All artists

Tracklist

A - Lazaro Casanova Remix

B - Paul Wolford Apocalypse Version

This track is basically the benchmark whenever we have a good chat around the office about a "classic DFA 12". Features a remix of Endless Happiness by EYE of The Boredoms on the flip.

Tracklisting:

1. Cone Toaster
2. Endless Happiness (EYƎ Remix)

dfa 2136 / 2004 / 10"

Der Half-Machine

A. I Robot (33rpm)

B. Less Then Human (45rpm)

Limited editon of 1000 hand-stamped and numbered copies, assembled at DFA in NYC. 

DFA is proud to release a long-gestating 12” single of wild interprations of Eric Copeland’s 2013 album “Joke In The Hole”. The Black Dice member received universal acclaim for the record, “Fringe though Copeland may be, this album is a serious coup for DFA—he walks the line between complete nuttiness and outright accessibility, and ends up with one of his best records to date.” (XLR8R) Starting us off is Panda Bear, who adds his trademark falsetto vocals and shuffling percussion, sweetening Eric’s black coffee beats. DFA’s own sonic collagist Larry Gus blends Eric’s mumbled vocals with bright percussion and a vocoded male choir, among many other audio dalliances. Meanwhile, Hyperdub’s Fhloston Paradigm (AKA King Britt) takes aim with his laser cannons, firing volleys at unrelenting waves of marching alien armies, before being swallowed up in a solar flare. Finally, Anthony Naples (Text Records, Trilogy Tapes) brings it back to the club with snaps, claps, and hi-hats, but it sounds like you left ‘em out in the rear window of your car on a sunny day. You know what we mean. 

Tracklisting:

1. Cheap Treat (Panda Bear Version)
2. Grapes (Larry Gus Remix)
3. Cheap Treat (Fhloston Paradigm Remix)
4. Bobby Strong (Anthony Naples Remix)

A. In The Dark Of The Night

B. In The Dark Of The Night (Clap Rules Remix)

DFA EMI UK 7" / dfaemi 2166 / 2007 / Picture sleeve

An alias of Hot Chip

A. Doubleshaw

B. Twist Myself Again

Give Me Every Little Thing 12" DOUBLEPACK w/ vocals by James Murphy and Nancy Whang

A1. Muzik X-Press Vocal Mix

B1. Musik Express Instrumental Mix

B2. Original Album Version

C1. Cajmere Remix

C2. Putsch 79 Remix

D1. Eric B. Deep Dub

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

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

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

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

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

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

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

2x12" EP on heavyweight black vinyl, limited to 300 copies. 

Tracklist:
1) Mixer Shredder (LNS Remix)
2) Neckbone (NHK yx Koyxen Remix)
3) Mixer Shredder (Physical Therapy's Tegel Mix)
4) Neckbone (Cooper Saver Remix)
5) Mixer Shredder (Machine Woman Remix)
6) Neckbone (Machine Woman Remix)
7) Mixer Shredder (Physical Therapy's Gatwick Mix) 

On the Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.”Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.”Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.
 
Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.
 
“Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

dfa 2262 / 2010

Written and Produced by JAMES MURPHY and MARCUS LAMBKIN (Shit Robot)

A. Tuff Enuff? (Long Version)

B. I Found Love (Wild Geese Remix)

DFA EMI UK 7" / dfaemi7 2178 / 2007 / picture sleeve

A. Crackerjack Docker

B. Service, Service

This package includes both Factory Floor 2xLP albums at a special bundled price.

"Factory Floor" (DFA2392)

"2525" (DFA2525)

DFA is pleased to announce three 12" vinyl singles, consisting of remixes of "How You Say" from Factory Floor's self-titled debut LP.

This one (DFA2439) features two unique remixes by Bookworms (L.I.E.S. / Confused House), which marks his return to DFA following an anxious remix of The Night Patrols by Larry Gus in 2013. It reinforces the deep and dark acidic sounds he has become so well known for, taking this hypnotic single and tweaking it out for maximum impact.  

Tracklist

A1 - How You Say (Bookworms Remix)

A2 - How You Say (Bookworms Remix 2)

Tracklist

Limited edition of just 200 copies 

1 - OB-8
2 - Torpedo

Tracklist:

1) Projekt 3
2) Pastarella Al Limoncello
3) Si
4) Alles
5) PMS
6) Signum Viridi
7) Myalgia
8) Crocus Vernus
9) Die Dimension
10) Die Dimension (Dub Version) 

Shrouded in mystery, the Hermetica are a series of Egyptian-Greek didactic texts, meant to help the willing student better understand the cosmos, divinity, and nature. On her debut LP for DFA Records, German producer Perel takes the listener into deep space and explains it all. Over the course of nine tracks, she shares a striking amalgamation of house, new wave, and kraut motifs that crystallize to form a unique sound. 

Born in Saxony, Annegret Fiedler ventured into the realm of songwriting at the age of eight, composing her first songs on her grandmother’s piano while listening to Eurythmics and 2 Unlimited cassettes in her spare time. Moving to the East German city of Halle to study in the mid-aughts, she was heavily influenced by the multifaceted alternative music scene there, and the parties people threw in post-Berlin Wall abandoned buildings. Fiedler went on to develop her craft as a formally trained singer, co-producer, and multi-instrumentalist in several bands, covering a broad palette of styles ranging from punk rock to electro pop and honing her performance skills. A move to Berlin (and the city’s club landscape) inspired her to start recording solo productions under the moniker Perel. 
  
The early 80’s sounds of that Eurythmics cassette prove influential on many tracks, where Perel combines her love of dance music with the stark vocal delivery of Annie Lennox. She delivers her lyrics in German, and her arrangements recall the starkness of Cluster, Grauzone, and Conny Plank’s work with Liaisons Dangereuses / DAF - all distinct German voices from the 1980’s. The fact that Conny Plank recorded the first LP by the Eurythmics, In The Garden, brings it all full circle. 

These days, Perel can be found playing DJ sets at internationally acclaimed venues like Berghain / Panorama Bar, De School, ://about blank, and Wilden Renate, while also forging connections with Paris’ Rex Club, Oslo’s Jæger, and Bossa Nova Civic Club in New York. She’s shared bills with Jennifer Cardini, John Talabot, and DJ Harvey, among others, and the record’s lead single “Die Dimension” was one of Dixon’s most played tracks on last year’s festival circuit. A truly captivating performer, she lets the audience’s energy guide her in rooms both big and small. 

Though her debut album is many steps removed from the dancefloor, Perel’s Hermetica purposefully draws the listener to a very different world. As she said regarding “Die Dimension”: “[the track] paraphrases an escape from physical and psychological limits, as well as linear and one dimensional models.” The LP is a focused, sonically adventurous work, where the DJ also happens to play every instrument, write every song and intone words of prophetic wisdom on every track. 

Tracklist:
1) Earth (8:58)
2) Corps Étranger (6:08)
3) Earth (Passarani HiNRG Mix) (8:49)

Montreal duo Essaie pas return to DFA with a 12-inch that picks up where their 2018 album New Path left off. "Earth" is a blistering ride through the rave, an amalgamation of techno and trance. The galloping bassline is the backbone of the song, and Marie Davidson’s vocals climb to new heights against synth stabs. "Corps Étranger," with its stuttering percussion, is a slow burner in comparison. For the remix of "Earth," Marco Passarani of Tiger & Woods (Running Back, Numbers) doubles down on the Italo disco angle and doesn’t shy away from the more anthemic moments of the original, managing to rework it into something akin to a celebration of this "shithole" we call Earth.

DFA2139 / 2004

A. Get Up / Say What (DFA Remix)

B1. Get Up

B2. That's The Way I Like It

(DFA0112 / 2007)

A1. Max Motion

A2. Yello (Original)

B1. Yello (Version Idjut Hoe Down Mix)

B2. Yello (Version Idjut Dub Down Mix)

dfa 2213 / 2009

A. Tumbling Cubes

B. Trap Door

Tiger Style / 2002 / Full length 2xCD in jewel case

Mastered at DFA Studios and featuring James Murphy on Vocal, Drums and Synths.

Pixeltan's latest effort – their first release in five years, and long overdue – is a 4 song EP that solidifies a sound that has been slowly (very slowly) been developing over the course of almost a decade now, and also manages to completely redefine what these 3 are capable of. The new tracks are both referential and reverential, while still being wholly of this time, modern, fun and very funky indeed.

On their new four-song EP, the band takes inspiration from a number of sources. On "Yamerarena-I," Pixeltan builds atop Afro percussion with steady bass and guitar lines, and Yoneta's matter-of-fact vocals, which veer from Japanese to English (Yamerarena means "can't stop" in Japanese). "Scatter" and "No More Delay" take a page – or at least a few notes – from Larry Levan's Paradise Garage disco songbook, while "I Told You So" shows an appreciation for ESG, but adds layers of dynamic percussive elements and showcases Yoneta's vocal ability to go from sweetly menacing to raw-throated screams within the song's mere four minutes. ("I told you so," she spits, before adding, as if to ward off any remaining doubts, "I told you so...bitch.")

The eclecticism of Pixeltan’s sounds is a natural byproduct of the musical experience each member brings to the trio: drummer Hisham Bharoocha formerly played with both Black Dice and Lightning Bolt; bass player Devin Flynn and singer Mika Yoneta are ex-members of Plate Tectonics. The Brooklyn-based threesome originally formed in 1998, and released their self-titled EP in 2001. The same year, they collaborated with DFA on a remix of their song "Get Up/Say What," which the public didn't hear until 2004. The resulting track – a throbbing mix of jittery bass, dancefloor beckoning handclaps, and Yoneta's alternately seductive and screeching banshee vocals – invoked an immediacy that resonated instantly with listeners.
 
- Kali Holloway

Tracklisting:

1. Yamerarena-I
2. Scatter
3. I Told You So
4. No More Delay

Eric Copeland's debut album as a solo artist on DFA.

The double vinyl is covered inside and out with collages by Eric himself. Double heavyweight vinyl with a download card.

Tracklisting:

1. Rokzi
2. Grapes
3. Tinkerbell
4. Flushing Meats
5. Babes In The Woods
6. Bobby Strong
7. Shoo Rah
8. Cheap Treat
9. Kash Donation
10. A Little Tit
11. New Leather Boogie

The debut single from the kick-ass Japanese duo of K.U.D.O. (MAJOR FORCE WEST, SKYLAB, UNKLE) and KAN TAKAGI (Major Force). Joined by YOSHIMI P-WE (BOREDOMS, OOIOO), the group delivers some of the most off-beat, drum-heavy pop heard in some time on the track "Sunplus." Backed with a classic DFA version.

Tracklist:

1. Sunplus

2. Sunplus (DFA Version)

DFA Records is pleased to announce I Need New Eyes, the new album from Larry Gus. 2013’s Years Not Living was a masterpiece of composition, pushing sampling to its limits within a conceptual framework provided by Life A User’s Manual, George Perec’s postmodern fiction masterpiece. 

I Need New Eyes treads familiar sonic ground to Larry Gus’ previous works - but his beatmaker percussion, shill falsetto vocals, and found sounds form a gestalt more concise and clear than ever. The references to literature continue -  the title is based on a supposed quote by Proust, “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” This record was completed amidst two life-changing events - the birth of his first child, and his participation in Red Bull Music Academy in Tokyo. (Fellow attendee NV contributes backing vocals on Belong To Love.) He explains, “When you have kids, you realize that all of the infinite branches that you were wishing to explore are starting to being cut violently with a axe (held by the baby), and all infinite choices in your life (and lifestyle) start to shrink and diminish slowly. I decided on the title the moment I got back from Tokyo, upon realising that I could never be able to live there, now that I have a baby”. 

His lyrics are brought to the forefront here - covering a wide variety of anxieties, personal and professional. “Don’t forget, the success of everyone else always includes failed attempts / but why can’t I figure it out for myself” he howls over swirling drum fills on NP-Complete, “No more polite comments / at least not from my friends” he croons in A Set Of Replies. This feeds into an alternate meaning for the title - “I need new, less jealous eyes” because envy and jealousy and bitterness are also things that recur a lot in my lyrics, always related to other musicians and things that they achieve.” 

In spite of the of the heavy conceptual themes, there is a true jubilance to the sonics of the record. Twinkling synths and orchestral stabs mingle with handclaps and a thundering kick drum on All Graphs Explored, while funk guitars and endless layers of percussion and brass build around Larry’s bilingual vocals, climaxing in a double-timed drum solo. This is a record for fans of Caribou, Can, Panda Bear, and self-reflection.

I Need New Eyes is released by DFA Records and [PIAS] Cooperative on October 2, 2015.

Tracklist

DFA EMI UK 7" / dfaemi 2171 / 2007 / picture sleeve

A. Up! Up! Up!

B. Hamworthy Sports And Leisure Centre

DFA EMI UK 7" / dfaemi 2161 / 2007 / Picture sleeve 

Ltd. 500

A. You Are The Space Invader (Original Version)

B. Eat, Sleep

dfa 2291 / 2011

Written by Aaron Pfenning (Chairlift) and Dev Hynes (Blood Orange)

A. Equal Dreams Featuring Solange Knowles

B1. Equal Dreams (Instrumental)

B2. Asleep With The Lights On

DFA EMI UK 7" / dfaemi  2173 / 2007 / Picture sleeve

A. This Aching Deal

B. August 3rd (Arkitype Remix)

DFA EMI UK 7" / dfaemi7 2189 / 2007 / Picture sleeve with promo sticker

A. You Are The Space Invader (Re-recorded with The DFA)

B. 1,2,3,4,5

Written by Marcus Lambkin, Juan Maclean, and Nancy Whang.
Vocals by Nancy Whang. Produced by Marcus Lambkin and Juan Maclean.
Remix by Spencer Parker.

Tracklist:
a1. original
a2. spencer parker worktool 1
a3. spencer parker worktool 2
a4. spencer parker worktool 3

b1. spencer parker workmix
b2.spencer parker workdub

dfa 2507 / 2016 / Picture sleeve

Spiked Punch are Aaron Warren and Eric Copeland (aka 66.666% of Black Dice)

Limited Edition of 300

A. Guinea Pig

B. Vanilla Meatball

DFA is thrilled to now offer releases from Voluminous Arts, the new label from Gavilán Rayna Russom, in our online store. Rayna has released a ton of music on DFA under aliases like Gavin Russom, Delia and Gavin, Black Meteoric Star and The Crystal Ark, and she's also been a member of LCD Soundsystem. She's since released music on a bunch of other labels (all of it very good!) and started Voluminous Arts in 2017.

Learn more about Voluminous Arts here.

Long ago, one of her central fascinations was the story and writings of Saint Teresa of Ávila. She sought these out after being shown Bernini’s sculptural rendering of St Teresa’s experience of being penetrated by the Holy Spirit in an art history class in the early 90’s. The mix of religious ecstasy, sexuality and attention to detail in the sculpture lodged deeply in her consciousness. As a deeply spiritual and often extremely solitary and private person, her love of the story that animated Bernini’s hand has continued to grow throughout her life, especially after multiple visits in the late 90’s and early 2000’s to the chapel of Santa Maria de la Vittoria in Rome where the sculpture is currently kept.

Transverberation sees her returning to that story as a sober woman in her mid 40’s, initiated into several spiritual traditions that specifically work with the energy of saints. The 9 works that comprise this release are also informed by her experiences of quarantine and social distancing.

As a sober person with much experience of the psychedelic, Rayna’s connection with and development of spirituality as an expansive, living energy has been vital. The idea that intimacy with god could have a sexual dimension, or could even be contextualized by sexuality has been an important component of this connection and development, one that sets the experiences of the divine she sonically describes on Transverberation very far from the staunch conservatism of Chistinaity in its colonial forms. Rayna’s spirituality affirms the body and all of its desires and fantasies, and it was for this reason that St Teresa’s writing, and the fantastical and erotic webs it weaves spoke to her and continues to be a reference point.

It became a method of survival and sustainability. Engagement with another individual, although welcomed, was not necessary to experience connection with this source. It was simply one manifestation of it. At the center, anchoring her during this time, which continues to unfold, was the knowing that her creator could be as near to her as she was willing to have that energy be, and that included both its admission into her body and the opening of that energy force to her body’s deepest sexual desires.

Transverberation describes an embodied and self-determined spirituality, one that embraces and entwines with rich and creative sexualities rather than compartmentalizing them. This avenue of spiritual experience connects with the lives of the Saints, especially St. Teresa, not through the gateway guarded by the church but directly through the vinculum of the ecstatic. Its sonically immersive descriptions map a spirituality that reclaims ritual and resides within the sexual as a communion with divine creative forces and their residues that manifest in nature, resistance and the spirit world.

As both a digital album with tracks separated and discreet, or as a cassette tape where they blend together into a contiguous landscape on each side, the album unfolds itself like a rosary, reminiscent of St Teresa’s concept of the interior castle in which deepening experiences of prayer lead one through a complex of mansions where increasingly profound modes of connection become possible. Sounds, more spun than woven, evoke echoing hallways, intimate breaths, silent faces and disembodied voices. In ringing tones one hears and feels not only the reverberant bell but the wand that strikes it and the grip of the hand that holds the wand. There are moments of wailing, mourning, screaming, bleeding, cumming, dying and birthing. This passionate energy, although it celebrates the fluidity of sexuality, does not pursue transgression as much as it proposes that the strictures that religion, in collusion with capital and the state, put on sexuality are themselves transgressions against the body. Through sound, composed in time, Transverberation constructs another type of interior architecture, one in which the supervision and punitive prudishness of colonialism are absent, and an unconditionally loving, gorgeous, horny and perverse divine power is palpably present.

Features remixes by The DFA, Luomo, and ZZ Pot.

Double vinyl in a picture sleeve. Last remaining stock!

A1. Smiling Off (DFA Remix) 
A2. Smiling Off (Luomo Remix)
B1. Smiling Off (ZZ Pot)
B2. Smiling Off (Album Version) 

12" featuring the original and instrumental version.

Track List: 

1. The Tangible Presence of the Miraculous (13:45)
2. The Tangible Presence of the Miraculous (Instrumental) (13:45)

The second classic album by Black Dice on DFA. Comes in a super heavy tip-on sleeve with neon printing that you need to see to believe. Comes bundled with an instant download in 320 mp3 format.

Tracklisting:

1. Cloud Pleaser
2. Treetops
3. Island
4. Creature
5. Live Loop
6. Skeleton
7. Schwip Schwap
8. Night Flight

The one-two kick drum beat that starts “In the Dark of the Night” functions as a bit of a tease. Instead of just establishing the languid pace of the track, it has the power of suggestion, and its stark nakedness raises the question of just what will happen when the music fully launches. When, a few seconds later, a punch-drunk, flanging keyboard enters the procession, it’s the first clue that we are in for an off-kilter ride; the sauntering bassline that next appears adds a springy, funk bounce. But it’s the tripped-out, multi-tracked vocals of Fernando Miranda Rios – aka Michoacan, the producer behind this slow reveal – that give the song its peculiar, space-y vibe; it’s a bit like David Byrne with funk aspirations. Taken altogether – and there is plenty more, including tinkling piano notes; bits of percussion; and electrical washes – there’s a vaguely cosmic feel. The song coalesces, using funk to lure you to the dance floor, then intoxicating you to keep you there.

The Side B re-mix – courtesy of Italy’s Clap Rules – actually feels like more of a re-build: The song has been taken apart and put back together with all brand new parts. Instead of the more relaxed, dazed funk at the core of the original, it’s a glittery, disco ball-splattered track with funk elements scattered here and there, and glossy keys all around. 

“In the Dark of the Night” is Michoacan’s debut DFA release. He has already created music for Grayhound, Headinghome, Lektroluvv, Smash Hit Music Co., Speak Recordings, Bearfunk and Tiny Sticks. 

 Tracklist

A - In The Dark Of The Night

B - In The Dark Of The Night (Clap Rules Remix)

A driving, introspective house banger from the inimitable Shit Robot. Featuring vocals by Ian Svenonius from Nation Of Ulysses / The Make-Up / Chain & The Gang, and a remix by Serge Santiago! 

TRACKLIST: 
A) Simple Things (Work It Out) (Main Mix)
B) Simple Things (Work It Out) (Serge Santiago Version)