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LCD Soundsystem - Sound of Silver 2xLP
LCD Soundsystem - Sound of Silver 2xLP

LCD Soundsystem - Sound of Silver 2xLP

$28.00

Back in stock and now shipping!!

Sound Of Silver 2xLP

Tracklist:

Side A
01. Get Innocuous!
02. Time to Get Away

Side B
03. North American Scum
04. Someone Great

Side C
05. All My Friends
06. Us v Them

Side D
07. Watch the Tapes
08. Sound of Silver
09. New York, I Love You but You're Bringing Me Down

 

The original Pitchfork review, 2007:

9.2, Best New Music

James Murphy started releasing dance music some time between "B.O.B." and "Get Ur Freak On". It was a golden age for modern pop, a period during which a lot of personal aesthetics crumbled. Indie wasn't a dirty word, but it was a meaningless one. Pop, though, wasn't just more meaningless, it was more everything. And for the first time in a long while, pop also had its evangelicals; people who could argue convincingly in its favor, and who knew how to contextualize it interestingly. That turnover period was an exciting time; the ideological tension, the feeling that something was at stake, the exuberance of redrawing your bounds. The habitual mixtape maker in your life probably remembers it well.

Despite eventually remixing Britney Spears and N.E.R.D., Murphy never had a hands-on relationship with pop. Nonetheless, his transition out of punk and into dance music ran concurrent with this modest revolution, and it's pretty much impossible to separate his epiphanies from ours. That early LCD tracks like "Losing My Edge" used to feature in playlists alongside, say, "Work It" or "...Baby One More Time" only reinforces the link. So it's fitting that the...  more




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LCD Soundsystem - LCD Soundsystem LP
LCD Soundsystem - LCD Soundsystem LP

LCD Soundsystem - LCD Soundsystem LP

$20.00

The debut LP from LCD Soundsystem. We probably don't need much of a sales pitch on this one. 1xLP in a tip-on sleeve. 

Track Listing:

  1. Daft Punk Is Playing At My House
  2. Too Much Love
  3. Tribulations
  4. Movement
  5. Never As Tired As When I'm Waking Up
  6. On Repeat
  7. Thrills
  8. Disco Infiltrator
  9. Great Release
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LCD Soundsystem - Losing My Edge (Remaster) 12"
LCD Soundsystem - Losing My Edge (Remaster) 12"

LCD Soundsystem - Losing My Edge (Remaster) 12"

$13.00

Losing My Edge backed with Beat Connection. This is the 2012 Remastered version cut super loud by Bob Weston. And it doesn't skip anymore! Yay. 

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

LCD Soundsystem - 45:33

$5.00

LCD Soundsystem - 45:33 - 2xLP

Originally released in 2006.

This album was commissioned by Nike to listen to on an iPod while exercising.

"Complex, fun, and meticulously put together, 45:33 sounds even better pumping from a home stereo than it does through an iPod while jogging". - All Music

Original Pitchfork Review, 2006

Wikipedia Entry

 Tracklist

A - 45:33

B - 45:33

C - 45:33

D - 45:33

 

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LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream
LCD Soundsystem - American Dream

LCD Soundsystem - American Dream

$5.00

The latest LCD album, available in double LP, compact disc, or limited edition cassette.

**

2xLP

  • 140 gram double LP
  • Full color gatefold jacket / inner sleeves

Cassette

  • full color 5 panel inner card
  • clear cassette shell
  • custom silk screened cassette shells & cases

CD

  • Fold-over heavy card stock envelope.
  • 16 page booklet with lyrics and photos
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Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics

Prinzhorn Dance School - Home Economics

$5.00

“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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LCD Soundsystem - Confuse The Marketplace 12"
LCD Soundsystem - Confuse The Marketplace 12"

LCD Soundsystem - Confuse The Marketplace 12"

$15.00

This iconic vinyl EP from LCD Soundsystem has not been back in print and for sale since 2012. Originally released in 2007, the EP contains 2 non-LP tracks, including the 12 1/2 minute slo-mo disco workout Freak Out / Starry Eyes, and the instrumental burner "Hippie Priest Bum Out” (made popular on Fabric Live 36: Murphy and Mahoney). There is also a devilishly acidic rework of North American Scum by James Murphy himself. Beautiful cover art design by Mike Vadino. 

Tracklist: 

A) Freakout / Starry Eyes (12:21)
B1) North American Scum (Onastic Dub) (8:57)
B2) Hippie Priest Bum-Out (4:28)

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The Rapture - In The Grace Of Your Love
The Rapture - In The Grace Of Your Love

The Rapture - In The Grace Of Your Love

$5.00

White Vinyl edition on back order through early 2020. 
CD now available. 

  1. Sail Away
  2. Miss You
  3. Never Die Again
  4. Blue Bird
  5. In the Grace Of Your Love
  6. Roller Coaster
  7. Children
  8. How Deep Is You Love?
  9. Can You Find A Way?
  10. Come Back To Me
  11. It Takes Time To Be A Man
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LCD Soundsystem - Yeah 12"
LCD Soundsystem - Yeah 12"
LCD Soundsystem - Yeah 12"
LCD Soundsystem - Yeah 12"

LCD Soundsystem - Yeah 12"

$13.00

*IN STOCK, shipment begins August 6th! 

2019 repress of the revered 2004 single YEAH. This pressing comes in a sturdier heavyweight sleeve, heavier vinyl, same great artwork by Mike Vadino.  

tracklist:
a: yeah (crass version)
aa: yeah (pretentious version) 

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LCD Soundsystem - London Sessions
LCD Soundsystem - London Sessions

LCD Soundsystem - London Sessions

$28.00

This is a fake-live album, featuring the live lineup, played live, just not in front of people or anything. Features lots of yr LCD faves like All My Friends, Us V. Them, I Can Change, and Daft Punk Is Playing At My House. 

Tracklist

Us V Them
All I Want
Drunk Girls
Get Innocuous!
Daft Punk Is Playing At My House
All My Friends
Pow Pow
I Can Change
Yr City's A Sucker
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Prinzhorn Dance School - Clay Class
Prinzhorn Dance School - Clay Class

Prinzhorn Dance School - Clay Class

$5.00

The return of DFA Veterans Prinzhorn Dance School. Single LP features many fine songs, including "I Want You", "Your Fire Has Gone Out", and (my personal favorite) "Crisis Team", which you may listen to below. Includes an instant digital download.

Tracklisting:

  1. Happy In Bits
  2. Usurper
  3. Seed, Crop, Harvest
  4. I Want You
  5. Your Fire Has Gone Out
  6. Crisis Team
  7. The Flora and the Fauna of Britain In Bloom
  8. Turn Up the Light
  9. Sing Orderly
  10. Right Night Kay West
  11. Shake the Jar
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Eric Copeland Glyph Figure Art Print
Eric Copeland Glyph Figure Art Print
Eric Copeland Glyph Figure Art Print
Eric Copeland Glyph Figure Art Print
Eric Copeland Glyph Figure Art Print
Eric Copeland Glyph Figure Art Print

Eric Copeland Glyph Figure Art Print

$75.00

Made in Brooklyn, NY. Standard 18"x24" size.

Signed and numbered edition of 177 by Eric Copeland, DFA has prints 1-50. 

This is a 3 color screenprint on French 100lb cover paper, printed in 2019

"Part of Copeland's "Glyph Series," "Glyph Figure" is comprised of the repetition of partial letters in alternating colors and patterns. Trying to replicate Typewriter Art, these Glyph drawings proved full of opportunities to expand on the original model. Besides being much larger than previous work, they are also Copeland's first giant step into color. Part discipline, part obsession, part endurance, part process. This particular Glyph Figure is also the cover image to Copeland's latest LP, Trogg Modal 2 (DFA Records)."

BIO:
Eric Copeland
(b. Brunswick, ME, 1978) is a musician, artist, and writer currently living and working in Palma, Spain. He is a cofounder of the reckless, ongoing Neanderthal band Black Dice since 1997. He has released music on his own since 2006. And he annually publishes a series of obsessive collections under ESL Books. A graduate of the Gallatin School of Individualized Study, his focus was on something like "subliminal language," which still guides most of his work. He is currently working on a vandalism of Brave New World, entitled "Demon Portraits."

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Paperclip People / LCD Soundsystem - Throw
Paperclip People / LCD Soundsystem - Throw
Paperclip People / LCD Soundsystem - Throw
Paperclip People / LCD Soundsystem - Throw
Paperclip People / LCD Soundsystem - Throw

Paperclip People / LCD Soundsystem - Throw

$13.00

Vinyl only release -  no digital download. 

LIMITED TO 200 COPIES IN THE DFA STORE. Ships with an exclusive DFA sticker limited to 200. 

Tracklist:
A – LCD Soundsystem – Throw
AA – Paperclip People – Throw

A newly reissued edition of "Throw" by Paperclip People, accompanied by LCD Soundsystem’s interpretation of the iconic song on the flip. Released originally in 1994, "Throw" is perhaps the best known single from Carl Craig’s long running alias; a joyous distillation of Craig’s house, techno, and disco influences .

In 2010, LCD Soundsystem recorded a studio version of "Throw," after the song became a live staple, a a natural fit for a band that never met a 4/4 lock groove it didn't like. The cover was used a bonus track during This Is Happening.

In 2010, Planet E and DFA Records partnered to release a split 12" version of "Throw." This is a repress of that 12".

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Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes 12"
Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes 12"

Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes 12"

$13.00

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:

A - Reign (Shit Robot Remix)
B - You Are The Space Invader (An Optimo (espacio) Remix)
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The Juan Maclean - The Brighter The Light
The Juan Maclean - The Brighter The Light
The Juan Maclean - The Brighter The Light
The Juan Maclean - The Brighter The Light
The Juan Maclean - The Brighter The Light
The Juan Maclean - The Brighter The Light

The Juan Maclean - The Brighter The Light

$5.00

album artwork by Bráulio Amado. 

1. The Brighter The Light
2. Zone Non Linear
3. You Are My Destiny
4. Get Down (With My Love)
5. Feel Like Movin' 
6. Quiet Magician 
7. Pressure Danger
8. Can You Ever Really Know Somebody
9. The Brighter The Light

The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting. 


The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer. 

Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

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Factory Floor - Digital Download
Factory Floor - Digital Download

Factory Floor - Factory Floor

$5.00 $27.99

Yellow jacket + Black vinyl edition. 

At long last, Factory Floor presents their highly anticipated self-titled debut album. A vivid snapshot of a progressive band smashing through yet another ceiling, it’s the first full-length statement from the group that earned a powerful reputation on the strength of the “Fall Back” and “Two Different Ways” singles for DFA—not to mention early releases for Optimo Music and Blast First Petite. Leading up to the release of Factory Floor, the band will play select European festival dates this summer.  

Produced and recorded by the group in their North London warehouse space on a vintage mixing desk originally used by Dave Stewart three decades ago to record all the Eurythmics’ early hits, Factory Floor is a visceral trip through the band’s repertoire. The record opens with “Turn It Up,” their most minimal track to date, mixed in astonishing detail by Timothy “Q” Wiles (VCMG, Afrika Bambaataa). “Here Again” is almost (but not quite) their pop song, replete with cascading arpeggios counterbalanced by bubbly synth melody lines and plaintive vocals. 

Factory Floor also contains the definitive version of “Two Different Ways,” followed by the muscular and sleek “Fall Back.” “How You Say” finds the band channelling New York’s dance underground—think ESG and Delta Five. “Work Out” is anything but; despite the desultory title, it is in fact sinister street-sound electro. The album closes out with “Breathe In,” a funkified acid disco classic. 

Perhaps the most unlikely aspect of Factory Floor’s rise to notoriety is their versatility. Even their most ardent of fans describe their sound as punishing, yet they are equally at home playing raves, alternative festivals, art galleries, cinemas, nightclubs and rock shows; on top of that they’re as likely to collaborate with members of Throbbing Gristle and New Order (not to mention Richard H. Kirk of Cabaret Voltaire, Simon Fisher Turner and Peter Gordon) as they are with contemporary artists such as Haroon Mirza and Hannah Sawtell.

Tracklisting:

  1. Turn It Up
  2. Here Again
  3. One
  4. Fall Back
  5. Two
  6. How You Say
  7. Two Different Ways
  8. Three
  9. Work Out
  10. Breathe In
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Museum Of Love - Museum Of Love
Museum Of Love - Museum Of Love

Museum Of Love - Museum Of Love

$5.00

Museum of Love is the musical project of Pat Mahoney (Founding member of LCD Soundsystem) and Dennis McNany (Jee Day).

Longtime friends in New York, McNany and Mahoney found a similar sensibility and a shared vocabulary for interpreting surroundings, something that began with their remix of Battles’ “My Machines feat. Gary Numan” and extended into their creation of a full length record together.

Naming their duo in ode to Daniel Johnston’s song of the same name, Mahoney divulges, “I had always loved the song, and had been thinking of what such an edifice would contain when we were trying to name the project.” McNany continues, “Pat’s a sculptor, I’m a painter, we make music and museums are sacred spaces and love is an elusive thing.”

Museum of Love is the result of a songwriting collaboration between McNany and Mahoney, with McNany writing most of the music, and Mahoney most of the words. Together they edited and arranged the tracks in the studio. Mahoney says the process of collaboration was energizing, while McNany simply explains, “making the record was pure pleasure. Waiting for it to come out has been the hardest thing.”

“Museum of Love moves at a stately pace here, offering a slow and steady chugger that wraps itself in gauzy vocal layers and takes its sweet time reaching its climactic peak.” - Pitchfork 

 

Tracklist: 

  1. Horizontalator
  2. Down South
  3. In Infancy
  4. FATHERS
  5. The Who's Who of Who Cares
  6. Learned Helplessness In Rats (Disco Drummer)
  7. Monotronic
  8. The Large Glass
  9. And All The Winners (Fuck You Buddy)
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CCFX - CCFX EP
CCFX - CCFX EP
CCFX - CCFX EP
CCFX - CCFX EP

CCFX - CCFX EP

$15.00

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.

Tracklist

A1 - The One To Wait
A2 - Venetian Screens
B3 - Ode
B4 - 2Tru
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Hercules & Love Affair - Hercules & Love Affair
Hercules & Love Affair - Hercules & Love Affair

Hercules & Love Affair - Hercules & Love Affair

$5.00

CD versionof the debut album from Hercules & Love Affair

Tracklist: 
1) Time Will
2) Hercules Theme
3) You Belong
4) Athene
5) Blind
6) Iris
7) Easy
8) This Is My Love
9) Raise Me Up
10) True/False, Fake/Real
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Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother
Cold Beat - Mother

Cold Beat - Mother

$5.00

 

Tracklist:
1) Smoke
2) Prism
3) Paper
4) Pearls
5) Gloves
6) Through
7) Double Sided Mirror
8) Mother
9) Crimes
10) Flat Earth


San Francisco band Cold Beat make their DFA debut with Mother, a collection of ten pop transmissions from Earth, 2020.


Wound tight with an energy that ricochets from one song into the next, Mother was made while frontperson Hannah Lew (formerly of indie trio Grass Widow) was pregnant and considering the chaotic conditions of the world she was bringing a new human into. If we consider Mother an artistic style guide through space and time, the framework Cold Beat provide is overcast by design but focused in execution; locked-in drums and synths with choir-like melodies high above it all.

“I found myself trying to describe our earth to a new human who had never been here,” says Lew. “It was a bleak year to be pregnant, but I was simultaneously filled with so much love and hope at the same time. I remember feeling a sense of wanting to show my whole range of self to this new person I was about to meet. In past albums, I sometimes held my artistic self in an ethereal place, but I found myself wanting to be very much on this earth and grounded during the creation of this record.”

The A-side of Mother presents the facts as we perceive them, while the B-side accelerates into the uncertain. Each of the first five track titles is one evocative word: the synths on “Prism” slide against the motorik guitar riffs and the plaintive saxophone on “Paper” casts the Leonard Cohen-esque melody in a melancholy shadow; “Gloves” is a real mood, all drive. Everything begins to unfurl from there. “Will it be over if there’s no sound?” Lew wonders on album standout “Double Sided Mirror,” and then ruminates, “it won’t be long until you find me in the beyond” on the more upbeat “Crimes.” The early architects of these sonic settings—Eurythmics, The Human League, Depeche Mode—act as touchstones and inspiration.

One of the most prescient things Mother teaches is that existence will not be, and has not ever been, a solitary experience. “It's really the first album where the project felt more like a band,” Lew says. “In a lot of ways, it feels like our first album.” And though four LPs (released on Dark Entries and Lew’s own label Crime On The Moon) precede this one, Mother is Cold Beat at their most concentrated and crystalline. It’s an honest, forgiving, and ultimately optimistic team effort from a band busy being born, re-born and giving life

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Factory Floor - 25 25
Factory Floor - 25 25
Factory Floor - 25 25
Factory Floor - 25 25
Factory Floor - 25 25

Factory Floor - 25 25

$5.00

Blue Bag Version - originally made for Rough Trade shops worldwide. 2 copies remain in the DFA store....

Tracklist:

  1. Meet Me At The End
  2. Relay
  3. Slow Listen
  4. 25 25
  5. Dial Me In
  6. Wave
  7. Ya
  8. Upper Left

Factory Floor return in 2016 with 25 25, their second album and the follow up to their acclaimed 2013 self-titled debut. With their music stripped to a mesmerising dance of percussion, fragmented voice and melody, it captures the next vital stage in the evolution of one of the UK’s most restless and exploratory groups.

The dazzlingly sharp, dubbed-out acid disco of ‘Meet Me At The End’ opens 25 25 in a surge of raw momentum. Both Factory Floor’s sparsest and most overtly club-centred track to date, it sets the tone for the rest of the album. Written and recorded by Gabriel Gurnsey and Nik Colk Void in late 2015 and early 2016, it’s the product of the last three years of intensive musical activity — non-stop live performances, artistic collaborations, writing new music and reconfiguring the limits of their sound.

Inspired by playing a growing number of late night club shows, the pair’s music gradually evolved into the sound captured on their second album and in their current live incarnation: a stark, ultra-minimalist and eerily soulful dancefloor pulse, yet one that still bears Factory Floor’s unmistakable hallmarks of hypnotic repetition and jagged, punkish intensity.

That their second album is as distinct from its predecessor as their debut was from their earliest singles is unsurprising — a desire to explore, to push their own boundaries, is hardwired into Factory Floor at DNA level. Emerging in 2009 the group gained a reputation for their stunning live shows, which pummeled audiences with waves of electro-shocked rhythm. From the death-rattle of early single ‘A Wooden Box’ through their debut’s convulsive singles ‘Two Different Ways’ and ‘Fall Back’ and into 25 25’s skeletal ‘Wave’ and ‘Dial Me In’, their music has continued to forge links between industrial, post-punk and the UK’s post-acid house dance lineages.

The close friendships and collaborations they’ve established along the way attest to those connections, among them Chris Carter and Cosey Fanni Tutti of Throbbing Gristle/Chris & Cosey, Perc, Optimo, New Order and Simon Fisher Turner.

Mixed with razor precision by David Wrench (FKA twigs, Caribou), the results are all the more forceful for that newfound space. ‘Relay’ is a spooked vocal house anthem, with Void’s voice processed into a thrillingly metallic chant. ‘Wave’ and ‘Slow Listen’ are deadly, perpetual motion machine dance tracks infused with the frontier spirit of Sheffield bleep and industrial techno. And the title track itself sums up the duo in 2016; its jarring repetitions and disorienting melodic motifs are somehow classic Factory Floor, yet shot into sparse, strangely moving new spaces. “You get into your own world and use your own vision,” says Void of the process of writing 25 25. “This really is probably the most ‘me’ record that I’ve ever done.

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LCD Soundsystem – Yr City’s A Sucker 12'
LCD Soundsystem – Yr City’s A Sucker 12'

LCD Soundsystem – Yr City’s A Sucker 12'

$13.00

*Iconic early LCD Soundsystem vinyl single 12” with vocal version on both sides (misprinted label!) Comes in a white disco jacket.
*Each side is 09:22.
*This is a 2015 repressing at 45rpm. The original 12" single release from 2005 was pressed at 33rpm. Released October of 2015.
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YACHT - Shangri-La
YACHT - Shangri-La

YACHT - Shangri-La

$13.00

Deluxe White Vinyl 2XLP with 4 slipcovers and a gatefold jacket with lyrics and spot-gloss. Yeah, it's luxurious. Features Dystopia (The Earth Is On Fire), I Walked Alone, and Shangri-La. Comes with an instant digital download. 

Shangri-La, YACHT’s second album for DFA Records and the follow-up to their critically acclaimed full-length, See Mystery Lights, is the duo’s most thematically ambitious work to date, showcasing an exponential evolution in songwriting and sharp, surreal hooks. When the darkly anthemic track, “Dystopia (The Earth Is on Fire),” was released digitally in April, YACHT offered a window onto the new album. Members Jona Bechtolt and Claire L. Evans described the track as an “apocalyptic fight song, a cautionary tale, a science-fiction story for our particular eco-sociopolitical landscape.” These themes are echoed throughout the conceptually unified Shangri-La. In contrast to the meditative, mantra-esque quality of their debut, Shangri-La is a narrative work.

The album explores mankind’s eternal pursuit of Utopia with a soundtrack comprised of compelling pop melodies, fiercely druggy grooves and an endlessly diverse canon of influences. The message here is that the future is a blank slate upon which anything can be imposed. Shangri-La is literally YACHT’s idea of Utopia: a place made of songs. Never a band to stay in one place sonically, visually or philosophically, YACHT transformed themselves, taking advantage of a proper studio for the very first time and using more live instrumentation than ever before.

Recording in the West Texas desert without an engineer, the duo employed a kaleidoscope of genres—ranging from disco to psychedelia, from krautrock to punk—all culminating in pure pop. Shangri-La was performed, mixed, and recorded by Bechtolt and Evans themselves. The Utopian illustration featured in the album’s encyclopedic cover design was painted by iconic science fiction illustrator Jim Burns, three-time Hugo Award-winner.

Tracklisting:

  1. Utopia
  2. Dystopia (The Earth Is On Fire)
  3. I Walked Alone
  4. Love in the Dark
  5. One Step
  6. Holy Roller
  7. Beam Me Up
  8. Paradise Engineering
  9. Tripped and Fell in Love
  10. Shangri-La
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Black Dice - Beaches and Canyons
Black Dice - Beaches and Canyons

Black Dice - Beaches and Canyons

$28.00

Back in print for the first time in 5 years, and if you ask me, not a minute too soon. As influential now as it was upon its original release in 2002, the first LP ever on DFA gets a remaster by Bob Weston and a new matte jacket.

Tracklisting:

  1. Seabird
  2. Things Will Never Be the Same
  3. The Dream Is Going Down
  4. Endless Happiness
  5. Big Drop
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The Juan Maclean - In A Dream
The Juan Maclean - In A Dream

The Juan Maclean - In A Dream

$5.00

'In A Dream' is the third album from The Juan Maclean. If anything, this new LP is further evidence of the "undeniable creative chemistry between house music wizard Juan Maclean & vocalist / former LCD Soundsystem member Nancy Whang". (Pitchfork) The album takes its musical cues from Moroder's Munich to the Funky Nassau sounds of Compass Point and to anytime in downtown NYC.

An album of high anticipated, brand new material on the heels of The Juan Maclean's acclaimed club bangers from the last couple of years. Features singles "A Place Called Space" and "A Simple Design". Everyone that has heard the record loves the hell out of it, and I promise you will too. 

Tracklisting:

  1. A Place Called Space
  2. Here I Am
  3. Love Stops Here
  4. You Were A Runaway
  5. Running Back To You
  6. I've Waited So Long
  7. Charlotte
  8. A Simple Design
  9. The Sun Will Never Set On Our Love
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LCD Soundsystem - Give It Up 7"
LCD Soundsystem - Give It Up 7"

LCD Soundsystem - Give It Up 7"

$12.00

You may know these two guitar jams from the bonus disc of their 2005 Self-Titled LP. Super heavy 7" in black and white picture sleeve! 

Tracklisting:

  1. Give It Up
  2. Tired
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LCD Soundsystem - Electric Lady Sessions 2xLP
LCD Soundsystem - Electric Lady Sessions 2xLP
LCD Soundsystem - Electric Lady Sessions 2xLP
LCD Soundsystem - Electric Lady Sessions 2xLP

LCD Soundsystem - Electric Lady Sessions 2xLP

$28.00

Recorded at the famed Electric Lady Studios in NYC’s Greenwich Village – Electric Lady Sessions is a double album live collection featuring classic LCD Soundsystem songs, three covers, and newer material from the band’s # 1 album from 2018, American Dream

This is a heavyweight, 180 gram gatefold 2xLP.  

TRACK LISTING
1. Seconds 
2. american dream 
3. you wanted a hit 
4. get innocuous 
5. call the police 
6. i used to 
7. tonite 
8. home 
9. I Want Your Love 
10. emotional haircut 
11. oh baby 
12. (We Don’t Need This) Fascist Groove Thang 

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Shit Robot - We Got A Love
Shit Robot - We Got A Love

Shit Robot - We Got A Love

$5.00

DFA Records is proud to present We Got a Love, the sophomore full-length by Shit Robot a.k.a. Dublin native Marcus Lambkin. Recorded in Germany and New York, the nine-track album includes the killer recent singles, “Feels Real” and “We Got a Love.” 

Like Lambkin’s 2010 debut From the Cradle to the Rave, We Got a Love sports an array of guests that include DFA veterans Nancy Whang, Museum of Love and Luke Jenner (The Rapture), plus hip-house hero Lidell Townsell and Australian singer Holly Backler. The album’s distinctive artwork was created in collaboration with Irish graffiti artist Maser.

 Track List:

  1. The Secret (Feat. Reggie Watts)
  2. Dingbat (Feat. Museum Of Love)
  3. Do That Dance (Feat. Nancy Whang)
  4. Do It (Right) [Feat. Lidell Townsell]
  5. Feels Real (Feat. Luke Jenner)
  6. Space Race
  7. Feels Like (Feat. Holly Backler)
  8. We Got A Love (Feat. Reggie Watts)
  9. Tempest
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Delia Gonzalez - In Remembrance
Delia Gonzalez - In Remembrance

Delia Gonzalez - In Remembrance

$5.00

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.  

Tracklist

A1 - Delia Gonzalez (I)
A2 - Delia Gonzalez (II)
B1 - Delia Gonzalez (III)
B2 - Delia Gonzalez (IV)
C1 - Bryce Hackford (Remix I)
C2 - Bryce Hackford (Remix II)
D1 - Bryce Hackford (Remix III)
D2 - Bryce Hackford (Remix IV)
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Delia Gonzalez - Horse Follows Darkness
Delia Gonzalez - Horse Follows Darkness
Delia Gonzalez - Horse Follows Darkness
Delia Gonzalez - Horse Follows Darkness

Delia Gonzalez - Horse Follows Darkness

$5.00

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album “In Remembrance”.

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.
Tracklisting:

1. In Through The Light
2. Hidden Song
3. Roulette
4. Horse Follows Darkness
5. Vesuvius

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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

$5.00

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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Essaie Pas - New Path
Essaie Pas - New Path
Essaie Pas - New Path
Essaie Pas - New Path

Essaie Pas - New Path

$5.00

Tracklist:

1) Les Aphides
2) Futur Parlé
3) Complet Brouillé
4) Les agents des stups
5) Substance M
6) New Path


Essaie Pas
always seek out fresh challenges. Emerging from Montreal’s sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau – feel completely free to express themselves, to sketch out hitherto unmapped musical regions.

Essaie Pas has always been about exploring new territories” explains Pierre. “From the very first tapes, to the last one. We don’t want to do the same thing over and over again, – we just need to keep it exciting and to challenge ourselves. Take those experiences, open new boxes and see what happens.”

Forthcoming album ‘New Path’ takes this one step further. The duo’s fifth album to date – and second on powerhouse label DFA Records –is loosely based on Philip K. Dick’s A Scanner Darkly, a classic of dystopian science fiction.

“I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,” explains Pierre. “In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that’s not based on ourselves but on someone else’s universe. It was going to be more conceptual, more political.”

‘New Path’ touches on personal ground, on addiction, loss, and the lingering strength of identity within late capitalism’s mass media paranoia. It pins down the central character’s destructive addiction, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by drug abuse, social media, or any kind of dependence.

“I think it touches us on many levels,” Pierre continues. “We can talk about drug addiction issues, we can talk about the mass surveillance world we live in, but there’s also the experience of loss, of grief. I was surprised by how the book felt so modern and accurate to the time we live in right now. Dick’s visions of surveillance are the reality of social control today.”

It’s a record that continually ties itself in knots, a puzzle that is outwardly beguiling while the solutions remain inherently allusive. As Pierre points out, it’s even present in the title. “I like the fact that it sounds optimistic, but in the book it’s actually an illusion,” he explains. “This new path is actually going nowhere.”

But it’s a challenge met with humour, picking up on the wry elements of Philip K. Dick’s own writing – witness the subtle wit of songs such as ‘Complet Brouillé’, ‘Les Agents Des Stups’ or as in ‘Futur Parlé’s tripped-out lyrics, offsetting intense themes with something a little more playful. 

The conceptual nature of ‘New Path’ belies the subtle personal shifts within the band. A husband and wife duo, Essaie Pas thrive on freedom, on parting to focus on outside projects in Montreal and Berlin before returning renewed, flushed with fresh inspiration.

“Both personally and for Essaie Pas it’s good that both of us have separate projects,” he explains. “Marie has been constantly touring solo for the last year. On my side I’ve been producing other people’s music (Bernardino Femminielli, Pelada or Sleazy to name a few). Collaborating in the studio with talented people with unique aesthetics and different creative processes is always refreshing as an artist.”

The complexity of the project mirrors the complexities within Essaie Pas’ career to date – forever unpredictable, their wiry, individual sound offers a tangled vision of tomorrow’s aesthetics. “I think this was the main challenge,” muses Pierre. “To adapt what we’ve been doing live thru the last 2 years, which before was always changing, and corner it, make it cohesive”.

Although the duo is continually reinventing themselves, exploring new concepts or addressing political issues, emotions stays the essential aspect of their work. This is cold music for cold times, yet beneath this lies a continual search for the humane.

As they conclude “Ultimately we hope we can reach out to people, in a compassionate way, this is what we aim for with this album."

 

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YACHT - Chain Tripping
YACHT - Chain Tripping

YACHT - Chain Tripping

$20.00

Tracklist: 
1) (Downtown) Dancing
2) Hey Hey
3) SCATTERHEAD
4) Loud Light
5) Blue On Blue
6) DEATH
7) Sad Money
8) California Dali
9) Stick it to the Station
10) Little Instant 

“We wanted to find a way to interrogate technology more deeply,” explains Claire L. Evans, one-third of the pop group YACHT. “From the ground up,” adds her partner and YACHT founder Jona Bechtolt. The group—rounded out by longtime collaborator Rob Kieswetter—would know: their seventeen-year career has been marked by a series of conceptual stunts, experiments, and attempts to use technology “sideways.” Even the band’s name speaks to this: YACHT is an acronym for Young Americans Challenging High Technology

Chain Tripping is their seventh album and third with DFA Records. Recorded between the band’s home in Los Angeles and Marfa, Texas, the ten-song collection marks a shift in the group’s relationship with technology. Rather than trying to comment on existing platforms from within their own filter bubble, the band stripped their process down and rebuilt it using a technology entirely new to them—Artificial Intelligence, and more specifically, machine learning. 

In order to compose Chain Tripping, YACHT invented their own AI songwriting process, a journey of nearly three years. They first tried to discover any existing YACHT formulas by collaborating with engineers and creative technologists to explore their own back catalogue of 82 songs using machine learning tools. Eventually they created their own working method, painstakingly stitching meaningful fragments of plausible nonsense together from extensive, seemingly endless fields of machine-generated music and lyrics, themselves emerging from custom models created with the help of generous experts in neural networks, deep learning, and AI.

The band’s characteristically frenetic pop sound is toned down on songs like “(Downtown) Dancing,” a scotch-tape disco track that marries an anxious, funky bass groove with the lo-fi sound of the NSynth, a neural synthesizer that uses a machine learning process called latent space interpolation to imagine new sounds in between traditional instrumentation. The NSynth appears all over Chain Tripping, notably on the jewel-like “Blue on Blue,” a euphoric love song wound with surprisingly omnidirectional melodies. The generative composition process “broke us out of a mold of concise, formal, four-bar patterns and let us accept longer, meandering riffs,” explains Kieswetter; like most of Chain Tripping’s standout tracks, the song contains lyrical fragments that coalesce, collapse, and reform with fluid ease. The process also surfaced surreal idioms, like “Loud Light’s” anthemic “I’m so in love / I can feel it in my car,” or the lovely phrase “palm of your eye,” which pins the lilting chorus of the driving “SCATTERHEAD” into place, a song that splits the difference between postmodern rock and no-wave dance music with wiggly ease.

We saw this album as an opportunity to teach the machine our values, our history, our community, and our influences,“ adds Evans. “This record is a product of a technological moment that is rapidly evolving. It taught us everything we wanted to know about ourselves: how we work, what moves us, and which ambiguities are worth leaning into. We didn’t set out to produce algorithmically-generated music that could ‘pass’ as human. We set out to make something meaningful. Something entirely our own.”

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Runaway - Brooklyn Club Jam 12"
Runaway - Brooklyn Club Jam 12"
Runaway - Brooklyn Club Jam 12"
Runaway - Brooklyn Club Jam 12"

Runaway - Brooklyn Club Jam 12"

$13.00

DFA / Rekids 12" / dfa 2204 / 2008

 

A. Brooklyn Club Jam

B. Brooklyn Club Jam (Brennan Green's Version)

 

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Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"
Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"
Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"
Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"

Prinzhorn Dance School - You Are The Space Invader (An Optimo (Espacio) Mix) 12"

$13.00

DFA EMI UK 12" / dfaemi 2189 / 2007

 

A1. You Are The Space Invader

A2. Wheat For The Locust

B. You Are The Space Invader (An Optimo (Espacio) Mix)

 

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Sinkane - Mars

Sinkane - Mars

from $5

Sinkane - Mars

Sinkane - Mars

$5.00

The DFA debut of Ahmed Gallab (Of Montreal, Yeasayer, Caribou) housed in a heavy tip-on jacket with printed inner.

Tracklist:

  1. Runnin'
  2. Jeeper Creeper
  3. Lady C'mon
  4. Making Time
  5. Warm Spell
  6. Love Sick
  7. Mars
  8. Caparundi
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    The Juan Maclean - The Future Will Come
    The Juan Maclean - The Future Will Come
    The Juan Maclean - The Future Will Come
    The Juan Maclean - The Future Will Come

    The Juan Maclean - The Future Will Come

    $25.00

    "Thoughtful dancefloor fare... a cosmic, contemporary Human League... 4/5" - The Guardian


    "The Future Will Come is something to savour... The Juan MacLean have produced something fantastic" - The Quietus

    Tracklist:
    1) The Simple Life
    2) The Future Will Come
    3) One Day
    4) A New Bot
    5) Tonight
    6) No Time
    7) Accusations
    8) The Station
    9) Human Disaster
    10) Happy House

    View product
    The Rapture / Juan Maclean Split 12"
    The Rapture / Juan Maclean Split 12"

    The Rapture / Juan Maclean Split 12"

    $13.00

    Two DFA classics, one great price.

    The only way to get a 45RPM version of killing.

    A. The Rapture - Killing

    B. The Juan Maclean - Give Me Every Little Thing

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    Black Meteoric Star - Dreamcatcher b/w Dawn 12"
    Black Meteoric Star - Dreamcatcher b/w Dawn 12"
    Black Meteoric Star - Dreamcatcher b/w Dawn 12"
    White Label

    Black Meteoric Star - Dreamcatcher b/w Dawn 12"

    $10.00

    Black Meteoric Star is the latest project by longtime DFA alumni Gavin Russom. The project is inspired equal parts Euro-disco, wonky early electronic body music from America's Midwest and an always present fascination with the outer reaches of global psychedelic rock. Gavin Russom began the recordings for Black Meteoric Star sometime in 2006. It was at this time that Carl Craig remixed Delia Gonzalez & Gavin Russom's single "Relevee", making it one of the years biggest dance club anthems. Three vinyl 12" singles by Black Meteoric Star will be released on DFA Records with extended original versions in 2009 along with a full self-titled CD that edits and compiles all six singles. There will be an edition of 100 of each 12" hand stamped and accompanied by a series of posters also designed by Russom. These releases will follow a narrative line and the six pieces of music tell a story of clubbing and the long journey through the night and into the next day.

    In this project, Russom carries his ability to create rich sonic landscapes to the dance floor using minimal but intense arrangements and high-energy repetition. The third and final chapter is "Dream Catcher / Dawn". In "Dream Catcher" it becomes clear that neither the masculine nor the feminine side can win. They have to coexist, and can, when each side acknowledges its own strengths and resolves to use them toward a mutual end. In terms of the club land metaphor this is the point in the night where people hook up. As the longest of the six tracks its story is about total surrender. For me it evokes both lovers surrendering to each other and the devotee surrendering to his God. At this moment we acknowledge that there is no way out but through. "Dawn" comes. The bass line echoes the melody of "Death Tunnel", signaling return. Although we are beginning again everything looks, sounds and feels different. We are much stronger now. As the sun comes up and edges begin to become clear again, we drive slowly through the still sleeping city. Rhode Island native Gavin Russom now lives and works in Berlin. He has produced many remixes recently, including a new single by Croatian techno artist Petar Dundov, New York's avant garde duo Palms and a remix featured on the upcoming soundtrack for the remake of the movie Tron.

    Tracklist

    A - Dreamcatcher

    B - Dawn

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    The Juan Maclean - You Can't Have It Both Ways 12"
    The Juan Maclean - You Can't Have It Both Ways 12"

    The Juan Maclean - You Can't Have It Both Ways 12"

    $9.99

    OG 12" from 2003 by The Juan Maclean

    Two hot tracks of electro goodness from JUAN MACLEAN (SIX FINGER SATELLITE). The title track features female vocals from NANCY WHANG, while the B-side gets you an electro lullaby in the "sad robot" genre. Both tracks produced and mixed by JAMES MURPHY & TIM GOLDSWORTHY

    A - You Can't Have It Both Ways (Live)

    B - My Time Is Running Out


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    PYLON - LIVE
    PYLON - LIVE

    PYLON - LIVE

    $28.00

    “Randy Bewley and Michael Lachowski’s simple lines display untoward rhythm and melody, respectively. Curtis Crowe bangs away so obdurately it’s hard to understand why he didn’t become rich. Vanessa Briscoe Hay barks and brays whatever incantatory phrases seem called for. Timeless. Cool.” Robert Christgau, Dean of American Rock Critics 

    “[Pylon] stands as shockingly modern and unparalleled these many years later.”  Michael Stipe, R.E.M. 

    1983 was a banner year for Pylon. The Athens quartet released their second album, Chomp, on Atlanta-based DB Records, toured the country extensively, and played several opening slots for then-up-and-comers U2. And then, without a hint of explanation, they quit. 

    Their final show at the Mad Hatter in Athens, Georgia, was, as was always the case, a frenzy of minimal disco thud, post-punk guitar scree, and deliriously inspired howl. Oh, and dancing — always dancing — both in the crowd and on stage. The gig was recorded (both audio and video) for a failed PBS pilot called Athens Shows, and the tapes were put away and forgotten. That is, until now. 

    Around three years ago, after Pylon’s DFA reissues hit the street, Chunklet CEO (and card-carrying member of the Pylon Fan Club) Henry Owings emailed the band bemoaning the lack of bonus material on the CDs, which sparked a larger conversation. “My favorite Pylon is live Pylon,” said bassist Michael Lachowski, with which Henry wholeheartedly agreed. Following a cordial sit-down at Michael’s apartment over the New Year’s holiday of 2015, an exhaustive search began for live recordings by Pylon. More specifically, live recordings from Athens in the early ’80s. Oh, and that sounded as good, if not better, than their proper full-length albums. 

    Numerous dead ends followed, but finally, and somewhat fittingly, the multitrack recordings of Pylon’s final performance at the Mad Hatter in 1983 were unearthed. Once the tapes were transferred and subsequently mixed, the explosive and compelling sounds raised one very significant question: Why in the world did Pylon quit? 

    For a band whose legacy, in their original incarnation at least, was two full-length albums and a handful of singles, Pylon were first and foremost a live band who weren’t as interested in working in a studio. Pylon’s raison d’être was performing for a crowd, and now there’s conclusive validation. 

    Pylon Live is a double vinyl album recorded on the band’s home turf at the culmination of their powers, and the results could not be more stellar. An all killer, no filler set with nothing left on the cutting room floor, Pylon Live includes powerful versions of the Pylon canon from their first and second LPs and even the hard-to-find song “Party Zone” (previously available only on a DB Rec comp) and their never-before-released rendition of the “Batman Theme.” 

    When compared to the band’s prior body of work, Pylon Live bookends all of it; some might even say it’s a better representation of this Athens quartet, who thrived on bouncing around on stage infinitely more than sitting in a studio. 

    There’s little arguing that the Athens powerhouse trifecta of R.E.M., the B-52’s, and Pylon is peerless. And while all three bands have achieved great critical acclaim, only the first two had the commercial acclaim they deserved. Pylon Live intends to correct that. 

    Pylon Live was released on July 25, 2016, the birthday of deceased Pylon guitarist Randy Bewley, with release events scheduled for this summer in Atlanta and Athens. 

    Tracklist

    1 - Working Is No Problem
    2 - Driving School 
    3 - No Clocks
    4 - Altitude
    5 - Gravity
    6 - Crazy
    7 - K
    8 - Cool
    9 - Italian Movie Theme
    10 - Buzz
    11 - Danger
    12 - Reptiles
    13 - Stop It
    14 - Feast On My Heart
    15 - Beep
    16 - M-Train 
    17 - Volume
    18 - Weather Radio
    19 - Party Zone
    20 - Batman
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      Guerilla Toss - GT ULTRA
      Guerilla Toss - GT ULTRA

      Guerilla Toss - GT ULTRA

      $20.00

      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

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        The Juan Maclean - By The Time I Get To Venus 12"
        The Juan Maclean - By The Time I Get To Venus 12"

        The Juan Maclean - By The Time I Get To Venus 12"

        $10.00

        Back in our store for the first time in years. Confusing both critics and fans upon initial release, The Juan's first 12" is backed by "The more raucous" 41 Small Stars (aka Ad Rock!) version and rare instrumental TG-3X. 

        A1: By The Time I Get To Venus

        A2:  By The Time I Get To Venus (41 Small Stars Version)

        B: TG-3X

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        LCD Soundsystem - I Used To (Dixon Retouch) b/w Pulse (v.1) 12"
        LCD Soundsystem - I Used To (Dixon Retouch) b/w Pulse (v.1) 12"
        LCD Soundsystem - I Used To (Dixon Retouch) b/w Pulse (v.1) 12"
        LCD Soundsystem - I Used To (Dixon Retouch) b/w Pulse (v.1) 12"
        LCD Soundsystem - I Used To (Dixon Retouch) b/w Pulse (v.1) 12"

        LCD Soundsystem - I Used To (Dixon Retouch) b/w Pulse (v.1) 12"

        $13.00

        Incredible remixes of LCD Soundsystem, from the album American Dream.

        This 12" features the song I Used To, remixed by Dixon.

        The B Side is a 13 minute tweaked out space disco odyssey, originally appearing as a pre-American Dream bonus track.


        a1) i used to (dixon retouch)
        b1)  pulse (v.1)

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        Guerilla Toss - Twisted Crystal
        Guerilla Toss - Twisted Crystal

        Guerilla Toss - Twisted Crystal

        $2.00

        TRACKLIST: 
        1) Magic Is Easy
        2) Jesus Rabbit
        3) Meteorological
        4) Hacking Machine
        5) Retreat
        6) Come Up With Me
        7) Unicorn Cigarette (Vinyl Only)
        8) Walls Of The Universe
        9) Jackie's Daughter
        10) Green Apple

        Analog synthesizers give tangible life to the works of
        Guerilla Toss. Whether it be the sound of a rocket ship, a kitten-with-a-wah, distorted dolphins, or a clavichord made out of honey-baked ham, the band consistently finds new ways to bring together the many ideas that combine to shape each new batch of art-rock puzzle pieces.  

        Twisted Crystal, Guerilla Toss’ new LP, feels more personal than ever for the band.  Angular yet irresistibly catchy, this collection of pop songs pulls influence from powerful groups like The Slits, ESG, Gina X, and early Madonna, with sing-speak vocals from Kassie Carlson nodding to legendary artists like Laurie Anderson, Grace Jones, and Lizzy Mercier Descloux – combining this all into a twisted, crystalline concoction.  

        Oracles and enigmatic egos are common lyrical themes, but charismatic instrumentality springs the listener back to extraterrestrial comfort. Old favorite sounds ring true from the trusty Sequential Circuits Six Track Synthesizer and Clavia Drum Machine. New, more refined sounds are molded and polished by drummer/producer Peter Negroponte, whose passion for perfection and creation goes far beyond an all-consuming Tetris effect.  Peter has truly excelled on this new recording, creating a complex networks of beats and sound that become easily intertwined with the rhythmic fabric of life.  

        Raised in a devoutly religious family, vocalist Kassie Carlson started performing at the age of five. She often participated in large pastoral choral performances, as well as her family’s four-part harmony gospel quartet, making her no stranger to the stage. Growing up under the fear of God leaves a distinct footprint on your perception. An omnipresent male dictates not only your present waking life but also the rest of your eternity. Discovering a rock band was more than self-expression for Kassie, it was a manifestation of a self-healing temple, a personal pipeline for power. What better way to part the waters of toxic sludge than a matriarchal shout? 

        Arian Shafiee, Guerilla Toss’ resident textural-guitar guru, is inspired by aspects of non-Western tuning and extended techniques. He designs moments of dense, glistening, pitch-shifted harmony and measured strumming that link classical impressionism to no-wave and early minimal music. His recent solo work truly comes through on this new record, as he tethers fantastical surreality to noise rock to deconstructed Middle Eastern pop music.

        Keyboardist Sam Lisabeth paws the keys with distinct virtuosity and expressive sass. A new member, Stephen Cooper (of the band Cloud Becomes Your Hand), binds the group with an urgent, disciplined, and melodic style. The hypnotic, ostinato-like basslines and up front rhythm tracks guide and grip each song like gravity, keeping the listener from swirling off into the cosmos.

        In albums past, Kassie’s performances resembled more of a manic, possessed high priestess; humming at the gates of hell, hacking telepathy and tugging the strings of every audience member. Twisted Crystal goes beyond this familiar darkness, leading us into a rhythmically calming charm with deep wisdom, serenity, and understanding. What is a twisted crystal? And who told you it would heal?

        At times the listener wanders through mazes of dizzying, alternately pulsing time signatures, but the roads always bounce, meet and magically snap back together. That meditative groove, both live and in the studio, has become signature for Guerilla Toss, drawing deep influence from 70s krautrock and experimental rock music like Tom Tom Club, Talking Heads, Brian Eno, Neu!, Cluster, Todd Rundgren, and La Dusseldorf.

        A constantly evolving, living breathing entity, the band now presents the album Twisted Crystal.  Enjoy the same surrealistic, kinetic healing energy of live Guerilla Toss, today in your own home.

        “Magic is Easy. Hypnotize yourself well.”

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        Amy Douglas - Never Saw It Coming 12"
        Amy Douglas - Never Saw It Coming 12"
        Amy Douglas - Never Saw It Coming 12"
        Amy Douglas - Never Saw It Coming 12"

        Amy Douglas - Never Saw It Coming 12"

        $7.00

        Tracklist:
        a1. Never Saw It Coming (Crooked Man Version)
        b1. Never Saw It Coming (Original Version) 
        b2. Never Saw It Coming (Crooked Man Dub)

        NYC singer Amy Douglas makes her official DFA debut with “Never Saw It Coming,” a limited release 12” single co-written and produced by Tim Wagner of 33Hz, with two remixes by Sheffield artist Crooked Man


        With a five-octave range and a diverse background in performance, ranging from rock to soul to jazz, Douglas’ voice is the heart of the song, lending heightened drama to the steady mechanical funk of Wagner’s production. The two remixes by DFA artist Crooked Man let the track grow and build slowly with longer, lush arrangements, while his hypnotic dub doubles down on the woozy bassline and has Amy’s vocals echoing out into the ether. 

        Though this is Douglas’ first release on the label, she is no stranger to the DFA roster. She is the voice behind “Happiness,” the epic closing track on Crooked Man’s self-titled 2016 LP, and also appears on the forthcoming Crooked Man album, due out on DFA this fall. Amy also works with Juan Maclean as one half of Peach Melba, who have released singles on both DFA and Defected / Classic. Crooked Man’s signature maximalist house sound has always been complemented by the support of strong female vocalists, and together the pair take each other’s work to a new level for an impressive collaboration. Rumor has it they’re currently working on more tracks together… 

        Lots of artists these days aim to ‘reimagine’ the sounds of disco, house, and soul, but Amy Douglas and Crooked Man are creating something all their own that pulls from the best of times past, while also looking decidedly forward.
         
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        Guerilla Toss - Eraser Stargazer
        Guerilla Toss - Eraser Stargazer

        Guerilla Toss - Eraser Stargazer

        $5.00

        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. 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.

        GT had a productive 2015, releasing their acclaimed DFA debut Flood Dosed, which cemented support from folks ranging from punk icon Henry Rollins to Busy P of Justice’s Ed Banger Records. The band also relocated from Boston to NYC. “We felt like it was time to move closer to our favorite active bands and artists and they all just so happen to live in NYC!” This didn’t slow the pace of their live performances - between road trips to universities and DIY Festivals, they have a de-facto residency at Brooklyn’s premiere underground venue Palisades and scored opening slots for The Juan Maclean and Mission of Burma.

        Eraser Stargazer was written and recorded in 6 weeks of winter isolation in upstate New York. Fans of the group will hear all of the beloved hallmarks of the Guerilla Toss sound - solid bass grooves, squealing guitars, and kitchen sink percussion. Each instrument now occupies its own part of the audio spectrum, with vocalist/poet Kassie Carlson’s spirited incantations brought into focus. Album centerpiece Grass Shack is a perfect example of this leaner, yet tougher Toss. It traverses nearly seven minutes of game- show-winner keyboard stabs, mutant funk basslines, and time signature changes - all grounded by Peter Negroponte’s virtuosic drumming. Carlson describes the themes of the song as “A deep analytical depiction of a small unit of time, with heightened senses, Ripping yourself out of bed even though it might be harsh and overwhelming. Seeing patterns in the little things that make life beautiful.” Heavy subject matter permeates the rest of the record - but that doesn’t mean it’s a downer. Lead single Diamond Girls casts Carlson as a no-wave cheerleader over instrumentation reminiscent of DFA alumni Black Dice and The Rapture, culminating in the group’s catchiest chorus yet. Album closer Doll Face On The Calico Highway is the perfect summation - angular guitars, bells, and low-end vibrations interject and decompose as quickly as they appear, until a hissing cymbal is all that remains.

        Eraser Stargazer is released by DFA on March 4th, 2016. The initial pressing is limited to 1000 copies on green vinyl.

        Tracklisting: 

        1. Multibeast TV
        2. Diamond Girls
        3. Grass Shack
        4. Color Picture
        5. Eraser Stargazer Forever
        6. Perfume
        7. Big Brick
        8. Doll Face On The Calico Highway

         

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        Crooked Man - Crooked Man
        Crooked Man - Crooked Man

        Crooked Man - Crooked Man

        $5.00

        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.

        Tracklist:

        1. Coming Up For Air
        2. This Machine (Kills Me)
        3. The Girl With Better Clothes
        4. Scum (Always Rises To The Top)
        5. Preset
        6. Fools And Fanatics
        7. Try Me
        8. I'll Be Loving You
        9. Happiness
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