All artists

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-fueled 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 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 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.”

“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 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.

Newbies Jay Green and New Jackson hit their marks too – Green 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.”

Front and back print on a black Champion S600 Powerblend blank.

Shipping is included for US + UK orders.

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: ‘Goofstep’. We’ll see if that one sticks…

Eric explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:

“i made it here in Palma at my studio, this is the first full record i’ve made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.”

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.

Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric’s third solo album for DFA Records.

Tracklist: 
1) Boogieman
2) Neckbone
3) Disco Ball
4) Bibbidi Bobbidi Boo
5) Mixer Shredder
6) Close Encounters
7) Smearjob
8) Do Whatcha Wah Wah

COMPACT DISC AVAILABLE ON DFA BANDCAMP

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.

Angelic Ascent is a new collection of recordings from Infinity Machine, the ever-wandering psychedelic duo from Juan MacLean and Gee Dee. It’s not quite a proper album (their “debut” will come next year) and more of a side quest in major key new age - it really does sound like its title. We mean this completely sincerely: grab an eye mask and prepare to ascend.

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

DFA / REKIDS 12" / DFA2204 / 2008

A. Brooklyn Club Jam

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

Black Meteoric Star was written, recorded and produced by Gavin Russom between September of 2006 and December of 2008.

This CD contains the entire 12" series.

Excluding "Dawn" the tracks have been edited for album length.

The original digital transfers of tracks 1-4 were done in Berlin.

This recording was achieved using specialized electronic circuits designed and built by Gavin Russom.

Tracklist:
1) Death Tunnel
2) World Eater
3) Domination
4) Anthem
5) Dream Catcher
6) Dawn

1. Can You Ever Really Know Somebody (Original)
2. Can You Ever Really Know Somebody (Instrumental)
3. Can You Ever Really Know Somebody (LA-4A Remix)
4. Can You Ever Really Know Somebody (LA-4A Dub)

A1. The Brighter The Light
A2. The Brighter The Light (DJ Tennis Remix)
B1. The Brighter The Light (Len Leise Remix)
B2. The Brighter The Light (Octo Octa Remix)

For just over a decade, EXEK has very quietly become one of the most hypnotic bands on the planet, mutating and growing from record to record, gradually opening themselves up without ever losing that strange, inscrutable, altogether essential quality that’s made them so great—so EXEK-y.

On 27 February, the Melbourne post-punk outfit—vocalist and chief architect Albert Wolski, guitarist Jai Morris-Smith, drummer Chris Stephenson, synth specialist Andrew Brocchi, trumpet-brandishing vocalist Valya YL Hooi, and bassist Ben Hepworth—will release Prove The Mountains Move, their seventh album and first for DFA. It is, as Wolski says, “a bit more 'epic’” than anything he’s recorded to date, a lush and unabashedly melodic set of surrealist pop that luxuriates in contradiction. “This record is experimental in its craft,” Wolski says, “but it may not necessarily sound experimental.”

There’s good reason for that. Work began on a cold afternoon in June of 2023, as Wolski and Stephenson came together at Pelican Refill Studios in Melbourne to track drums—the first thing they always do. From there, Wolski went home on his own and began sifting through the beats and breaks they’d captured, letting the drum sounds guide him towards melodies and basslines, looping and layering and laying foundation for what would become Prove The Mountains Move. “I feel comfortable tinkering away alone like a mad scientist,” he says. “I also enjoyed pressing record with no clear intention. More often than not, that would steer me towards an interesting direction that my conscious mind probably wouldn't have sought out.”

And yet, somehow Wolski arrived at his most direct work since he launched the project, newly inspired by the clarity and concision of mainstream pop, the strong and undeniable pull of a simple vocal melody. After Melbourne’s famously stringent COVID lockdowns ended, he found himself wanting to stay out. “Working on new music took a distant backseat to raging with friends,” he says. “And those parties were filled with big bangers as the soundtrack—stuff I didn’t really listen to on my own, stuff I hadn't really encountered since my adolescence. But in the early hours of Sunday morning, ‘Alive’ by Pearl Jam sounds like you’re talking to God. And so does “All I Wanna Do”by Sheryl Crow, and so does “Feel” by Robbie Williams. Krautrock and dub were still in my DNA, but the music that I started to make was perhaps a little more lighthearted, and perhaps a bit more emotional.”

Which isn’t to say you should expect to hear traces of Eddie Vedder in Wolski’s vocal delivery here, but the stakes feel similar in their own way—this is what it sounds like when EXEK are really going for it. Take, for instance, the levitating synths of opener “Sidestepping” or the mountainous guitars of “Arriverderci Back Pain,” the piano bench pyrotechnics of “Don’t Answer (When They Call)” or the Bowie-like melancholy of “You Have Been Blessed.” The arrangements feel more open, the sonics more focused, the colors more brightly rendered. It’s not hard to believe him when Wolski says he spent time earnestly A-B’ing his mixes of Prove The Mountains Move against some of the most important albums ever recorded, Abbey Road among them.

But everything is relative. And lyrically, Wolski remains oblique. ”Each song is a vignette into an abstract milieu, whether it’s an experimental chiropractic business at an airport, or scantily clad creatures made from dust at a food court. No matter how wacky, there's themes and motifs throughout the record, both lyrical and musical, that mirror up and reflect each other throughout different songs.” That dissonance—between the direct and indirect, smooth and textured, shadowed and incandescent, zany and deadpan—is the animating force at the heart of these songs, his best yet.

Tyler's newest EP on his own Interference Pattern Records, mixed by the mighty Dennis Bovell.

We got a box for the North Americans looking to avoid insane per-item shipping.

Special die cut sleeve designed by Lenny Vigden.

Four tracks of percussive madness.

2x12" single of Juan's breakout classic "Tito's Way", featuring a massive 11-plus minute remix from Linstrøm + Prins Thomas, plus additional edits from Reverso 68, and Booka Shade.

UK version comes in a die-cut sleeve.

Tracklist

Tito's Way (Album Version)

Titos Way (Lindstrom & Prins Thomas Remix)

Tito's Way (Booka Shade Remix)

Tito's Way (Reverso 68 Remix)

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

Hand stamped white label in plain sleeve. Numbered xxx/100. 
(dfa 2461 / 2015)

Featuring Pat Mahoney (LCD Soundsystem) and Dennis McNany

1. Monotronic (Baldelli & Dionigi Remix)

2. Who's Who Of Who Cares (Baldelli & Dionigi Remix)

After a banner year playing shows with LCD Soundsystem in the US and a string of wigged-out festivals through the UK and Europe, Mermaid Chunky close things out with a proper double A-side remix 12” for DJs who still believe in records.

Up first, New York legend Justin Strauss and W. Andrew Raposo of Midnight Magic drag “céilí” indoors, trading barefoot fields for Big Apple sweatboxes, major chords ringing, everyone slightly feral.

Flip it and there’s Peach’s version of “chaperone,” a burst of rhythm that turns the original’s messy euphoria into house music manna: cold machinery, warm hearts, no sleep.

Mastered by Bob Weston

Lacquer cut by Josh Bonati

Pressed at Furnace Record Pressing in Alexandria, VA

Another slamming version of Simple Things (Work It Out) featuring a remix from Mr. Todd Terje. The credits say "More Cowbell by Todd Terje", need we say more?

A) Simple Things (Work It Out) (Main Mix)
B) Simple Things (Work It Out) (Todd Terje Version) 

 THIS IS JUST A SINGLE CASSETTE IN THE SERIES.

VIEW ALL INFINITY MACHINE RELEASES HERE.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe.

The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees.

These events, billed as “psychedelic dance ceremonies” lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a “dance” soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds.

After awhile, there was literally three albums worth of material, each of them a voyage into the warm space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what’s across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you’ve read this far then you’re either the right kind of curious or just forgot what you were doing.

INFINITY MACHINE - 003 TRACK LIST:

Side A

Free From The Bad Paths
Mother Earth
Hummingbird Spirit
The Black Flute
Luminous Body

Side B

Desert Sky
Demons Will Fear Me
Red River, Blue Mountain
Magicians Of The Gods


Manufactured at National Audio Company in Springfield, MO

The debut LP by The Crystal Ark.

The limited edition 2xLP comes in a silk screened sleeve printed inside & out and is an edition of 400 total.

The Crystal Ark is the child of Gavin Rayna Russom and Viva Ruiz, and features contributions from LCD Soundsystem members Matt Thornley and Tyler Pope, among a cast of other DFA-related musicians like Alberto Lopez and Jaiko Suzuki. 

Track List: 

1. Ascension
2. We Came To
3. Morir Soñando
4. Crossing
5. Paradise
6. Rhodes
7. Rain
8. Silver Cord

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 Don’t 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)

Tracklist:
A1) Love Release (Ara Koufax Remix)
A2) High Times (Gerd Janson Discotheque Remix)
B1) Familiar Five (Justin Van Der Volgen Remix)
B2) Rocketship (Prosumer's Re-Transmission) 

Marcus Marr's 'Familiar Five: Remixed' EP, due digitally on May 18 via DFA Records, features remixes from Justin Van Der Volgen, Prosumer, Gerd Janson and Ara Koufax. In addition to a digital release, the EP will be available via limited edition 12” vinyl. 

“It was fun to ask some of my favourite producers to remix these tracks,” notes Marr. “I love Gerd’s remixes and play them loads. Prosumer is a great producer and I’ve been a fan of his for ages. Justin Van Der Volgen I also love - his originals and his remixes are always interesting. And Ara Koufax I’ve been a fan of since their tune ‘Brenda.’” 

Marr is no stranger to collaboration, working with Australian musician Chet Faker on 2015’s Work EP. Work yielded two hit singles, “Birthday Card” (Annie Mac’s BBC Radio 1 first play, #1 Hype Machine) and “The Trouble with Us” (#1 Hype Machine). The Familiar Five EP, however, shows him in his individual element, an artist and performer who understands just how to make superb music for both man and machine.

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.”

DFA EMI UK 7" / dfaemi  2176 / 2007 / Picture sleeve with promo sticker

PINK Vinyl!

A. End Of The World

B. Go To Sleep

As part of Carhartt WIP’s Relevant Parties series, The Juan Maclean assembled this mix of Eric Copeland tracks—solo works and remixes alike. It’s a strange, propulsive ride through one of DFA’s most unpredictable catalogs.

Mixed in New York, June 2020, the cassette was released as a physical-only edition with a half-white, half-black shell.

Tracklist:
A1. Bibbidi Bobbidi Boo
A2. Pay Off
A3. Untitled Banana
A4. On (NHK yx Koyxen Remix)
A5. Gobby - Hometown (Eric Copeland Remix)
A6. BS Dropout
A7. Fresco
B1. Bobby Strong (Anthony Naples Remix)
B2. Contact (Lokier Remix)
B3. Kash Donation
B4. Neck Bone (Cooper Saver Remix)
B5. Mixer Shredder (LNS Remix)
B6. Electric Mud (Gerry Read Remix)
B7. Mixer Shredder (Physical Therapy’s Tegal Mix)

The lost "5th Track" from the Delia & Gavin "Days of Mars" album sessions.

Comes in a beautiful picture sleeve and features a remix by Ame.

**PLEASE NOTE all remaining stock of this title is slightly worn / imperfect. The cost has been adjusted to reflect this. 

Tracklisting:

1. Track 5 (10:03)
2. Track 5 (Âme Remix) (10:07)

Loaded Slogan is a new book of t-shirt texts by Eric Copeland of Black Dice. 

Across 112 pages of lists, Copeland presents every slogan t-shirt he observed for one year, starting in March  2017. The resulting text reads as a poetic display of deranged musings, fashionable phrases, grammatical gaffes, and crude oddities.

The slogans were collected under the pretense that the shirts were not to feature any logos, mottos, brands, titles, teams, or bands.

"further adventures in the twisted, funny, and profound reappropriations Eric has brought us for years through his music and through his past books "Pidgin Coup" and "C&B in Palma" - Aeon Books

DFA / Astralwerks (ASW60970 / 2006)

Tracklist:
a) Wrong Galaxy
b) Triumph

Hand stamped white label in plain sleeve.

Featuring vocals by Alexis Taylor / Hot Chip
(dfa 2513 / 2016)

1. End Of The Trail (Original)

2. End Of The Trail (Instrumental)

3. End Of The Trail (Roman Flugel Remix)

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)

LIMITED TO 150 COPIES WORLDWIDE.

THIS PRODUCT IS JUST THE 002 CASSETTE. VIEW ALL INFINITY MACHINE RELEASES HERE.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe.

The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees.

These events, billed as “psychedelic dance ceremonies” lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a “dance” soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds.

After awhile, there was literally three albums worth of material, each of them a voyage into the warm space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what’s across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you’ve read this far then you’re either the right kind of curious or just forgot what you were doing.

INFINITY MACHINE - 002 TRACK LIST:

Side A

Calling The Spirits
Flesh Of The Gods
Positive Energy
The Lost Flute

Side B

Oh, the jokes we had with the title of this song. Well, there's only one. "Juan Day". Anyway. The followup to Happy House, features Alex Frankel on backing vox. Includes an instant digital copy. 

Tracklist

A1 - One Day

A2 - One Day (Marc Romboy Remix)

B1 - One Day (The Emperor Machine Remix)

B2 - One Day (Surkin Remix)

Vol. 1, Vol. 2, and Vol. 3 LPs, together as one (bundled package).

dfa 2230b / 2009

A1. Happy House (VHS Or Beta Remix)

A2. Happy House (Chateau Flight Remix)

B.  Happy House (Will Saul & Mike Monday Remix)

Written and recorded in the depths of the early pandemic, JJULIUS’ first solo album, Vol. 1, is a heavily lidded, subsuming journey into the dark heart DIY and kosmische sounds. There are traditional “songs” here, sure - catchy basslines, little dollops of guitar melody, and words, albeit sung in Swedish - but it’s really more of a complete experience than a collection of tracks, a world you don’t really want to leave even if you have no idea what’s really going on.

JJULIUS is Julius Pierstorff, a Götebörg-based musician and producer who has kicked around that city’s incredibly vibrant DIY scene in a variety of projects. He is half of Monokultur with his partner Elin, who also records on her own as Loopsel. Newly signed to DFA, the pair have new records on the way along with this repress of the long-since-sold-out Vol. 1.

The debut vinyl release by Surahn on DFA Records is the standout track from his 2012 EP, "Watching The World", given the Diskomiks treatment by Prins Thomas. 

Tracklisting:

1. Watching The World (Prins Thomas Diskomiks)
2. Watching The World (Prins Thomas Diskomiks) [Instrumental]

James Curd resides in Chicago and has been Djing and making music for the last 15 years. Curd has remixed and worked with many great artist, including The Juan Maclean. He has also worked his magic on Cymande, PNAU for EMI, and The Dukes of Windsor for Island Records to name a few.

We Just Won't Stop is Curd's first record with DFA. He began his affiliation with DFA when he contacted James Murphy via email then sending songs exclusive to Murphy for his selection for the label.

We Just Won't Stop features vocals by talented singer and song writer JDub from Chicago. Over a summer weekend in the DFA studios Curd went to NY to mix and perfect the track with Murphy. The final product being a timeless hip house jam. 

Tracklist

We Just Won't Stop (ft. JDub)

We Just Won't Stop (Instrumental Version) 

TRACKLIST: 

A) Mental Dive (14:57)
B The Lagoon (11:35)

On his DFA debut, German experimental techno producer Edward largely departs from the 4/4 grid he frequents and blurs the focus towards a more slippery, improvisational vibe. Fans of his Desert Sky alias, as well as his work reshaping classic tracks by Harmonia & Eno and Rolf Trostel of Tangerine Dream, will be quite pleased with Underwater Jams. These two new songs unfold at their leisure, going off on whizzing, kosmiche-influenced tangents, all the while guided by the hand drums of percussionist Geronimo Dehler. On A-side “The Lagoon,” the freedom of the long-form composition allows Edward to go deeper and more mesmeric, while the restrained stomp of B-side “Mental Dive” allows for an introspective dance floor moment.

Though he’s been releasing music for the past decade, Edward has always been a bit enigmatic, with a majority of his discography only available on vinyl. He remains as prolific as ever – in the last year alone, Edward has toured all over the world, playing esteemed clubs from Berghain to Fabric, and splitting bills with artists like Ricardo Villalobos and Oskar Offermann. His numerous releases on Giegling, Die Orakel, and White demonstrate his penchant for combining the psychedelic and the locked-in groove, but it’s the sprawling sense of adventure that makes this release one of the more idiosyncratic in Edward’s catalog.

Limited heavyweight vinyl with matte finish jacket and picture sleeve, rainbox gradient center label. 

Smiles for miles. The Black Dice classic comes with Miles of Smiles on the A-side and Trip Dude Delay to the B-side in a beautifully collaged sleeve.

Tracklisting:

1. Miles of Smiles
2. Trip Dude Delay

Inspired by the rural environment of his hometown of Veria, Greece, multi-instrumentalist / singer / producer Panagiotis Melidis started writing music as Larry Gus (from the Greek larigas, or larynx) in 2006, soon after the early demise of his previous band Ginger (a bass and drums duo with a sound similar to the early-’00s Providence scene, paired with hip hop overtones).

Melidis initially composed production music, and later on earned a reputation for intense and chaotic live performances. He retained Ginger’s primitive aesthetics of groove based music, along with an obsession for late-’60s / early-’70s free jazz, and combined them with sample-based techniques and crystal-clear psychedelic pop melodies, all merged into infinitely dense layers and polyrhythms.

Stitches, his first proper full-length, was released in 2009 for Greek hip hop label Cast-A-Blast, and Melidis began a yearlong residency at the Music Technology Group in Barcelona as an intern and postgraduate student. He then returned back to Veria to work on his next project, Years Not Living, an album inspired by Georges Perec’s 1978 book Life: A Users Manual and Lucio Battisti’s 1974 album Anima Latina. The sessions yielded a staggering 85 songs, and the entire process, set amidst Greece’s financial crisis, was documented and will be part of the feature film My Friend Larry Gus (directed by Vasilis Katsoupis), to be released in 2013.

Pared down to ten tracks, Years Not Living incorporates a wealth of diverse styles, ranging from ’60s / ’70s psychedelia and pop to hip hop and more.

Tracklisting:

1. With All Your Eyes Look
2. The Night Patrols (A Man Asleep)
3. Taxonomies
4. The Sun Plagues
5. The Eternal and the Ephemeral
6. Merely Today
7. Pericles
8. In Violet Ink (Misprints)
9. The Percival Seascapes
10. Paths Laid Down

---

“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

Tracklist:
1) Mateo 
2) 321 Contact
3) Electric Mud
4) Heads
5) Build-A-Brain
6) Fresco
7) Hugo

In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy. 

Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described “rippers,” music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.