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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:

In Love (Feat. Alexis Taylor)
What Follows (Feat. Museum of Love)
Ten Miles High
Lose Control (Feat. Nancy Whang)
End Of The Trail (Feat. Alexis Taylor)
Phase Out
Wir Warten
Is There No End (Feat. Jay Green)
OB-8 (Winter Mix) [Feat. New Jackson]

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Shit Robot - Where It's At 12"

$14.98

Shit Robot - Wrong Galaxy 12"

$14.98

Shocking Pinks - End Of The World - Deerhunter & Eluvium Remixes 12"

$14.98

Shocking Pinks - End Of The World / Go To Sleep 7" PINK VINYL

$12.98

Shocking Pinks - Smoke Screen The Glimmers Remixes 12"

$14.98

Shocking Pinks - The Narrator 7"

$12.98

Shocking Pinks - This Aching Deal 7"

$12.98

Shocking Pinks - Victims 7"

$12.98

Sinkane - Mars

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Sinkane - Mean Love

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Sinkane x Peaking Lights - Mean Dub

$14.98

Sinkane x Peaking Lights - Mean Dub

$14.98

Four premium dub remixes of Sinkane by Peaking Lights, housed in a natural tan sleeve with red/green/yellow heady gradient center label.

Approaching a busy festival season, including a performance at Glastonbury Festival this weekend plus Womad and Meltdown later in the summer, Sinkane has joined forces with Peaking Lights for a 12” EP release entitled Mean Dub, to be released on August 21st via DFA/City Slang.

With a magical dub overhaul unique to Peaking Lights, Aaron Coyes has given a bass rich enhancement of four original Sinkane songs from last year’s celebrated album Mean Love.

Including stand-out tracks and BBC 6Music favorites "Hold Tight" and "How We Be," there is also special attention given to one of the band's signature live jams "Galley Boys," a song that succinctly explores the spiritual overlap of reggae and country western music with floating pedal steel atop a heavy reggae beat.

Combined with Peaking Lights' dub aesthetic, there is perhaps no finer example of the stylistic multiverse for which Sinkane is known, than this version of "Yacha." It is the first taster from this 34 minute EP.

The two bands met whilst on tour with The Atomic Bomb Band (the William Onyeabor tribute project for which Gallab acts as music director), and quickly developed a mutual admiration for each others work.

“Dub is the epitome of music to me”, says Sinkane’s Ahmed Gallab. “It's the concept of re-defining, re-appropriating, and re-interpreting an idea. Putting a different spin on something that already exists. It's collaboration and renovation. I've always wanted someone to make dubs of Sinkane songs and these Peaking Lights joints have come out really beautifully and have shed an amazing new light and energy on our music. We can’t thank Aaron enough for these jams and the amount of work he has put into them."

Aaron of Peaking Lights commented: “Sinkane are such a pleasure to tour with! When I first heard Mean Love I was blown away by it's soulful psychedelia - not just a wash of reverb and delay psychedelic, but literally a new mind expanding approach to songwriting… Then I got into the stems to do the dub, and the fire within was lit!

Ahmed’s voice is amazing! Jaytram’s drums and Ish’s bass are fully locked in, and Johnny is a straight up shredder on guitar. I'm really, really happy with how these turned out, I hope you dig’em too. I hope I kept enough of the original essence that was already so beautifully laid out and freaked out enough for your trip.

Enjoy, brothers and sisters!"

Tracklist

A1 - Hold Tight (Peaking Lights Dub Mix)

A2 - Yacha (Peaking Lights dub Mix)

B1 - Galley Boys (Peaking Lights Dub Mix)

B2 - How We Be (Peaking Lights Dub Mix)

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Slim Twig - A Hound At The Hem

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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?

Heavy Splendour
Clerical Collar
Widow Were You Younger
Shroud By The Sheetful
All This Wanting
Hover On A Sliver
Maintain The Charade
Blonde Ascending (Come Into The Clatter)

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Slim Twig - Thank You For Stickin' With Twig

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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

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Speedking - The Fist And The Laurels 2xCD / Featuring James Murphy

$15

Spiked Punch - Guinea Pig / Vanilla Meatball 7"

$12.98

Still Going - Still Going Theme 12"

$14.98

Stuart Bogie - Morningside LP

$32.98

Stuart Bogie - Morningside LP

$32.98

You’ve heard Stuart Bogie before because he’s played saxophone, clarinet, and flute on a lot of records. TV On The Radio, Foals, Sharon Van Etten, Beth Orton, Run the Jewels, Antibalas, the list goes on and on and on.

We connected with Stuart during the early clutches of COVID through Korey Richey, DFA Studios engineer and LCD Soundsystem band member.

Stuart had been cooped up in the apartment that he shared with his partner, Karyn, and their family. It was Karyn who suggested a restless Stuart start playing clarinet on Instagram Live every morning, a ritual he kept for 150 straight days. Along the way, he solicited drones and other sounds from his friends as accompaniment.

Korey asked James if he had anything lying around that might fit. Uncharacteristically, James said yes. There was this long, plaintive drone of treated piano made sometime in the 90s that he’d just found. And another similarly droning but slightly darker organ piece made for an installation in the mid-2000s. Stuart played over both in separate sessions, improvising these beautiful, delicate clarinet runs for the sheltered, live-streaming few.

We listened back to the recordings in the office and couldn’t shake how great they were. They felt like a decompression valve, relief from the persistent, creeping apocalypse. They deserved a more meaningful existence than that of a shitty MP3.

So, Stuart came into DFA and recorded them properly. This time Korey ran him through a stack of delay units that stretched and smeared that clarinet into each drone until they were one bewildering whole. Each recording clocked in at roughly twenty minutes - perfect side-long lengths. It all fell into place so naturally.

“Morningside” is the name of the album. Two tracks on two sides. Produced by Korey and James, mixed by James, mastered and cut by Bob. It’s out October 27. You can listen to a few snippets of each side and pre-order the vinyl below. (Since it’s only two “songs,” we aren’t releasing anything officially beforehand.)

A final, but important note: the cover features a detail of a photograph called “The Burial Vault” by the excellent photographer Gregory Crewdson, taken from his recent series “Eveningside.” (The full photograph is featured on a printed insert inside the record package.) A few months earlier, Gregory was finishing what would become “Eveningside” and asked James (a friend) if he might, y’know, have anything lying around. A video was being made about the work and music was needed. James sent these recordings, which evidently sort of stopped Gregory in his tracks. And just like that another piece of the puzzle fell into place. The connection was so natural that Stuart also finally found the title he’d been searching for (until that point, we’d been calling the record simply “Clarinet and Delay.”)

CREDITS
Produced by James Murphy for the DFA & Korey Richey
Mixed by James Murphy
Mastered by Bob Weston at Chicago Mastering Service
Clarinet recorded by Korey Richey at DFA Studios, Brooklyn, NY on November 6, 2022

“Morningside” treated piano recorded at DFA Recording, Manhattan, 2009 originally for an installation at Palais De Tokyo, Paris, in October 2009. Engineered by Matt Thornley and James Murphy.

“Eveningside” feedback and organ recorded sometime in 1993 at Plantain Recording House, Brooklyn, originally for a video art installation. Engineered by James Murphy.

Album art direction by Sam Duke
Cover and insert photograph by Gregory Crewdson, The Burial Vault,
2021-2022, Digital pigment print, image size: 34.5 x 46 in. © Gregory Crewdson

Pressed at Citizen Vinyl in Asheville, NC.

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Surahn - Watching The World (Prins Thomas Remix) 12"

$14.98

The Clouds - The Clouds LP

$61.98

The Clouds - The Clouds LP

$61.98

LIMITED TO 250 COPIES WORLDWIDE

FIRST-EVER VINYL RELEASE OF A LITTLE-HEARD CULT RELEASE FROM THE EARLY 2000S

REMASTERED AND CUT AT 45RPM BY BOB WESTON.

ORIGINAL GRAMMY-NOMINATED ARTWORK TRANSPOSED BY MIKE VADINO.

SINGLE LP HOUSED IN A CRAFT STOCK GATEFOLD WITH A TIPPED-IN FOLD-OUT FEATURING LYRICS, LINER NOTES, AND PHOTOS. PLUS A FUZZY CLOUD ON THE FRONT. (YES, IT'S EXPENSIVE. IT COST A LOT TO MAKE THEM THIS WAY!)

“no, you can’t take them was a dfa office staple for the better part of 10 years. we were hungover and cynical, but this song always got through to a very human part of every one of us. kids listing what you can’t take with you when you die: a basketball. a radio. a clarinet. my mom. it’s a great DJ set ender, too, repeating “all you take is love”—like a lost track making weirds on mushrooms weep at the loft or something, but new and vital. the entire record is filled with moments like this. darkness and light? how will i know? it’s impossible not to care about this music.”

- James Murphy

In 2003, The Coleman Center, an Alabama non-profit arts organization, welcomed Stuart Hyatt as an artist-musician in residence. The center, which encourages and supports projects that engage and reflect the unique surrounding community, invited Hyatt to explore local music.

Four weeks later, he emerged with The Clouds.

Hyatt, reckoning with the notion of mortality, had written and recorded songs with a variety of local citizens, social groups, and schoolchildren.

The result is a record that is plainly, if not stylistically, Americana - a patchwork of voices sown together by some simple songs about the one thing we all experience.

The original release was super DIY - Hyatt’s grandparents helped him assemble the packaging, which also somehow managed to score a Grammy nomination in the category. A copy of the CD somehow wound up in the DFA offices, where it was shared and beloved but still sat until 2020, when we decided it may finally be worth trying to re-release on vinyl.

That process took two years and an insane attention to detail, but the final product is part and parcel with the original project - a unique document of a once-in-a-lifetime collaboration.

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The Crystal Ark - The City Never Sleeps 12"

$14.98

The Crystal Ark - The Crystal Ark

$22.98

The Crystal Ark - The Tangible Presence Of The Miraculous 12"

$14.98

The Crystal Ark - We Came To 12" w/ poster

$15

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

$14.98

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

$14.98

The Juan Maclean - Catching Up With... CD

$10

The Juan Maclean - Give Me Every Little Thing 12x2 w/ vocals by James Murphy and Nancy Whang

$15

The Juan MacLean - Happy House (Matthew Dear V Audion Remix) 12"

$17.98

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

$14.98

The Juan Maclean - Happy House (Remixes #2) 12"

$14.98

The Juan Maclean - In A Dream

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The Juan Maclean - Love is in the Air 12"

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The Juan Maclean - One Day 12"

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The Juan Maclean - The Brighter The Light

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The Juan Maclean - The Brighter The Light

$5.00

album artwork by Bráulio Amado.

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

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

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

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