All Vinyl

Shit Robot - Where It's At
Shit Robot - Where It's At

Shit Robot - Where It's At

$15.00

Limited edition of 600 light-green colored vinyl.

Shit Robot and DFA are psyched to release “Where It’s At” another in a long-running series of collaborations with the singer/comedian/television star Reggie Watts. Reggie Watts’ vocal performance runs the gamut of Chicago dance music history - from the gloom and melodrama of iconic label Wax Trax, to the jubilant choruses of Frankie Knuckles’ house anthems. But let’s not de-emphasize the solid instrumentation provided by Mr. Marcus ‘Shit Robot’ Lambkin – we’ve got that classic DFA bassline, claps, and bleeps and bloops aplenty – mixed and manipulated by none other than our own James Murphy. The flip features a remix by London producer Johnny Aux, who turns the track into a staticy, stripped down, raw Deep House banger, with hissing glimmers of icy cymbals peeking through the smog.

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YACHT - See Mystery Lights
YACHT - See Mystery Lights

YACHT - See Mystery Lights

$20.00

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

Tracklisting:

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

Marcus Marr - Brown Sauce

$10.99

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

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

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

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

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

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

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

 

 Track List: 

  1. Brown Sauce
  2. Peacemakers
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Black Dice - Beaches and Canyons
Black Dice - Beaches and Canyons

Black Dice - Beaches and Canyons

$25.00

Back in print for the first time in 5 years, and if you ask me, not a minute too soon. As influential now as it was upon its original release in 2002, the first LP ever on DFA gets a remaster by Bob Weston and a new matte jacket.

Tracklisting:

  1. Seabird
  2. Things Will Never Be the Same
  3. The Dream Is Going Down
  4. Endless Happiness
  5. Big Drop
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The Juan Maclean - One Day
The Juan Maclean - One Day

The Juan Maclean - One Day

$10.00

Oh, the jokes we had with the title of this song. Well, there's only one. "Juan Day". Anyway. The followup to Happy House, features Alex Frankel on backing vox. Includes an instant digital copy. 

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Eric Copeland - Joke In The Hole
Eric Copeland - Joke In The Hole

Eric Copeland - Joke In The Hole

$15.99

Eric Copeland's debut LP as a solo artist on DFA, this double vinyl is covered inside and out with collages by Eric himself. Double heavyweight vinyl with a download card.

 

Tracklisting:

  1. Rokzi
  2. Grapes
  3. Tinkerbell
  4. Flushing Meats
  5. Babes In The Woods
  6. Bobby Strong
  7. Shoo Rah
  8. Cheap Treat
  9. Kash Donation
  10. A Little Tit
  11. New Leather Boogie
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Larry Gus - Years Not Living
Larry Gus - Years Not Living

Larry Gus - Years Not Living

$9.99

Inspired by the rural environment of his hometown of Veria, Greece, multi-instrumentalist / singer / producer Panagiotis Melidis started writing music as Larry Gus (from the Greek larigas, or larynx) in 2006, soon after the early demise of his previous band Ginger (a bass and drums duo with a sound similar to the early-’00s Providence scene, paired with hip hop overtones).

Melidis initially composed production music, and later on earned a reputation for intense and chaotic live performances. He retained Ginger’s primitive aesthetics of groove based music, along with an obsession for late-’60s / early-’70s free jazz, and combined them with sample-based techniques and crystal-clear psychedelic pop melodies, all merged into infinitely dense layers and polyrhythms.

Stitches, his first proper full-length, was released in 2009 for Greek hip hop label Cast-A-Blast, and Melidis began a yearlong residency at the Music Technology Group in Barcelona as an intern and postgraduate student. He then returned back to Veria to work on his next project, Years Not Living, an album inspired by Georges Perec’s 1978 book Life: A Users Manual and Lucio Battisti’s 1974 album Anima Latina. The sessions yielded a staggering 85 songs, and the entire process, set amidst Greece’s financial crisis, was documented and will be part of the feature film My Friend Larry Gus (directed by Vasilis Katsoupis), to be released in 2013.

Pared down to ten tracks, Years Not Living incorporates a wealth of diverse styles, ranging from ’60s / ’70s psychedelia and pop to hip hop and more.

Tracklisting:

  1. With All Your Eyes Look
  2. The Night Patrols (A Man Asleep)
  3. Taxonomies
  4. The Sun Plagues
  5. The Eternal and the Ephemeral
  6. Merely Today
  7. Pericles
  8. In Violet Ink (Misprints)
  9. The Percival Seascapes
  10. Paths Laid Down
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Black Dice - Miles of Smiles
Black Dice - Miles of Smiles

Black Dice - Miles of Smiles

$8.00 $9.99

Smiles for miles. The Black Dice classic comes with Miles of Smiles on the A-side and Trip Dude Delay to the B-side in a beautifully collaged sleeve.

Tracklisting:

  1. Miles of Smiles
  2. Trip Dude Delay
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Sinkane x Peaking Lights - Mean Dub
Sinkane x Peaking Lights - Mean Dub
Sinkane x Peaking Lights - Mean Dub
Sinkane x Peaking Lights - Mean Dub
Sinkane x Peaking Lights - Mean Dub

Sinkane x Peaking Lights - Mean Dub

$15.00

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.

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!"
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The Rapture / Juan Maclean Split 12" single (2003)
The Rapture / Juan Maclean Split 12" single (2003)

The Rapture / Juan Maclean Split 12" single (2003)

$15.00

Two DFA classics, one great price.

The only way to get a 45RPM version of Killing.

A. The Rapture - Killing

B. The Juan Maclean - Give Me Every Little Thing

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Delia Gonzalez - In Remembrance
Delia Gonzalez - In Remembrance

Delia Gonzalez - In Remembrance

$10.00

Initial pressing is on pink vinyl! Move quick!

Delia Gonzalez is a name immediately familiar to DFA fanatics. As the story goes, Delia transplanted from Miami to New York City in the mid-1990s, working in various dance and guerrilla theatre troupes. It was around this time that she met synth wizard Gavin Russom, beginning a series of multi-disciplinary collaborations. Their first release for the label, 2003’s El Monte, was an early demonstration of the fledgling label’s ability to bridge the gap between the avant-garde and the rapidly exploding indie rock world.

In Remembrance is the next landmark in Delia’s artistic pursuits. The project originated as a 2010 solo show of the same name at Galleria Fonti in Naples, Italy, and was further realized in 2012, with additional work, as part of the exhibition I Must Not Stop To Rest Here in Cologne, Germany. The project was further exhibited in Zurich. Both exhibitions were built around four 16mm ballet dance films, accompanied by the music composed by Gonzalez. In her words, “The film is meant to re-create the fleeting sensation of inspiration - that sacred feeling when suddenly your mind clears and you know exactly what you’re meant to create and become.”

The films were exhibited in their third incarnation at the Clocktower Gallery in New York City in 2013. Delia enlisted New York underground musicians Bryce Hackford and Alice Cohen to perform a live, electronic adaption of the original piano score. Bryce later contributed four remixes, which are included on this album. Delia explains; “When I lived in Berlin I became good friends with the artist and musician Viktor Timofeev, who kept telling me about his best friend Bryce, who he played music with. In 2012 we were all in Vienna participating in a show entitled You Are Free. There I met Bryce and I instantly loved him. In 2013 I moved to NYC temporarily and ran into him at the New Museum and he said, “we should get together and play”. I took him up on it.”

The original piano score was initially inspired by a text by Henry Miller as well as a theory by spiritual teacher George Gurdjieff, which states that “to play scales is to become more in tune with your inner self.” This coincided conceptually with the music that Delia had been making at the time.

Musically, In Remembrance finds Delia Gonzalez again straddling the lines drawn between the fine art and pop worlds. This time, instead of the cosmic, arpeggiated synths of The Days of Mars , we are presented with something even more immediately beautiful. The music is immediately soothing and hypnotic, yet it also maintains a sinister undertone. Suspense and tension are expressed in a deceptively simple fashion, providing a soundtrack both mesmerizing and melancholy for the dancers in the film. Delicate layers of piano wind around each other, reflected in the mirrored motions of the dancers, filmed in leering close-ups. The four compositions combine to create a 30 minute avant-classical suite, bringing to mind Satie, or something plucked from Italy’s iconic Cramps Records in the seventies (John Cage’s Cheap Imitation is an reasonable comparison), or perhaps an alternate score to the arthouse horror film Dont Look Back by Nicolas Roeg.

The second disc features remixes by previously mentioned live collabator Bryce Hackford. Bryce takes Delia’s exquisite piano score and loops, stretches, and consolidates it. There’s a range of treatments at play here - some pieces are layered with gauzy left-field electronic pulses while Track IV get a 4/4 dancefloor makeover, recommended to fans of both classic Detroit techno and newer left-field stars such as Actress. Asked to briefly discuss his mission statement in creating these remixes, Bryce simply stated that he wished that his remixes “maintain the hypnotic and simple beauty of the originals while opening them up to new spaces.”.

In Remembrance will be released by DFA Records and [PIAS] Cooperative on April 28, 2015.  

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Shit Robot - We Got A Love (White Label 2LP)
Shit Robot - We Got A Love (White Label 2LP)

Shit Robot - We Got A Love (White Label 2LP)

$40.00

Edition of 100 white labels (75 available for sale) of the new Shit Robot LP. This will ship March 1st, 2 weeks in advance of the proper release date. Be the envy of your friends by getting in early! 

DFA Records is proud to present We Got a Love, the sophomore full-length by Shit Robot a.k.a. Dublin native Marcus Lambkin. Recorded in Germany and New York, the nine-track album includes the killer recent singles, “Feels Real” and “We Got a Love.” 

Like Lambkin’s 2010 debut From the Cradle to the Rave, We Got a Love sports an array of guests that include DFA veterans Nancy Whang, Museum of Love and Luke Jenner (The Rapture), plus hip-house hero Lidell Townsell and Australian singer Holly Backler. The album’s distinctive artwork was created in collaboration with Irish graffiti artist Maser.

 Track List:

  1. The Secret (Feat. Reggie Watts)
  2. Dingbat (Feat. Museum Of Love)
  3. Do That Dance (Feat. Nancy Whang)
  4. Do It (Right) [Feat. Lidell Townsell]
  5. Feels Real (Feat. Luke Jenner)
  6. Space Race
  7. Feels Like (Feat. Holly Backler)
  8. We Got A Love (Feat. Reggie Watts)
  9. Tempest
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Slim Twig - A Hound At The Hem
Slim Twig - A Hound At The Hem

Slim Twig - A Hound At The Hem

$19.99

We have 100 copies on pink vinyl out of a total pressing of 600. Comes in a deluxe gatefold sleeve with lyrics. Totally beautiful. We'll have photos soon. 

Slim Twig is the name of a man, not of a band - though he has performed in many a group, some under his
own moniker. Boasting a catalogue several underthe- radar releases deep, the Toronto native lays claim to a
tremendously original work with his orchestrallyinflected, art rock album, A Hound At The Hem. Self-produced in the fall, 2010, Hound is a suite of narrative songs thematically inspired by Vladimir Nabokov’s Lolita. DFA is privileged to reissue this album in advance of the release of Twig’s newest works.

Upon completing AHATH in 2010, Twig struggled to find wide release for it due to its uncompromising textural onslaught and disregard for genre. This course of events set the stage for the composition and release of Sof’ Sike, a somewhat more conventional set of pop songs released on Paper Bag Records, in 2012. The title of that work refers to Twig’s own conception of Hound as the hard-psych flipside to his work of that period.

Recorded on Toronto Island in collaboration with fellow Torontonian, Louis Percival, the album features string arrangements by Owen Pallett, and other collaborators including Meg Remy (U.S. Girls), Carl Didur (Zacht Automaat), and the St. Kitts Quartet.

As a conceptalbum exploring the troubling and the taboo and themes like the transformative power of lust, AHATH can be interpreted as an echolike response to Serge Gainsbourg and JeanClaude Vannier’s Histoire De Melody Nelson. Most of all, AHATH poses the question; where next for Slim Twig, this promising and original auteur?

  1. Heavy Splendour
  2. Clerical Collar
  3. Widow Were You Younger
  4. Shroud By The Sheetful
  5. All This Wanting
  6. Hover On A Sliver
  7. Maintain The Charade
  8. Blonde Ascending (Come Into The Clatter)

 

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YACHT - Chain Tripping
YACHT - Chain Tripping
YACHT - Chain Tripping
YACHT - Chain Tripping
YACHT - Chain Tripping
YACHT - Chain Tripping
YACHT - Chain Tripping

YACHT - Chain Tripping

$10.00


DFA-edition 
half white / half light blue vinyl, only available from our store! 

Tracklist: 
1) (Downtown) Dancing
2) Hey Hey
3) SCATTERHEAD
4) Loud Light
5) Blue On Blue
6) DEATH
7) Sad Money
8) California Dali
9) Stick it to the Station
10) Little Instant 

“We wanted to find a way to interrogate technology more deeply,” explains Claire L. Evans, one-third of the pop group YACHT. “From the ground up,” adds her partner and YACHT founder Jona Bechtolt. The group—rounded out by longtime collaborator Rob Kieswetter—would know: their seventeen-year career has been marked by a series of conceptual stunts, experiments, and attempts to use technology “sideways.” Even the band’s name speaks to this: YACHT is an acronym for Young Americans Challenging High Technology

Chain Tripping is their seventh album and third with DFA Records. Recorded between the band’s home in Los Angeles and Marfa, Texas, the ten-song collection marks a shift in the group’s relationship with technology. Rather than trying to comment on existing platforms from within their own filter bubble, the band stripped their process down and rebuilt it using a technology entirely new to them—Artificial Intelligence, and more specifically, machine learning. 

In order to compose Chain Tripping, YACHT invented their own AI songwriting process, a journey of nearly three years. They first tried to discover any existing YACHT formulas by collaborating with engineers and creative technologists to explore their own back catalogue of 82 songs using machine learning tools. Eventually they created their own working method, painstakingly stitching meaningful fragments of plausible nonsense together from extensive, seemingly endless fields of machine-generated music and lyrics, themselves emerging from custom models created with the help of generous experts in neural networks, deep learning, and AI.

The band’s characteristically frenetic pop sound is toned down on songs like “(Downtown) Dancing,” a scotch-tape disco track that marries an anxious, funky bass groove with the lo-fi sound of the NSynth, a neural synthesizer that uses a machine learning process called latent space interpolation to imagine new sounds in between traditional instrumentation. The NSynth appears all over Chain Tripping, notably on the jewel-like “Blue on Blue,” a euphoric love song wound with surprisingly omnidirectional melodies. The generative composition process “broke us out of a mold of concise, formal, four-bar patterns and let us accept longer, meandering riffs,” explains Kieswetter; like most of Chain Tripping’s standout tracks, the song contains lyrical fragments that coalesce, collapse, and reform with fluid ease. The process also surfaced surreal idioms, like “Loud Light’s” anthemic “I’m so in love / I can feel it in my car,” or the lovely phrase “palm of your eye,” which pins the lilting chorus of the driving “SCATTERHEAD” into place, a song that splits the difference between postmodern rock and no-wave dance music with wiggly ease.

We saw this album as an opportunity to teach the machine our values, our history, our community, and our influences,“ adds Evans. “This record is a product of a technological moment that is rapidly evolving. It taught us everything we wanted to know about ourselves: how we work, what moves us, and which ambiguities are worth leaning into. We didn’t set out to produce algorithmically-generated music that could ‘pass’ as human. We set out to make something meaningful. Something entirely our own.”

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The Juan Maclean - Tito's Way
The Juan Maclean - Tito's Way

The Juan Maclean - Tito's Way

$10.00 $11.99

2x12" single of Juan's breakout classic "Tito's Way", featuring a massive 11-plus minute remix from Linstrøm + Prins Thomas, plus additional edits from Reverso 68, and Booka Shade.
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The Juan Maclean - Give Me Every Little Thing 12x2  w/ vocals by James Murphy and Nancy Whang
The Juan Maclean - Give Me Every Little Thing 12x2  w/ vocals by James Murphy and Nancy Whang
The Juan Maclean - Give Me Every Little Thing 12x2  w/ vocals by James Murphy and Nancy Whang
The Juan Maclean - Give Me Every Little Thing 12x2  w/ vocals by James Murphy and Nancy Whang

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

$15.00

Give Me Every Little Thing 12" DOUBLEPACK w/ vocals by James Murphy and Nancy Whang

A1. Muzik X-Press Vocal Mix

B1. Musik Express Instrumental Mix

B2. Original Album Version

C1. Cajmere Remix

C2. Putsch 79 Remix

D1. Eric B. Deep Dub

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Shit Robot - OB-8 (White Label 12”)
Shit Robot - OB-8 (White Label 12”)
Shit Robot - OB-8 (White Label 12”)
Shit Robot - OB-8 (White Label 12”)

Shit Robot - OB-8 (White Label 12”)

$15.00

Limited edition of just 200 copies 

Ahead of the release of a new album in Spring 2016, Shit Robot fires out a warning to the clubs with a new two-tracker: 'OB-8' b/w 'Torpedo'. 

The A-side is a loon-leaning hypno-house chugger in the classic Robot style, while the flip is a bottom-heavy update on that wild pitch sound: the eagle-eared among you will remember it from his appearance on Beats in Space earlier this year. 

"It feels like moving fast and standing still all at once, and it's as mesmerizing as house music gets" - Pitchfork

released January 15, 2016
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Slim Twig - Thank You For Stickin' With Twig
Slim Twig - Thank You For Stickin' With Twig

Slim Twig - Thank You For Stickin' With Twig

$10.00

 

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.

 

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Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes (White Label 12")
Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes (White Label 12")

Prinzhorn Dance School - Shit Robot & Optimo (Espacio) Remixes (White Label 12")

$15.00

Prinzhorn Dance School’s spartan sonics have often lead to some hand-wringing when trying to play out their records ‘in the club’. In the first 7 years of their existance, there was a sole club-friendly remix in their entire catalog. It is for these reasons that we’re really stoked to announce that we now have a second.

DFA veteran Shit Robot takes the track “Reign” from their imminently released third album “Home Economics” and turns it into a deep, dark floor-filler. The band’s pleading vocals dive in and out of a throbbing bassline, with new robotic percussion seamlessly blending with the band’s original bangs and clangs.

The flip features that previously alluded to Optimo (Espaco) mix of You Are The Space Invader - previously only available commercially in digital form, this is the
first (slightly) wider vinyl release of this classic remix. An edition of 500 hand-stamped and numbered white label copies, not to be pressed again for another 7 years or so. Probably.

Tracklist:

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Larry Gus - I Need New Eyes (Ltd. Ed. Blue Vinyl)
Larry Gus - I Need New Eyes (Ltd. Ed. Blue Vinyl)

Larry Gus - I Need New Eyes (Ltd. Ed. Blue Vinyl)

$17.99

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.

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