LCD Soundsystem – Yr City’s A Sucker
Losing My Edge backed with Beat Connection. This is the 2012 Remastered version cut super loud by Bob Weston. And it doesn't skip anymore! Yay.
Of the many arresting moments that fill LCD Soundsystem's This Is Happening, perhaps the most unexpected comes less than halfway through album opener "Dance Yrself Clean." The seemingly unassuming, low-key rumble of a song morphs from its mumbled beginnings into an outsized flash of synth ballast and wailing vocals. The sudden shift is like the flicking on of a light, the perfect example of frontman-songwriter-mastermind James Murphy's effortless balance of restraint and release, organic rock and electro pop, and muted cool and vibrant emotion. This study in contrasts pervades LCD Soundsystem's third, and possibly final, release--an album where Murphy refracts images of heartbreak and longing through the scattered light of a disco ball.
The cautious observations and honest reveals that follow are literally and figuratively quieter moments than that initial blare. On "All I Want," against a wall of whirling guitar, Murphy recognizes a relationship that can't be saved, and instead asks for "your pity" and "your bitter tears." "Get Along" shuffles over pulsing keys and bubbling percussion as Murphy tries to bridge physical and emotional distance, singing, "You might forget, forget the sound of a voice / Still, you shouldn't forget the things we laughed about." Conversely, the sparsely decorated, sauntering "Somebody's Calling Me" is almost hopeful in comparison: "Somebody's calling me" Murphy half whispers, "to be my girl."
There are stretches of lyrical levity here, too. "You Wanted a Hit," which sits atop shiny synths, a driving bass-line and layers of handclaps, laments record label demands on what turns out to be one of the album's hookiest tracks. "Pow Pow" veers toward past "talkies" like "Losing My Edge," and features keyboardist Nancy Whang shouting in unison with Murphy.
With This Is Happening, Murphy has created a work of both nuanced introspection and distanced observation. DFA is proud to offer the vinyl version of this much lauded release, which also includes contributions from drummer Pat Mahoney and sound collagist Gavin Russom.
Sound Of Silver 2xLP
01. Get Innocuous!
02. Time to Get Away
03. North American Scum
04. Someone Great
05. All My Friends
06. Us v Them
07. Watch the Tapes
08. Sound of Silver
09. New York, I Love You but You're Bringing Me Down
White Vinyl edition on back order through early 2020.
CD now available.
This is a fake-live album, featuring the live lineup, played live, just not in front of people or anything. Features lots of yr LCD faves like All My Friends, Us V. Them, I Can Change, and Daft Punk Is Playing At My House.
You may know these two guitar jams from the bonus disc of their 2005 Self-Titled LP. Super heavy 7" in black and white picture sleeve!
1) Magic Is Easy
2) Jesus Rabbit
4) Hacking Machine
6) Come Up With Me
7) Unicorn Cigarette (Vinyl Only)
8) Walls Of The Universe
9) Jackie's Daughter
10) Green Apple
Analog synthesizers give tangible life to the works of Guerilla Toss. Whether it be the sound of a rocket ship, a kitten-with-a-wah, distorted dolphins, or a clavichord made out of honey-baked ham, the band consistently finds new ways to bring together the many ideas that combine to shape each new batch of art-rock puzzle pieces.
Twisted Crystal, Guerilla Toss’ new LP, feels more personal than ever for the band. Angular yet irresistibly catchy, this collection of pop songs pulls influence from powerful groups like The Slits, ESG, Gina X, and early Madonna, with sing-speak vocals from Kassie Carlson nodding to legendary artists like Laurie Anderson, Grace Jones, and Lizzy Mercier Descloux – combining this all into a twisted, crystalline concoction.
Oracles and enigmatic egos are common lyrical themes, but charismatic instrumentality springs the listener back to extraterrestrial comfort. Old favorite sounds ring true from the trusty Sequential Circuits Six Track Synthesizer and Clavia Drum Machine. New, more refined sounds are molded and polished by drummer/producer Peter Negroponte, whose passion for perfection and creation goes far beyond an all-consuming Tetris effect. Peter has truly excelled on this new recording, creating a complex networks of beats and sound that become easily intertwined with the rhythmic fabric of life.
Raised in a devoutly religious family, vocalist Kassie Carlson started performing at the age of five. She often participated in large pastoral choral performances, as well as her family’s four-part harmony gospel quartet, making her no stranger to the stage. Growing up under the fear of God leaves a distinct footprint on your perception. An omnipresent male dictates not only your present waking life but also the rest of your eternity. Discovering a rock band was more than self-expression for Kassie, it was a manifestation of a self-healing temple, a personal pipeline for power. What better way to part the waters of toxic sludge than a matriarchal shout?
Arian Shafiee, Guerilla Toss’ resident textural-guitar guru, is inspired by aspects of non-Western tuning and extended techniques. He designs moments of dense, glistening, pitch-shifted harmony and measured strumming that link classical impressionism to no-wave and early minimal music. His recent solo work truly comes through on this new record, as he tethers fantastical surreality to noise rock to deconstructed Middle Eastern pop music.
Keyboardist Sam Lisabeth paws the keys with distinct virtuosity and expressive sass. A new member, Stephen Cooper (of the band Cloud Becomes Your Hand), binds the group with an urgent, disciplined, and melodic style. The hypnotic, ostinato-like basslines and up front rhythm tracks guide and grip each song like gravity, keeping the listener from swirling off into the cosmos.
In albums past, Kassie’s performances resembled more of a manic, possessed high priestess; humming at the gates of hell, hacking telepathy and tugging the strings of every audience member. Twisted Crystal goes beyond this familiar darkness, leading us into a rhythmically calming charm with deep wisdom, serenity, and understanding. What is a twisted crystal? And who told you it would heal?
At times the listener wanders through mazes of dizzying, alternately pulsing time signatures, but the roads always bounce, meet and magically snap back together. That meditative groove, both live and in the studio, has become signature for Guerilla Toss, drawing deep influence from 70s krautrock and experimental rock music like Tom Tom Club, Talking Heads, Brian Eno, Neu!, Cluster, Todd Rundgren, and La Dusseldorf.
A constantly evolving, living breathing entity, the band now presents the album Twisted Crystal. Enjoy the same surrealistic, kinetic healing energy of live Guerilla Toss, today in your own home.
“Magic is Easy. Hypnotize yourself well.”
1) Projekt 3
2) Pastarella Al Limoncello
6) Signum Viridi
8) Crocus Vernus
9) Die Dimension
10) Die Dimension (Dub Version)
1) Projekt 3
2) Pastarella Al Limoncello
6) Signum Viridi
8) Crocus Vernus
9) Die Dimension
10) Die Dimension (Dub Version)
11) Pastarella Al Limoncello - Massimiliano Pagliara Remix
12) Die Dimension - Jayda G Remix
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"
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.
1 box found ! Originally pressed in 2015.
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.
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.