Guerilla Toss - Smack The Brick
1. Smack The Brick
2. Be The Breeder
4. Billy Blood Idol
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.
FIRST PRESSING ON LIMITED EDITION 'ORANGE SUNRISE' SPLATTER VINYL
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.
Demain est une autre nuit by Essaie pas is released on limited edition orange sunrise coloured LP, CD, and digitally on February 19, 2016.
The tracks that lead to DFA falling in love with the Toss! Originally released as a cassette tape, now on one-side 12" format from Massachusetts' lovely Feeding Tube Records. Their words below - but please consider this very highly recommended.
"Vinylization of a recent Infinity Cat cassette, 367 Equalizer is a one-sided slab of belligerent art damage. The feel of this session is more tempered than that of their wigglesome debut LP, Jeffrey Johnson (as well as their second LP, which shall go nameless). The discordian elements of post-no-wave edge and Brooklyn basement glue party remain, but some of the looser jags have been hauled in and buffed like a fine pair of loafers. This is still definitely the sound of young people, but not in a way that grates on my old man’s sensibilities.
One of my favorite prog albums was recorded by Pete Brown’s band, Piblotko, and it’s called Things May Come and Things May Go, But the Art School Dance Goes On Forever. The sentiment expressed by that title inhabits the music here. It acknowledges a variety of parallel continua, while adding a fresh layer of creative loam that will surely be plundered by subsequent generations of brats. It’s an endless worm of processing and renewal, and only time will tell if this Boston quintet ultimately manages to survive the rigors of the eat-and-be-eaten dictates of the form, but this is a damn good effort. It will be sure to please those amongst us who are still young in tongue, even as we become long in tooth. – Byron Coley, 2014"
A1 Hold On (Switch LA Remix)
A2 Hold On (Switch LDN Remix)
B Hold On (Mock & Toof Remix)
C Touch Too Much (Ewan Pearson Remix)
D Touch Too Much (Kollektiv Turmstrasse Remix)
The LP that made us fall in love with this band! Recently repressed by Vermont's amazing NNA Tapes, pick it up before it's gone again!
"Brand new full-length from Brooklyn's Guerrilla Toss. Unbridled and demented noise rock with heavy doses of technical hammering , extreme musicality, and heaps of perverse funk. Complex composition mixed with raw punk energy make Gtoss one of the most refreshing young bands out there. Ride the guerilla!"
Al Anon concludes Eric Copeland’s two part album entitled Alien In A Garbage Dump (available on CD from Paw Tracks). Where the first half offered a discombobulated collection of radio cross-signaling, here the alien finds its groove for a minute and tidies up the frequencies. There is still something outsiderish here, but with more of an effort to get inside, to play by the rules even? Or maybe the motivation is to sneak something subversive into the norms’ hideout?
Since Al Anon was recorded at the same time as two Black Dice albums, there are obvious parallels in the results; an uncompromised sonic landscape. But outside the group setting, Copeland has found places one can only find alone: small inner dialogues and isolated mind caves where an idea may only last a moment. He captures and tweaks these ideas into fragments of many memories; a déjà vu record déjà vu record. Funny characters drop in and out. Songs come and go. Al Anonproves to be a strangely curated time capsule of OUR time right NOW; music where birds beat-box with car-stereo subwoofers and the neighbors’ Espanol sings on top the Sabbath siren. With all this going on, Copeland sometimes disappears into the anonymity, playing a ‘behind-the-scenes’ role, pushing cords and pulling buttons, laughing because the batteries are dying. Here the familiar becomes mysterious and the unknown feels normal and we can listen to this one all day trying to make those distinctions.
Edition of 500 copies with jaw-droppingly amazing black and white collage artwork by Copeland, screenprinted by VG Kids.
LIMITED EDITION WHITE VINYL
Containing all new studio recordings Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut album ‘Transverse'.
Featuring their distinctive metallic guitar sound, distorted vocals, resounding bass lines and electro industrial rhythms this music is not for the fainthearted.
The vinyl album has five tracks and comes with a free digital download code.
f (x) will be released worldwide by the legendary Industrial Records label (home of Throbbing Gristle since 1976).
Fulton's been pursuing BOOF on and off over the past 15 years, and the flower-themed project houses some of his prettiest work. His instrumental and production prowess has never been in question, but The Hydrangeas Whisper ups the bar, marrying dubby synths and free-flowing guitar improvisation, dipping and diving in and out of various genres. The Hydrangeas Whisper feels like a culmination of sorts, the best of a grip of albums Fulton's issued over the past decade. He's beat the house LP problem by making something that feels like a DJ set, with stylistic leaps and no breaks between tracks. In fact, his intricate sound seems natural for this format. In a climate where scores of anonymous producers are handing in equally indistinguishable tracks, Fulton's carving out his odd, incredibly personal path.
Culling a pair of cuts from Kanamori's 2010 digital-only Mutsumialbum, Look Down At Your Feet Below sounds like it could have come out at any point over the last two decades or so. And its raw and percussive yet wondrously catchy tunes won't be going out of style any time soon. The title cut is all slinky, pounding drum programming and hilariously insistent screaming—a funked-up bassline is about all we get for melody, and it's just barely audible beneath the barrage. You can't even tell what Mutsumi's ultra-processed voice is yelling on "58, 26, 34 & 20," over an arrangement as assaulting as the A-side. But Look Downisn't a L.I.E.S. record—it truly aims to please, just in its own brash and adorably overbearing way.
|A||Look Down At Your Feet Below|
|B||58, 26, 34 & 20|
Syclops is trio Sven Kortehisto, Hanna Sarkari and Jukka Kantonen. First to appear on a Bubble Tease 12 in 2001, followed by two singles for Tirk and finally with the debut album 'I've Got My Eye On You' on DFA in 2008. 'A Blink Of An Eye' is the long awaited successor with 10 tracks of future funk. Ranging from the nastiness of 'Jump Bugs' to the fragile beauty 'Ray & Claire' it's classic Syclops all the way. Available double LP via Running Back and produced by Maurice Fulton.
|B3||Got To Get Up For Monday||5:58|
|C1||Sarah's E With Extra P||5:52|
|C2||Michele's H With C||6:18|
|D1||Raj & Claire||6:04|
|D2||Back When Lynn (The Classic)||5:59|
|D3||A Blink Of An Eye||6:19|
Goblin City - (Holy Ghost! Remix)
Goblin City (Run Roc Mix)
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.
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.
ONLY A COUPLE LEFT and discounted for your convenience.
This is DFA co-founder Jon Galkin's favorite LCD Soundsystem song, just FYI. It's also the last track on the bonus disc of their 2005 self-titled LP. Now cut at 45! Hand-stamped white label.
This will ship in early October, and is a numbered edition of 500.
We found the parts to this long-out-of-print LCD Soundsystem 7"! You may know these two guitar jams from the bonus disc of their 2005 Self-Titled LP. Super heavy 7" hand-stamped white label single that also includes a copy of the picture sleeve!
This will ship in November and is a numbered edition of 500.
Hand-stamped white label with bonus Holy Ghost! logo sticker and digital download card. Limited to 600 copies.
|A1||It Gets Dark (Original|
|A2||It Gets Dark (Instrumental)|
The man behind the name Capracara is Englishman Jonathan Burnip, who has released 2 acid drenched singles on UK label Soul Jazz and remixed for the likes of Matt Edward’s Rekids label and Kill The DJ. He also remixes as one half of Tiger Timing and has contributed to the esoteric disco label History Clock. His latest project is 'Churchill's Leopards' with Joel Martin of Quiet Village.
'King of the Witches' takes its cues from the psychotronic, primitive electronics of early house music and ancestral rhythms of heathen drum machines. Chock full of wonky leftfield quirkiness and primitive sounding gear, the song is geared for the headz and the headphones and is so uniquely catchy and bouncy, it sounds more Jean Jacques Perry than Jacque Lu Cont.
The remix comes courtesy of NYC legends Rub ‘N’ Tug (Thomas Bullock and Eric Duncan), who create what will inevitably be one of the remixes of 2009, and no it is not too early to make that statement. They flip what might sound quaint into something sinister and ever-growing, a dark loopy anthemic interpretation that does nothing but help cement their status as the most creative and exciting remixers and musicians working today.