fleshed out than his earlier work, Limbo’s six parts give it a capacious feel of action. Well organized and having an undeniable rhythm, the album is an excellent progression from the concepts explored within throughout his body of work.


LP comes with giant poster!!!!!


1. Double Reverse Psychology
2. Louie, Louie, Louie
3. Muckaluk
4. Fiesta Muerta
5. Tarzan and the Dizzy Devils
6. Lemons
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Guerilla Toss - Gay Disco
Guerilla Toss - Gay Disco

Guerilla Toss - Gay Disco

$14.99

The LP that made us fall in love with this band! Recently repressed by Vermont's amazing NNA Tapes, pick it up before it's gone again!

"Brand new full-length from Brooklyn's Guerrilla Toss. Unbridled and demented noise rock with heavy doses of technical hammering , extreme musicality, and heaps of perverse funk. Complex composition mixed with raw punk energy make Gtoss one of the most refreshing young bands out there. Ride the guerilla!"

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Essaie pas - Demain est une autre nuit
Essaie pas - Demain est une autre nuit

Essaie pas - Demain est une autre nuit

$14.99

FIRST PRESSING ON LIMITED EDITION 'ORANGE SUNRISE' SPLATTER VINYL

Montreal-based electronic duo Essaie pas is comprised of Marie Davidson and Pierre Guerineau. Both are respected musicians in their own right - Marie having released two acclaimed solo records, with Pierre being best known for production work on underground Canadian musicians such as Dirty Beaches and Femminielli. Essaie pas was born on a hot summer night in 2010, releasing some ultra-limited singles which culminated in their debut LP, Nuit de noce (Teenage Menopause Records) in 2013. The mix of drawling guitars, français mumbles, and minimal electronics caught the ear of DFA Records, who booked the pair to open for Factory Floor on their first North American tour.

 The origin story of -Demain est une autre nuit- begins when the band returned from their first European tour to find that they had lost both their studio space and apartment. La Brique, their studio, practice space and renowned underground music institution, had fallen victim to the city’s rapid gentrification and closed permanently. Conflicts with their wacky landlord had also left them without an apartment, leading them to return to Montreal’s winter without many prospects. They lucked into a temporary practice space during the off-hours at the offices of Le Filles Electriques, an independent interdisciplinary festival producer. This space soon became Pierre’s new studio, and Marie’s new home. The many corridors of the empty industrial building also provided a way for Marie to work out in the frigid Montreal winter nights, running “everywhere possible, listening to techno, acid, and italo disco, being mutually inspired by the space and the sounds.” About eight months later, Demain est une autre nuit (“tomorrow is another night”) was born. “This environment influenced our music,” says Pierre, “The sounds are more clear and open, the production has more depth, on a full frequency range.” Their living conditions on tour were another major influence, “Staying at different people’s places around the world for a whole year accentuates the feeling of being a stranger wherever you go, even in your own town, but also creates a feeling of being part of an international community, opposed to a scene that exists only in one city.” 

Essaie pas’ music can not be tied to a specific genre It is a document of the encounter of two human beings mutually experimenting with music and sounds, and eventually falling in love while doing so. They are constantly pushing the boundaries of their comfort zone with new methods and technique, aiming to communicate that which is unspeakable.Their musical language is vibrant and varied - comparisons range from Film Soundtracks, Electronic Body Music, Disco, and Techno, with sensually-delivered lyrics exploring the themes of fantasies, obsessions, and the feeling of “The Void”. Marie explains, “The title comes from a joke we made when going to bed one morning, talking about our plans for the next evening.” Pierre adds, “Night is a place of freedom, a place where fantasies and obsessions are not tied by moral constraints. It’s also a time where the feeling of loneliness is stronger and when emotions and memories arise, whether you are facing it or running away from it. I think the tension and sense of urgency on the record comes from that dichotomy.”

Facing The Music is an excellent demonstration of this dichotomy - its throbbing electronic percussion and sawmill synths racing towards a seemingly-inevitable climax, only to disintegrate in an instant. Similar in tone, Retox begins with an air-raid siren that explodes into electronic pulses and spiralling handclaps, with Pierre’s solemnly spoken vocals countering Marie’s sensual cadence. Lead single Le port du masque is a frenetic ode to obsession, about a man being obsessed with the ghost of an impossible relationship. Pierre explains - “I already had some of the lyrics and the idea of a woman’s mantra but months later, while I was jamming a motorik beat with a TR-505 through a delay pedal, I found the perfect foundation for it.” The band’s first composition, Carcajou appears here for the third time in an entirely different incarnation - Marie’s vocals alternately yearn and taunt, diving into and out of layers of drum machines and analog synthesizers. Closing track La Chute is the band at their most Angelo Badalamenti, with mournful organ and wheezing gasps giving way to what sounds like gentle applause, but in actuality is the last frames being fed through a film projector.

 Demain est une autre nuit by Essaie pas is released on limited edition orange sunrise coloured LP, CD, and digitally on February 19, 2016.

  1. Demain est une autre nuit
  2. Depassee
  3. Retox
  4. Carcajou 3
  5. Le port du masque est de rigeur
  6. Facing The Music
  7. Lights Out
  8. La chute

 

 

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DFA Records Compilation Volume 2
DFA Records Compilation Volume 2

DFA Records Compilation Volume 2

$15.00

 Instant party soundtrack! Includes two discs of unmixed tracks, and a bonus third disc mixed by Tim Sweeney and Tim Goldsworthy. Features tracks by LCD Soundsystem, The Rapture, Black Dice, The Juan Maclean, Liquid Liquid and more. An essential dive in to the original era of DFA. 

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Planningtorock - W

Planningtorock - W

from $9.99

Planningtorock - W

Planningtorock - W

$9.99

W, Planningtorock’s critically acclaimed 2011 debut on DFA, reveals a visionary and politicised producer. It offers up deeply queered art-pop – tense, atmospheric dance music cut with classical flourishes, and spell-binding androgyny. 

"W
 is a surprisingly warm, immersive journey through territory so alien it feels like some fantastic, surreal dream."


Double heavyweight black vinyl, featuring "Living It Out",  "Doorway", and "The Breaks".

Tracklist:
1) Doorway
2) The One
3) Manifesto
4) Going Wrong
5) I Am Your Man
6) The Breaks
7) Living It Out
8) Milky Blau
9) Jam
10) Black Thumber
11) Janine
12) 9

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Delia & Gavin - The Days of Mars
Delia & Gavin - The Days of Mars

Delia & Gavin - The Days of Mars

$4.99

The Days of Mars contains four tracks that range in length between 11 and 14 minutes. Made mostly with analog keyboards.

 

Tracklisting:

  1. Seabird
  2. Things Will Never Be the Same
  3. The Dream Is Going Down
  4. Endless Happiness
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The Juan Maclean - Love is in the Air
The Juan Maclean - Love is in the Air

The Juan Maclean - Love is in the Air

$10.00

TRACKLIST:

A1) Love Is In The Air (Mock & Toof Remix)
A2) Love Is In The Air (Album Version)
B1) Love Is In The Air (Strategy Mix)
B2) Love Is In The Air (Heart Of The Sun Remix by Caro)


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Dan Bodan - Soft (Limited Edition White Label)
Dan Bodan - Soft (Limited Edition White Label)

Dan Bodan - Soft (Limited Edition White Label)

$9.99

A great record for a romantic evening! Fortunately we have a few of these left in our closet, and would love to send them to a happy home. single LP hand-stamped white labels on black vinyl, numbered out of 100. Includes an instant MP3 download.
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Slim Twig - A Hound at the Hem (Limited Edition White Label)
Slim Twig - A Hound at the Hem (Limited Edition White Label)

Slim Twig - A Hound at the Hem (Limited Edition White Label)

$9.99

Single LP hand-stamped white labels on black vinyl, numbered out of 100. Includes an instant MP3 download. A must have! Slim Twig is getting ready for his new record coming out soon! So catch up!
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Shit Robot - What Follows 2xLP
Shit Robot - What Follows 2xLP

Shit Robot - What Follows 2xLP

$22.99 $27.99

Marcus Lambkin aka Shit Robot returns with his third full length album for DFA Records, entitled What Follows. The 11-track album was conceived and recorded at Marcus’ home studio in a small town outside Stuttgart; worked on in various New York studios and then mixed over the course of 11 intense & coffee-fuelled days in DFA label mate Juan Maclean’s New Hampshire studio. 

The album follows Lambkin’s previous long-players, From The Cradle To The Rave (2010) and We Got A Love (2014), which drew plaudits from the likes of The Guardian and Pitchfork, and featured Reggie Watts and James Murphy among the array of contributors. 

The Dublin-born producer has enlisted the help of a stellar cast of guests for What Follows, with previous collaborators Alexis Taylor (Hot Chip) and DFA stablemates Museum of Love & Nancy Whang returning, alongside new faces Jay Green and leftfield fellow Dubliner New Jackson. 

What Follows marks a departure in Lambkin’s process - a simple, but fundamental one: getting away from the computer. He said: “This record is a lot more analog than 'We Got A Love', almost all of it comes from connecting machines together and playing around.” What was your biggest influence? “Drum machines.” What began in Stuttgart was followed up on in New York, before being finished in an 11-day blitz in New Hampshire with Juan Maclean. 

Lambkin: “This is the first time that I actually sat down and said, ‘I'm going to make an album now and I'm going to finish it by a specific date and time.’ I wanted to make a record that was more cohesive, that sounded like it all came from the one session. I wanted it to reflect my DJing style a bit more, less pop, less disco, more machines. There's no live bass and barring a few hi-hats, there's no live drums. 

“I began in Stuttgart - simply by creating about 12 drum loops. I then synched these up to some gear and created some bass lines so I had some solid grooves to start with. Then I went to NY and spent a couple of days at Holy Ghost's studio playing around with Nick and his modular synth coming up with different sequences and sounds. I then took all this over to Transmitter Park Studios in Greenpoint and spent a few days with the wizard that is Morgan Wiley of Midnight Magic and Tippy Toes. He's one of my favourite keyboard players on the planet. Sometimes I had a specific thing I wanted him to do, but mostly I just played him some things I like and got him to jam out on what I had come up with or play some nice chords or chord progressions. 

“I took all this back home and started to fool around with it and knock it into shape before sending it out for vocals. With the song I did with Museum Of Love, 'What Follows', Dennis and Pat were actually in Europe and they came by and stayed with me for a few days, so we made that one in Stuttgart over a few nights once I got the kids to bed. It was particularly fun and easy. I think the wine helped. 

“Then I brought it all to Juan's World in New Hampshire where we drank a LOT of coffee and did some additional production and mixed everything. Finishing the record with Juan was a game changer for me. We worked so hard. We finished eleven songs in eleven days, no joke.” 

The results are convincing - What Follows is definitely an album dedicated to dance music, but one that retains hallmarks of his previous LPs: good songs. Alexis Taylor turns in two memorable performances on lead single ‘End Of The Trail’ and album opener ‘In Love’; Museum of Love - Pat Mahoney and Dennis McNany - lend the album title track an air of something mined from the two months in between the death of Joy Division and the birth of New Order; and Nancy Whang gave such a strong vocal for ‘Lose Control’ that Lambkin and Maclean threw out the existing track and recorded the backing along with the vocal in one take, which the two producers working the machines live. Lambkin: “I had so much fun with Lose Control - and it inspired me to make so much more music. I've written 12 new tracks since finishing the record.” 

Newbies Jay Green and New Jackson hit their marks too - Green - best known for fronting American punk bands Orchid and Panthers - narrates Is There No End as though it were sibling to From The Cradle To The Rave’s single Simple Things. New Jackson makes two appearances, on both Phase Out and OB-8 (Winter Version), adding oddball vocals and spaced-out Krautrock guitar arrangements. 

How did the guests come about? Lambkin: “I didn't have a big plan, I just knew that I wanted to work with friends. I knew I wanted to do something with Museum Of Love again. I also knew I would do something with Nancy, I couldn't make a Shit Robot record without Nancy. Then while I was working on End Of The Trail, I could hear Alexis's voice in my head, it just seemed a perfect fit. New Jackson is my younger brother’s old room mate and I've wanted to do something with Jay ever since I made the Green Machine 12”s a few years back.” 

What Follows was preceded by two 12” singles - Where Its At (Feat. Reggie Watts), backed with a killer remix from Johnny Aux - and original version of album closer OB-8. 

Track List:

  1. In Love (Feat. Alexis Taylor)
  2. What Follows (Feat. Museum of Love)
  3. Ten Miles High
  4. Lose Control (Feat. Nancy Whang)
  5. End Of The Trail (Feat. Alexis Taylor)
  6. Phase Out
  7. Wir Warten
  8. Is There No End (Feat. Jay Green)
  9. OB-8 (Winter Mix) [Feat. New Jackson]
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Gobby - No Mercy Bad Poet
Gobby - No Mercy Bad Poet
Gobby - No Mercy Bad Poet
Gobby - No Mercy Bad Poet

Gobby - No Mercy Bad Poet

$8.99

Grab a limited edition cassette tape of Gobby's DFA debut 'No Mercy Bad Poet' Only 300 of them! Comes with a digital download.

Gobby has been a DFA office favorite throughout his countless releases on respected underground labels UNO! and 1080p, in addition to his collaborations with James K as SETH and production for rapper Mykki Blanco. He has DJed at dozens of fine art events, low art events, and Chinese restaurants globally, and performed live on bills with respected underground musicians Dean Blunt and Actress. 

We at DFA see No Mercy Bad Poet as a collection of our favorite attributes and qualities of Gobby’s previous works. Album opener Cancer is a true banger grounded by an undulating kick drum, besieged by hissing snares, clipped vocal samples, and noodling synth. The Dishwasher features a shadowy monologue over a safari of animal samples and pummeling drums, while Anti-Meme is straight-up synthpop with pitch-shifted vocals and crunchy percussion. Album closer Romance Frog is a monumental work in three movements. It begins with tinker toy drums and modulated speech which fall away to reveal staccato piano and crooning vocals, finally culminating in what could be a lost Laurie Anderson track. But honestly - attempting to find words to describe this record is a challenge. For every sound on this record, there are dozens more that are equally exciting, unexpected, and provocative. For every brilliantly composed track, there are bound to be a dozen more.


Tracklisting:

  1. Cancer
  2. Hometown
  3. The Dishwasher
  4. Talk (x3)
  5. Alcoholic
  6. First Laugh (Ripple In The Dark)
  7. Just One More Time
  8. 144 My Back
  9. Anti-Meme
  10. Mysterioso
  11. Romance Frog
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