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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"

$14.98

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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Shit Robot - What Follows
Shit Robot - What Follows

Shit Robot - What Follows

$5.00

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

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

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

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

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

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

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

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

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

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

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

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

Track List:

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

Eric Copeland - Black Bubblegum

$5.00

Black Bubblegum is on black vinyl

Black Bubblegum is the newest LP from Eric Copeland, and we are not kidding when we emphasize it sounds like nothing he has done in the past. The title of the record says it all: chewy, sticky pop that doesn’t taste quite like any chewy, sticky pop you’ve had before.

 
Recorded at Copeland’s old practice space in South Williamsburg, Black Bubblegumcontains songs with more conventional sounds and songwriting than any of his previous releases. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop. Wanting to take a more “hands-on” approach to these recordings, Copeland exchanged sample-driven tech and hardware for keyboards, guitars and effect pedals, creating a new sound that is oddly easy to digest despite its rejection of melody in favour of discord and dissonance. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop; imagine Arthur Russell going into the studio with The Ramones.
 
For a long time, Copeland considered this collection of songs to be recordings which would never be heard. This invariably influenced certain decisions made during the creation of Black Bubblegum, blessing Copeland with the unique freedom that comes from making music never intended to be heard, let alone released.
 
When asked to please jot down what influenced this new album and sound, Eric replied”glam holes, glitter dreams, money troubles, apocalypse paranoia, one hit wonders, manifest destiny, my family's westward migration, body troubles (was passing kidney stones almost the entire time), LGBT disco parties, Jonathan Richman, Missing Foundation, Neil Diamond, New Orleans, poverty, getting pushed out of another Brooklyn neighbourhood... No Beach Boys, no Beatles, no Buddha...  More Bad News Bears.”
 
Eric Copeland has been sound clashing at full volume for over twenty years, first carving out a named for himself as one third of the legendary NY-via-Providence band Black Dice. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world.
 
A long time Brooklyn, resident, Eric recently relocated to where the L Train does not run - Palma de Mallorca, Spain. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.

Tracklist:

  1. Kids In A Coma
  2. Rip It
  3. Fuck It Up
  4. Honorable Mentions
  5. Blue Honey
  6. On
  7. Cannibal World
  8. Don't Beat Your Baby
  9. Radio Weapons
  10. Get My Own
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PYLON - LIVE

PYLON - LIVE

$32.98

PYLON - LIVE

PYLON - LIVE

$32.98

“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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    Eric Copeland - Goofballs
    Eric Copeland - Goofballs

    Eric Copeland - Goofballs

    $5.00

    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

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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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    Sinkane Album Bundle
    Sinkane Album Bundle
    Sinkane Album Bundle
    Sinkane Album Bundle

    Sinkane Album Bundle

    $29.98

    Both of Sinkane's albums for DFA - Mars and Mean Love  - at a special bundled price.


    Mars Tracklist: 
    1. Runnin'
    2. Jeeper Creeper
    3. Lady, C'mon
    4. Making Time
    5. Warm Spell
    6. Love Sick
    7. Mars
    8. Caparundi

    Mean Love Tracklist: 
    1. How We Be
    2. New Name
    3. Yacha
    4. Young Trouble
    5. Moonstruck
    6. Mean Love
    7. Hold Tight
    8. Galley Boys
    9. Son
    10. Omdurman

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    The Juan Maclean - Can You Ever Really Know Somebody 12"
    The Juan Maclean - Can You Ever Really Know Somebody 12"

    The Juan Maclean - Can You Ever Really Know Somebody 12"

    $14.98

    The Juan Maclean return to DFA with a stand-alone single, bursting with deep house elastic bounce and electronic pop flourishes, married to the deadpan earnestness of Nancy Whang’s vocal delivery.

    "Can You Ever Really Know Somebody" is the kind of slinky song that is easily absorbed and difficult to forget. It is a taste of things to come, as The Juan Maclean prepares a brand new LP for DFA due out in Fall 2017.

    The remix is courtesy of LA-4A, aka Ambivalent and legally known as American born producer Kevin McHugh. Stripping out the house music and replacing it with a grinding electro-acid template, LA-4A creates a lovely buzzing new bed of music for Nancy Whang’s vocals to rest on top of it. This is a remix with wildly successful results and a perfect companion to the original.


    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)
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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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    Marcus Marr - Familiar Five: Remixed 12"
    Marcus Marr - Familiar Five: Remixed 12"
    Marcus Marr - Familiar Five: Remixed 12"
    Marcus Marr - Familiar Five: Remixed 12"

    Marcus Marr - Familiar Five: Remixed 12"

    $14.98

    This remix 12" ships June 2018

    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.

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

    Runaway - Brooklyn Club Jam 12"

    $12.98

    DFA / REKIDS 12" / DFA2204 / 2008

    A. Brooklyn Club Jam

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

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    The Crystal Ark - The Crystal Ark
    The Crystal Ark - The Crystal Ark

    The Crystal Ark - The Crystal Ark

    $22.98

    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
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    YACHT - See Mystery Lights
    YACHT - See Mystery Lights

    YACHT - See Mystery Lights

    $22.98

    Single LP on WHITE vinyl in a beautiful, spot-glossed cover. Features Summer Song and Psychic City, among like 8 other tracks or so. Includes an instant digital download. 

    Tracklisting:

    1. Ring the Bell
    2. The Afterlife
    3. I'm In Love With a Ripper
    4. It's Boring / You Can Live Anywhere You Want
    5. Psychic City
    6. Summer Song
    7. We Have All We've Ever Wanted
    8. Don't Fight the Darkness
    9. I'm In Love With a Ripper (Party Mix)
    10. Psychic City (Version)
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    The Juan Maclean - Tito's Way 2x12"
    The Juan Maclean - Tito's Way 2x12"

    The Juan Maclean - Tito's Way 2x12"

    $22.98

    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.

    Tracklist

    Tito's Way (Album Version)

    Titos Way (Lindstrom & Prins Thomas Remix)

    Tito's Way (Booka Shade Remix)

    Tito's Way (Reverso 68 Remix)

     

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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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    Guerilla Toss - Twisted Crystal
    Guerilla Toss - Twisted Crystal

    Guerilla Toss - Twisted Crystal

    $22.98

    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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    Eric Copeland - Trogg Modal Vol. 2
    Eric Copeland - Trogg Modal Vol. 2

    Eric Copeland - Trogg Modal Vol. 2

    $5.00

    **Pre-Order, all orders ship the week of March 18th

    Tracklist: 
    1) Beat It
    2) High score Zed
    3) United Banana
    4) Payoff
    5) BS Dropout 
    6) Light Fantastic
    7) Blazin
    8) Falo

    On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October’s Vol. 1. The former Black Dice member’s 'Freakbeat 4/4' agenda gets further refined here – Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as “late Night Flight proto tekno,” the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric’s textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and ‘jamming’ to a climate of uncanny smoothness and polish.    

    Where Vol. 1 was composed of “rippers,” Vol. 2 travels at its own pace, continuing to showcase Eric’s ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of “BS Dropout” to the blithe, video arcade soundtrack “High Score Zed.” Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years – arriving in 2019 with his mischievous sense of adventure firmly intact.

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    The Juan Maclean - The Brighter The Light 12"
    The Juan Maclean - The Brighter The Light 12"

    The Juan Maclean - The Brighter The Light 12"

    $14.98


    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)

    Limited pressing of 300 copies. 

    Juan Maclean is a Brooklyn-based 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. After putting out an extensive catalogue of 12” singles and LPs for the label with vocalist Nancy Whang (most recently, 2014’s In A Dream LP, and this year’s 12” single ‘Can You Ever Really Know Somebody’), he returns to the label with ‘The Brighter The Light,’ a deep piano-based club track, augmented by three equally DJ-friendly remixes. 

    “The Brighter The Light” emerged while Juan waits (somewhat) patiently in Brooklyn for Nancy Whang to return from touring with her ‘side gig,' LCD Soundsystem. Taking the tiniest splice of a demo vocal and sprinkling it throughout, Juan spun off the work being done for the next LP and created a new piece altogether, offering the smallest glimpse of what is to come, but ending up with something with a completely different purpose: his DJ set. 

    The remixes are a truly euphoric bunch of tracks, coming from Australia’s Len Liese (yes his remix is Balearic AF), DJ Tennis, (fresh from his fantastic DJ Kicks released in July) and Octo Octa, who contributes her second remix for The Juan Maclean (look up her remix of 'Here I Am' from 2014, it’s brilliant). 

    There are already two more singles being planned (with a similar club-driven purpose) to tide over fans and DJ sets while Juan and Nancy finish work on their fourth LP, to be released in 2018.
     
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    Eric Copeland - Trogg Modal Vol. 1
    Eric Copeland - Trogg Modal Vol. 1
    Eric Copeland - Trogg Modal Vol. 1
    Eric Copeland - Trogg Modal Vol. 1
    Eric Copeland - Trogg Modal Vol. 1

    Eric Copeland - Trogg Modal Vol. 1

    $5.00


    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.

     

     

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    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"
    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"

    Guerilla Toss - Jay Glass Dubs Vs. Guerilla Toss 12"

    $12.98

    Now on vinyl for the first time!

    DFA Records and Bokeh Versions have teamed up for a joint release - a reworking of the freaky post-punk stylings of Guerilla Toss by Athens, Greece-based musician and producer Dimitris Papadatos, a.k.a. Jay Glass Dubs.

    The EP comes on the heels of the former’s latest record, GT Ultra. Jay Glass Dubs vs Guerilla Toss turns the hyper-bouncy pop and deeper, darker tracks of GT Ultra into four, stripped-down dub ruminations, each one spacier and weirder than the last.

    The frenetic, zany tempos of songs like “Skull Pop” and “Can I Get The Real Stuff?” are transformed into slow, viscous existential crises that focus in on Kassie Carlson’s echoing vocals. Jay Glass Dubs works headphone magic with reverberating percussion and slinky basslines, as always keeping one foot in dub’s past but both eyes on its horizon.

    Artist in demand and Bokeh-affiliate Patrick Savile’s artwork eloquently articulates the ethos of the EP – speedy, psychedelic textures are blurred and made malleable, gracefully reflecting the sounds of original album through a hazy prism.

    Tracklist

    A1 - Skull Dub
    A2 - String Dub
    B1 - TV Do Dub
    B2 - Can I Get The Real Dub
    View product
    YACHT - Summer Song 12"
    YACHT - Summer Song 12"

    YACHT - Summer Song 12"

    $14.98

    dfa 2207 / 2008

     

    A1. Summer Song

    A2. I'm In Love With A Ripper (Party Mix)

    B. It's Boring / You Can Live Anywhere You Want

    View product
    Shocking Pinks - End Of The World 7" PINK VINYL
    Shocking Pinks - End Of The World 7" PINK VINYL
    Shocking Pinks - End Of The World 7" PINK VINYL
    Shocking Pinks - End Of The World 7" PINK VINYL
    Shocking Pinks - End Of The World 7" PINK VINYL
    Shocking Pinks - End Of The World 7" PINK VINYL

    Shocking Pinks - End Of The World 7" PINK VINYL

    $12.98

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

    PINK Vinyl!

    A. End Of The World

    B. Go To Sleep

    View product
    Tyler Pope - Make Each Other Happy EP
    Tyler Pope - Make Each Other Happy EP
    Tyler Pope - Make Each Other Happy EP
    Tyler Pope - Make Each Other Happy EP
    Tyler Pope - Make Each Other Happy EP

    Tyler Pope - Make Each Other Happy EP

    $17.98

    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.

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

    Slim Twig - Thank You For Stickin' With Twig

    $5.00

    Thank You For Stickin’ With Twig is the latest long-playing album from the artist known to the world (or at least to his mother) as Slim Twig. Coming out August 7, 2015 on DFA, you may be surprised to know that it represents the fifth album by the Toronto based songwriter / producer. Twig has released these previous records among a swath of EP’s, singles and one-offs, displaying in the process a complete disregard for genre or consistency. The evolution from Contempt!, his sample-stained 2009 debut, through to A Hound At The Hem, his symphonic tribute album to Nabokov’s Lolita (reissued by DFA in 2014), is not entirely linear, although intriguing all the same. Like so many surf-smoothed stones lining the beach shore, briefly unburied only to be discarded once deemed un-skippable, so Twig has gone about seeking the proper rock to cast at just the right angle. One can see why he extends a gratuity to those listeners who've stuck around.

    In what form then, do we now find the twenty-six-year old, self-proclaimed ‘wah wah master’? His record reissued last year was completed in 2011. So one might reasonably ask, what has Twig done since? After producing two albums for U.S. Girls (U.S. Girls on Kraak in 2011, Gem in 2012), and scoring two films (Sight Unseen & We Come As Friends (winner of a Special Jury Award at Sundance, among numerous other accolades), Twig found himself in 2013 at a creative impasse re: his own songwriting. He had been through full band incarnations live and on record. They featured a cast of Toronto heavies (members of Zacht Automaat, etc...). He briefly performed Slim Twig sets as a duo, featuring multimedia artist and musician, Meg Remy (U.S. Girls). They performed sets that combined versions of Twig’s released songs with freely structured improvisations, samples, and brightly melodic, synth textures. Something in this combination of the pop-minded and the cerebrally-produced has rubbed off on the recordings found on Twig’s latest.

    Thank You For Stickin’ With Twig is to date the most sonically immersive album in Twig’s discography. Where some records have focused explicitly on sample-based songwriting, while others have been completely live-recorded, the new album arrives at a perfectly produced fusion of fidelities. It hovers, glamorously caught between a cloud of obscurant, half-speed tape hiss, and the most stoned Jeff Lynne production you’ve ever heard. Twig flirts here with a variety of vibes, most often opting for a three dimensional approach whereby a warped tape aura is overlaid with colourful, laser-cut keyboard and guitar melodies. A fetishization of analogue texture is married to a digital approach. All the while, we find Twig irreverently raiding classic rock of its symbolism, sexuality, and social ambition for ulterior subversions. In this respect, TYFSWT's closest cousin may be Royal Trux's Accelerator

    Opening cut, 'Slippin Slidin’, establishes itself as a cock rock analogue to Kanye West’s similarly phallic 'On Sight', the bravura Yeezus introduction. We are welcomed by a blast of synth noise, soon followed by sexually agitated lyrics (supported by Meg Remy, whose vocals are featured prominently on much of the record) atop a deafening beat, distorted and sleazy. The immensity of the production (achieved in collaboration with co-producer Anthony Nemet and mixer Steve Chahley) represents an evolution of Twig’s approach, sustained at a fever pitch throughout the album.

    'A Woman’s Touch (It’s No Coincidence)' is a song sympathizing with the perspective of the Beatles’ wives. The song production sounds like a fusion of dub and baroque pop as played by the cartoon band in the Yellow Submarine movie. Many of the songs play referential sonic games like this, discursively incorporating familiar melodies, production styles or ideas (a fuzzy ballad on wage inequality is cheekily titled ‘Textiles On Mainstreet’), only to pair them with incongruous textures or themes. 'Live In, Live On Your Era', a song encouraging an embrace of one’s own cultural circumstance, is consciously styled as the most ‘retro’ sounding cut on the album (Jimmy Page leads and all), seemingly upending the lyrical content. On and on, the jokes and meta-sonic rock commentary continue like so many Zappa-esque indulgences. 

    The centrepiece of the album is composed of two songs sharing the middle of the running time. 'Roll Red Roll (Song For Steubenville)', titled after the football chant of the eponymous town’s high school team, eulogizes the tragedy of the young girl who was the tabloid subject of group sexual abuse (by said football team). Its opening - the most tranquil, dreamy instrumental passage on the record - is harshly interrupted by a mass of pitch-shifted martial drums and wildly panned, distorted fuzz lines. The disturbed atmosphere composes a sonic poem, detailing a narrative through a combination of sound and oblique lyrics (‘Everyone will love / everyone will love / the way you fold / Roll Red Roll’). Side B opens with 'Fog Of Sex (N.S.I.S)'. A cinematic fusion of plastic soul and flute score-for-horror-film, it comprises TYFSWT’s funkiest recording. With voicings from both Twig and Remy, sung from the perspective of someone unwilling to commit to a single gender identity, the song makes overt the album’s subliminal motive. Instability is addressed from a disenfranchised perspective (perhaps as a metaphor for the music itself, which refuses to stabilize or stay put). Twig himself has referred to his ambition of making “a protest album as obscured by smoke” (and what kind of smoke, we wonder?). In swift combination, these two songs make good on that claim. The lyrical voices here take on an (at times) humorously proletarian tone (‘I work a shift, just up the street / cleaning semen off of seats / it’s a way for ends to meet’) that is alien in the contemporary rock landscape, dominated as it is by reheated garage and psych leftovers. 

    The album closes with a triumphantly grandiose cover of Serge Gainsbourg’s instrumental ‘Cannabis’ (released as a 7” single on 4/20, and deliberately echoing Twig’s first LP for DFA, which openly shared its Gainsbourgian debt). The aim is somewhat clearer now. Slim Twig’s latest modulation of voice is to re-contextualize an era of ambition in produced rock music, dislodging the hackneyed and clichéd in the process. Sonically and politically, his aim is to be a rock n’ roll subversive in an era where that claim should rightfully be made by luddite cave-people. Context is everything, and Twig’s gift may be in zeroing in on that. He collages his sounds together (here as eclectic as The Love Below, or any Beck album) in a continuum where pop criticism is always recycling through what it chooses to lend cultural currency, if only for an instant. As of now, he’s sized up rock n’ roll, and determined it seems as good as any other vessel to commandeer for his creative impulse. Power to him. Rock may be dumb as a stone, but even so, now and then it’s smart to be dumb.

     Tracklist

    A1 - Slippin' Slidin' 

    A2 - A Woman's Touch (It's No Coincidence)

    A3 - She Stickin' With Twig

    A4 - Textiles On Mainstreet

    A5 - Stone Rollin' (Musical Emotion)

    A6 - Roll Red Roll (Song For Steubenville)

    A7 - You Got Me Goin'

    B1 - Fog Of Sex (N.S.I.S)

    B2 - Fadeout Killer

    B3 - Trip Thru Bells

    B4 - ...Out Of My Mind

    B5 - Live In, Live On Your Era

    B6 - Cannabis

    View product
    The Juan Maclean - One Day 12"
    The Juan Maclean - One Day 12"

    The Juan Maclean - One Day 12"

    $14.99

    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)

    View product
    The Juan Maclean - Happy House - Remixes #1 (White Label) 12"
    The Juan Maclean - Happy House - Remixes #1 (White Label) 12"
    The Juan Maclean - Happy House - Remixes #1 (White Label) 12"
    The Juan Maclean - Happy House - Remixes #1 (White Label) 12"

    The Juan Maclean - Happy House - Remixes #1 (White Label) 12"

    $14.98

    Hand stamped white label promo in plain sleeve.
    (dfa 2230a / 2009)

     

    A. Happy House (Lazaro Casanova Remix)

    B. Happy House (Paul Woolford Apocalypse Remix)

    View product
    Marcus Marr - Brown Sauce 12"
    Marcus Marr - Brown Sauce 12"

    Marcus Marr - Brown Sauce 12"

    $14.98

    DFA is pleased to announce the long-awaited followup to Marcus Marr’s acclaimed 2013 single “The Music”.

    A music obsessive all his life, Londoner Marcus Marr’s first encounters with dance music were acid house records which augmented his vinyl collection of rock and soul, and attending all night parties under Brixton’s St Matthews church. Traveling to the south of England to watch DJ Harvey play a lengthy set, he saw the kind of power a DJ can wield over a willing crowd.

    “The Music”, was featured prominently in the 2012 film “Pusher”, starring Richard Coyle and Agyness Dean. The single’s B-Side “Pleasure Moon” was used to open the 2014 Versace show in Milan. Additionally, it was placed at #3 in Spin Magazine’s “The 40 Best Dance Tracks of 2013”, bested only by Daft Punk and Todd Terje.

    Marcus has the following to say about these two new tracks:

    Brown Sauce: “Depending on the vibe of the night, if you come and see me DJ it’s likely you’re going to hear some futuristic music, as well as some disco, house and so on. I want people to be warned about that so I made “Brown Sauce”. I’ve been playing it all over the place for a good while now and it never lets me down.”

    Peacemakers : “This one has features me on my bass guitar. I'ts a Fender Jazz and its usually there somewhere on most of my tunes. I bought it off a clueless Brummie punk years ago. He wanted only £90 for it - i was sure there was a catch but no, it was the genuine article.”

    These two tracks are a taste of what we can expect in the future from Marcus Marr, who will be releasing his debut album on DFA in 2015. 

     Track List: 

    1. Brown Sauce
    2. Peacemakers
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    CCFX - The Remixes 12"
    CCFX - The Remixes 12"

    CCFX - The Remixes 12"

    $17.98

    Tracklist:
    1)  The One To Wait (Sunday of Existence Mix)
    2)  Venetian Screens (Long Dark Tunnel Mix)
    3)  Ode (Extended Comfort Anthem Mix)
    4)  2Tru (Foreign Interior Dub Mix)


    Sometimes the best remixes come direct from the artist themselves. Following the success of their debut EP, Olympia's CCFX return to reimagine and reiterate all four tracks. At times turbulent, at others serene, and throughout unabashedly raffish, these instrumental versions take the liberty of exploding the originals and thrusting the fragments into deeper and more ornate sonic territory. Minimal beats as well as pumped up breaks take the forefront here, rendering nascent atmospheric jungle and dubbed out balearic new wave.  

    Doubtless, some established fans of the EP's putative 80s tinge may be caught off guard by such disjunctive revisions. We would only invite listeners to consider this a healthy affirmation of CCFX's continuing euphonic triumph over the comfortable resolve of genre propriety. With a shrug of their shoulders, and a coy chuckle ringing out from the annals of entertainment's dimwitted bliss, the band lavishes their own already produced material with tasteful irreverence, as if no one else were around to hear the fantastic result. Lucky for us, we've been listening intently all along, and without an end in sight.

    View product
    Edward - Underwater Jams 12"
    Edward - Underwater Jams 12"
    Edward - Underwater Jams 12"
    Edward - Underwater Jams 12"
    Edward - Underwater Jams 12"
    Edward - Underwater Jams 12"
    Edward - Underwater Jams 12"

    Edward - Underwater Jams 12"

    $14.98

    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. Ships with bolt stickers. 
    View product
    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"

    $14.98

    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)

     

    View product
    Black Dice - Cone Toaster 12"
    Black Dice - Cone Toaster 12"

    Black Dice - Cone Toaster 12"

    $14.98

    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)
    View product
    Guerilla Toss - Live In Nashville
    Guerilla Toss - Live In Nashville

    Guerilla Toss - Live In Nashville

    $22.98

    A live one from Guerilla Toss, experience the madness from the comfort of your home! 

    Live In Nashville finds G-Toss playing a decadent array of tracks across a variety of earlier releases, as well as tracks from their breakout 2016 LP "Eraser Stargazer". This limited 12" features cover art by Keith Rankin, and is pressed on heavyweight black vinyl. All orders ship with DFA stickers. 

    Tracklist: 
    1) Polly's Crystal (Live)
    2) 367 Equalizer (Live)
    3) Drip Decay (Live)
    4) Eraser Stargazer Forever (Live)
    5) Operate (Live) 
    6) TV Spell (Live)
    7) Operate (Reprise) (Live)
    8) Diamond Girls (Live)

    RECORDED MARCH 11 2016 AT "THE END" IN NASHVILLE TN

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

    Essaie pas - Demain est une autre nuit

    $5.00

    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

     

     

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    Asa Moto - Martino EP
    Asa Moto - Martino EP

    Asa Moto - Martino EP

    $14.98

    Side A: Connexion à Liege / Cacao
    Side B: Missing Teeth / Veleda / In My Body
    Since debuting on Soulwax’s imprint, DEEWEE in 2016, the Belgian duo have steadily released a series of acclaimed EPs across the last five years.

    Now, on 'Martino' EP, Asa Moto’s analogue mastery is on full display, pushing the production boundaries of their expansive collection of equipment. First track ‘Connexion à Liege’, a song about a night drive from Ghent to Liège, combines trippy delays and lush vocoder work across pastel synths for a laidback start to the EP. Lead single ‘Cacao’ sees the duo craft a chugging instrumental peppered with stereo FX and vocals as the track evolves into a floaty synth driven affair.

    ‘Missing Teeth’ investigates the mystery of the duo’s local bakery owner’s teeth, flipping their confusion into an oddball dance friendly jam, while ‘Veleda’ brings delicate synth work, modulating hardware, and hard hitting drums. Closing track ‘My Body’ forgoes percussion of any kind, with the duo twisting their own vocals into a tongue and cheek acapella, described in their own words as "our contribution (and solution) to the war against the war on drugs".

    Written & Recorded at DEEWEE and Studio Martino
    Produced and Mixed at DEEWEE
    Art Direction Ill-Studio
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    Black Dice - Miles of Smiles
    Black Dice - Miles of Smiles

    Black Dice - Miles of Smiles

    $5.00 $9.99

    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
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    Eric Copeland - Joke In The Hole 2xLP
    Eric Copeland - Joke In The Hole 2xLP

    Eric Copeland - Joke In The Hole 2xLP

    $32.98

    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
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    Larry Gus - I Need New Eyes
    Larry Gus - I Need New Eyes

    Larry Gus - I Need New Eyes

    $22.98

    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

    1 - Black Veil Of Fail
    2 - NP Complete
    3 - A Set Of Replies
    4 - Taking The Personal Away
    5 - Belong To Love
    6 - All Graphs Explored
    7 - The Sun Describes
    8 - Nazgonya (Paper Spike)
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    Crooked Man Album Bundle
    Crooked Man Album Bundle
    Crooked Man Album Bundle
    Crooked Man Album Bundle

    Crooked Man Album Bundle

    $44.98

    Both Crooked Man albums on 2xLP, one affordable bundled price.

    On Crooked Man - Crooked Man:
    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. Read the complete copy and hear the LP here

    On Crooked Man - Crooked House
    The elusive Crooked Man returns to DFA with Crooked House, a maximalist take on electronic and house music that picks up where 2016’s self-titled LP left off. Teaming up again with Michael Somerset Ward (Clock DVA) and David Lewin (Bleep & Booster) in the studio, Richard Barratt crafts a comprehensive journey of hi-fi house belters with more sinister electro-pop mixed in for good measure. The LP is influenced by two historic epicenters of electronic music: Sheffield, UK, where Richard has had an illustrious career in a mix of legendary groups like Funky Worm, Sweet Exorcist, and The All Seeing I; and the NYC Loft-era disco sound, where extended grooves were layered with peak-time choruses. More on "Crooked House"+ Full LP audio. 
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    Larry Gus - Subservient
    Larry Gus - Subservient
    Larry Gus - Subservient
    Larry Gus - Subservient
    Larry Gus - Subservient

    Larry Gus - Subservient

    $22.98


    Tracklist: 
    1) Total Diseases (Subservience)
    2) A Likely Projection
    3) Text of Intent
    4) Taped Hands Here
    5) In This Position
    6) Ayler The Pilot
    7) The Sun Sections
    8) Readers & Authors
    9) Classifying A Disease
    10) Bare Concrete (Itea 97-09)

    Larry Gus
    (real name Panagiotis Melidis) returns to DFA with Subservient, his fourth release for the label. More pop-oriented than his previous albums, Subservient is a lush combination of “crisis funk pop and trad Mediterranean grooves.” Lyrics sung in Greek and English address Larry’s overwhelming struggles with being a father, husband, artist, and human in 2019. In the artist’s own words, this album is about “trying to understand empathy and act with it on everyday life,” as well as “the imperative of empathy above everything else.” 

    Subservient is sample-free, a first for Larry, who plays every instrument himself: a drum kit, an SM57 microphone, a guitar, a bass, a TE OP-1 synthesizer, and a Roland JV-1010 synth module. This is fourth-world power pop, as if Alex Chilton was produced by Eno and Hassell. The thoughtful, upbeat arrangements and gentle vocals are spacious and warm, and tend to offset whatever darker tone the lyrics might imply. Larry confronts more acute tensions, such as being a father in Greece during the crisis, and the parallels of a child’s sicknesses and adult ailments, as well as larger, more existential pressures – the grasp of nostalgia, the weight and meaning of making decisions, and the desire to move from hermeticism towards sociability. 

    The record graciously explores the nuance that can be found within delineated lines: pop and folk music, rooted in Greek tradition; internal anxieties and empathy expressed outward; the tightrope struggle of living in the present and wallowing in the past. 

    Larry will also be releasing a 7-inch single alongside the album, which features two A-sides, “Kerkis (Judas-Tree)” and “Foreign Steps,” from the same recording sessions as Subservient. The lyrics to “Kerkis (Judas-Tree)” were written by Efthimis Filippou, an award-winning screenwriter known for his work with director Yorgos Lanthimos on films like Dogtooth, The Lobster, and The Killing of a Sacred Deer. The 7-inch precedes an upcoming audio play, written by Efthimis and scored by Larry, to be produced with the Onassis Stegi (AKA Cultural Center) sometime next year. The audio play will be released on DFA in 2020.
     

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    Shocking Pinks - Shocking Pinks (White Label LP)
    Shocking Pinks - Shocking Pinks (White Label LP)
    Shocking Pinks - Shocking Pinks (White Label LP)
    Shocking Pinks - Shocking Pinks (White Label LP)

    Shocking Pinks - Shocking Pinks (White Label LP)

    $32.98


    UK white label promo with title sticker in plain sleeve. Includes printed 1-sheet with song titles. 
    (dfaemi 2168lp / 2007)

     

    1. Wake Up

    2. This Aching Deal

    3. How Am I Not Myself?

    4. Second Hand Girl

    5. End Of the World

    6. The Narrator

    7. Yes! No!

    8. Emily

    9. Blonde Haired Girl

    10. Victims

    11. Girl On The Northern Line

    12. I Want U Back

    13. Smoke Screen

    14. Jealousy

    15. Cutout

    16. 23

    17. You Can Make Me Feel Bad

     

     

     

     

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    Museum Of Love - Museum Of Love White Label LP
    Museum Of Love - Museum Of Love White Label LP
    Museum Of Love - Museum Of Love White Label LP
    Museum Of Love - Museum Of Love White Label LP

    Museum Of Love - Museum Of Love White Label LP

    $22.98

    Hand stamped white label promo in plain sleeve. 
    (dfa 2422 / 2014)

    Featuring Pat Mahoney (LCD Soundsystem, drums) & Dennis McNany (Jee Day)

    1. Horizontalator

    2. Down South

    3. In Infancy

    4. The Who's Who Of Who Cares

    5. Learned Helplessness In Rats (Disco Drummer)

    6. Monotronic

    7. The Large Glass

    8. And All The Winners (Fuck You Buddy)

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    Shocking Pinks - This Aching Deal 7"
    Shocking Pinks - This Aching Deal 7"
    Shocking Pinks - This Aching Deal 7"
    Shocking Pinks - This Aching Deal 7"

    Shocking Pinks - This Aching Deal 7"

    $12.98

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

     

    A. This Aching Deal

    B. August 3rd (Arkitype Remix)

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    We Acediasts - Pre Acediasts 12"
    We Acediasts - Pre Acediasts 12"
    We Acediasts - Pre Acediasts 12"
    We Acediasts - Pre Acediasts 12"

    We Acediasts - Pre Acediasts 12"

    $13.00

    Tokyo group consisting of Takamoto Masaki (vocals), Yuta Suganuma (drums), Mori Fumi (bass) and Justin Simon (guitar), active 2000-2002. Originally a duo of Justin Simon on Roland TR-606, Fender bass and Korg MS-20 and Takamoto Masaki on vocals, later expanding to a 4-piece. Played regularly in Tokyo and played one show in NYC when there to record with the DFA in 2001.

    Many tracks featuring Justin Simon and James Murphy. Cool printed insert featuring a picture of James wearing a Joy Division shirt. 

    Tracklist:
    Kousho
    Ibasho
    Omoshiroi Omoshiroi Omoshiroi
    Anata Ga Suki Yo
    Hitori Heiwa Na Nyopo
    Kajiroudou
    Un No li Yatsu
    Kyoukai Ongaku

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    Eric Copeland - Hermaphrodite 12"
    Eric Copeland - Hermaphrodite 12"
    Eric Copeland - Hermaphrodite 12"
    Eric Copeland - Hermaphrodite 12"
    Eric Copeland - Hermaphrodite 12"

    Eric Copeland - Hermaphrodite 12"

    $14.98

    "Hermaphrodite" is a solo record comprised of samples, field recordings, vocal loops and drums that transform your brain from mellow to engaged to confused to greatly pleased. Tribal rhythms and noises that get you feeling slightly stoned, in a good way. CD version released on Paw Tracks. Eric Copeland is a super nice guy who is always pushing sounds in BD and on his own and "Hermaphrodite" is a testament to his ever pressing need to push audio boundaries. text taken from Post Present Medium

    TRACKLISTING
    1. Hermaphrodite
    2. La Booly Boo
    3. Oreo
    4. Green Burrito
    5. Wash Up
    6. Spacehead
    7. Tree Aliens
    8. Scum Pipe
    9. Dinca
    10. Mouthhole
    11. Fkd
    12. Scraps

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    Rewards - Equal Dreams 12" w/ Solange & Dev Hynes
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    Rewards - Equal Dreams 12" w/ Solange & Dev Hynes
    Rewards - Equal Dreams 12" w/ Solange & Dev Hynes

    Rewards - Equal Dreams 12" w/ Solange & Dev Hynes

    $12.98

    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

     

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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"

    $14.98

    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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    Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples) 12"
    Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples) 12"

    Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples) 12"

    $19.98

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

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

    Tracklisting:

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

     

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    Guerilla Toss - Flood Dosed EP

    $14.98

    Long-awaited vinyl version of Guerilla Toss' FLOOD DOSED, now on wax instead of magnetic tape. 

    Cut incredibly loud at 45RPM, Featuring a new (bonus track) from the same recording session, "Teacher Speaks".

    Ships in early March. 

    1. Realistic Rabbit
    2. Polly's Crystal
    3. Ritual In Light
    4. Teacher Speaks

     

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