Products

The Chelsea Low End Fuzz Driver is a faithful recreation of a unique, heavily used fuzz pedal that became a key part of LCD Soundsystem's sound. Originally purchased in 1989 from a guitar shop in Chelsea, the battered original unit delivered massive, character-rich fuzz on numerous recordings and tours—but had become too fragile to keep alive. EarthQuaker Devices was tasked with capturing its distinct sonic signature in a new, reliable format.

Chelsea delivers thick, sustaining fuzz with flexible tone shaping and a unique voice that balances clarity with controlled chaos. Built with the quirks of the original pedal in mind, it's designed to work across a wide range of instruments and recording setups.

Each unit is handmade in Akron, Ohio by EarthQuaker Devices.

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. 

We've never made socks. Now we have. Embroidered bolt on a soft black crew sock.

S/M: US Men Shoe Size 6-8; US Women Shoe Size 7-10

L/XL: US Men Shoe Size 9-12; US Women Shoe Size 10-13

Limited edition of 500 blue label hand-stamped singles featuring two wildly left-field remixes of two wildly left-field DFA artists. MP3s will arrive when these tracks are released digitally, at some point in the future.

Tracklist

A - Bobby Strong (Anthony Naples Remix)

B - The Night Patrols (A Man Asleep)(Bookworms Remix)

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

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

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

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

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

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

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

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.

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)

Eric Copeland presents his latest book Shit Talk -  a collection of public comments, pulled word for word from YouTube, all focused on Black Dice, the divisive band he co-founded almost 2 decades ago.  

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.

Tracklist:
1) Eric Copeland - Heads (Parris Remix) 
2) Eric Copeland - Heads (RAMZi Remix)
3) Eric Copeland - 321 Contact (Lokier Remix)
4) Eric Copeland - Electric Mud (Gerry Read Remix)

After the success of last year’s Mixbone EP, we once again invite four dance music experimentalists to remix Eric Copeland. Where 2017’s 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, last fall’s Trogg Modal Vol. 1 pushed his 'Freakbeat 4/4' agenda even further, with a sense of humor that bubbles over and out through the speakers. Rife with chunky percussive layers and tweaked loopy vocals, these frenzied, self-described “rippers” are practically designed to be remixed. 

Parris (Trilogy Tapes, Hemlock) and RAMZi (RVNG, 12th Isle) both take on the singsongy rhythms of “Heads.” Parris’ take pares down the track, giving it room to glisten and expand, while RAMZi’s paddles along in a characteristically murky, laid-back manner. Lokier (Days Of Being Wild, Spirits) goes in for the jugular with an acidic rework of “321 Contact,” repurposing vocal samples as spooky EBM. Closing out the record is Gerry Read (Aus, Accidental Jnr), who pits the heavy stomp of “Electric Mud” against whizzing frequencies. Newfangled interpretations of tracks that were already out there to begin with.

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

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.

Tracklist:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracklist:

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

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

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

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

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

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

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

Tracklist

Yellow jacket + Black vinyl edition. 

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

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

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

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

Tracklisting:

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

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)

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 (DFA2432) consists of remixes from the acclaimed Daniel Avery (Phantasy) and DFA alumni Invisible Conga People, who recorded a 12" for DFA in 2011 and have not been heard from since (until now). 

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 (DFA2438) features a remix by Gunnar Haslam, who released a striking debut album last year on L.I.E.S., as well as a lean percussive house 12” single on Chicago’s Argot Records. The flip consists of a remix from Helena Hauff, who released her debut 12” single on Werkdiscs last year and quickly followed it up a new single under the alias Black Sites. 

Tracklist

A1 - How You Say (Gunnar Haslam Remix)

A2 - How You Say (Helena Hauff Remix)

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

"Factory Floor" (DFA2392)

"2525" (DFA2525)

Fernando Pulichino's slinky, syrupy dance floor records have been cycling through DFA DJ bags for years, so it was only a matter of time until he made an official appearance on company letterhead. The OG version of "I Got, She's Got" which appears here on B2 is a romping, howl-at-the-moon burner, but it's the remix that really goes and notched the A1 placement at 45RPM. Between the two, is another bomb, "She's Playing With Fire." All three tracks are weapons, trust us.

Mastered and cut by Bob Weston and pressed at Furnace Record Pressing in Alexandria, VA.

Free shipping in the US and UK.

The DFA bolt, both in colour and on black.

Printed on a Comfort Colors 1717 blank by our other friends at LVAC.

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.

Official blurb below...

Digital download codes to be provided after purchase.

**

Long ago, in the days before Rayna quit drinking, one of her favorite cocktails was something of her own invention called a “Saint Teresa”; iced chamomile tea and gin, usually Crystal Palace brand. To call it a cocktail is ridiculous, considering her technique was to mix it in an old orange juice bottle and carry that around all night. Something about the botanicals used in distilling the gin and mixing the chamomile leaves and flowers produced a mildly psychedelic effect before the inevitable blackout. The drink’s name came from the fascination-bordering-on-obsession Rayna developed for 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. She often spent most of that class sitting next to her girlfriend so they could fondle each other in the darkened lecture hall; 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. In an environment of enforced solitude and ramping collective horniness, the idea and practice of sexual intimacy with god became deep, complex and necessary.

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. When she no longer had the ecstatic effects of drugs and alcohol to draw on for a sense of connectedness, she found that her body’s demands for connection through channels of sexuality increased, and that a simplistic understanding of sexuality was no longer sustainable. In the isolation of quarantine, this imperative to shift sexuality from the rigid and compartmentalized definitions that its commodification in our shame based culture has created to an expansive method of connection with the creative energies of the universe increased.

It became a method of survival and sustainability. While this connection sometimes took the form of engagement with other individuals and their bodies or with the images and descriptions of them as transmitted via text messages, voice notes, pictures or webcam feeds, its anchor was in the connection to a sustainability affirming divine source. 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.

dfa 2289 / 2011 / Picture sleeve

A. Night Sky (Original Version)

B. Night Sky (Mutant Beat Dance Adjustment) (aka Traxx / Melvin Oliphant III)

LIMITED TO 150 COPIES WORLDWIDE.

THIS PRODUCT IS JUST THE 001 CASSETTE. VIEW ALL INFINITY MACHINE RELEASES HERE.

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

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

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

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

INFINITY MACHINE - 001 TRACK LIST:

Side A

Welcome To The Ceremony
Sleep In The Stars
COEX System

Side B

Golden Teachers
Contemplating The Void

EACH CASSETTE IS LIMITED TO 150 COPIES WORLDWIDE.

THIS IS A BUNDLE OF ALL THREE INFINITY MACHINE CASSETTES.

INDIVIDUAL CASSETTES CAN BE PURCHASED HERE.

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

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

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

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

INFINITY MACHINE - 001 TRACK LIST:

Side A

Welcome To The Ceremony
Sleep In The Stars
COEX System

Side B

Golden Teachers
Contemplating The Void

INFINITY MACHINE - 002 TRACK LIST:

Side A

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

Side B

When I’m Gone
Gather The Tribe

INFINITY MACHINE - 003 TRACK LIST:

Side A

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

Side B

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

LIMITED TO 150 COPIES WORLDWIDE.

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

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

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

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

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

INFINITY MACHINE - 002 TRACK LIST:

Side A

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

Side B

 THIS IS JUST A SINGLE CASSETTE IN THE SERIES.

VIEW ALL INFINITY MACHINE RELEASES HERE.

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

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

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

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

INFINITY MACHINE - 003 TRACK LIST:

Side A

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

Side B

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


Manufactured at National Audio Company in Springfield, MO

The debut 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)

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

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

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

Tracklist

We Just Won't Stop (ft. JDub)

We Just Won't Stop (Instrumental Version) 

The DFA debut from longtime family member Jayson Green also marks the return of the classic DFA twelve-inch. Maybe it actually stands for Dying Formats Always?

Jay’s sung in a lot of bands. Like, a lot. Panthers, Violent Bullshit, Cheeseburger, and the legendary hardcore band Orchid. There are probably more. He’s always been smart and hilarious, never quite cynical though always quick to point out the absurd.

Now in a bandleader role, he’s delivered us a classic a-side in “Local Jerk,” which sounds like a party because it was actually recorded during one: tight disco drums, big claps, a neck-rolling baseline, horns, and group vocals. You can literally hear the bottles clinking.

The head trip is the b-side, “I Need Love,” which is a most terrifying, ridiculous piece of nightlife satire.

CREDITS

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

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

Needle drop and a floaty, child-like piano sucks you into the post-punk papier-mâché world of JJULIUS, where everyone speaks Swedish, listens to Young Marble Giants and eats nothing but Twizzlers.

Vol. 2 is, perhaps obviously, a continuation of the world-building JJULIUS did on Vol. 1, which is a little more raw, a little wilder in spirit and sold out at both source and every record store that managed to get its hand on a copy. It will also re-arrive this summer on DFA this summer alongside its successor. (Order here.)

JJULIUS is Gotebörg’s Julius Pierstorff, who, with his partner Elin Engström aka Loopsel, also records as Monokultur and runs the tiny label Mamma’s Mysterious Jukebox.

The music they make both together and separately is entirely their own, with its own rules of what instruments come and go; when a song begins and ends or swells like a marshmallow. And yet! It’s also referencing all the records we love and know - Young Marble Giants, Postcard Records, early Cabaret Voltaire, and even contemporary local peers like Mathaverskan.

Buy the ticket, take the trip.

1. Brinna ut (feat. Loopsel)
2. Etiopisk hallucination (feat. Julia Bjernelind)
3. Letar efter nya plågor
4. Köpa saker (feat. Clara Flygare)
5. Verkligheten och jag
6. Balladen om elpriset i Augusti 2022 (feat. Loopsel)
7. Coral bass strings (feat. Loopsel, Nathan Roche)
8. Dödsdisco (feat. Clara Flygare)
9. Ringer å ringer
10. Välkommen på intervju (feat. Nathan Roche)

In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here. Surely, the party’s not over yet?

JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm.

JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall.

Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration.

Unless you're Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”

Produced by JJULIUS with invaluable help from Petter Granberg


Mixed by Petter Granberg


Mastered and cut by Bob Weston


Graphic design by William Jokijärvi Andersson

Pressed at Furnace Record Pressing in Alexandria, VA

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

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

Limited to 300 copies worldwide.

The Pacific Northwest musician John Greek originally released “I’m Hot For Your Body” as a limited private press 12” single in 1979 - rumors abound that only 100 copies were ever made, though much about this record feels apocryphal. 

Across six minutes of sordid, primal disco-blues, Mr. Greek slowly yields to the power of desire, chasing swirling string synths around the shadows like they’re ghosts, dousing everything in flange it’s lighter fluid. It is both terrifying and undeniable.

With permission from Mr. Greek’s estate, we’ve remastered the original and presented it alongside a even-more-unhinged version from Velvet Season & The Hearts Of Gold, the duo of Gerry Rooney (co-founder of the legendary Black Cock edits label) and Joel Martin (of Quiet Village).

Not for the faint of heart, this.

Remastered and cut by Bob Weston at Chicago Mastering Service.

Pressed by the good humans at Furnace Record Pressing in Alexandria, VA.