DFA Titles

Delia Gonzalez - In Remembrance
Delia Gonzalez - In Remembrance

Delia Gonzalez - In Remembrance

$24.99

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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DFA Records Compilation #1 2xLP
DFA Records Compilation #1 2xLP
DFA Records Compilation #1 2xLP
DFA Records Compilation #1 2xLP

DFA Records Compilation #1 2xLP

$27.99

The CD release of DFA Records Compilation #1 came out in days of yore, when the iTunes store did not exist, when iPods were more coveted than your phone. The only way to hear the first batch of singles DFA released was to seek out the vinyl and lots of people did.

This magical mythical first group of releases from DFA included “House of Jealous Lovers” by The Rapture, “Losing My Edge” & “Give It Up” by LCD Soundsystem. It also included two very different approaches to dance music from The Juan Maclean – “By The Time I Get To Venus” and “You Can’t Have It Both Ways”, which subtly introduced the world to the vocal powers of Nancy Whang.

Black Dice also released a 12” single, throwing their noise roots behind a 4/4 screech and created one of the most
unique singles in the DFA catalog with “Cone Toaster”.

The compilation was edited to fit onto one CD, more a sampler than a completist’s anthology. In hindsight, it should have been an anthology of the first 5 singles in full but the A sides had enough momentum happening to make the sampler a bonafide success for the label.

The 8.0 review from Pitchfork in 2003 helped cement the DFA label as both the leaders of a new production approach, as well as a collection of artists who could co-exist make music together and please both the discerning DJ and the indie rock enthusiasts.

In the review, the writer Nick Sylvester calls DFA “The Neptunes of the discopunk underground”, which maybe seems funny and far-fetched now, but back in 2003 was a compliment and comparison that DFA were very willing to accept. It is now 2016 and both parties continue to work and stay busy and relevant. Success being relative, this compilation represents the humble beginnings of the label and the birth / re-birth of DFA flagship artists The Rapture, The Juan Maclean, LCD Soundsystem & Black Dice.

This is the first time this title has ever been pressed to vinyl.
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Edward - Underwater Jams
Edward - Underwater Jams
Edward - Underwater Jams
Edward - Underwater Jams
Edward - Underwater Jams
Edward - Underwater Jams
Edward - Underwater Jams

Edward - Underwater Jams

$18.99

TRACKLIST: 
A) Mental Dive (14:57)
B The Lagoon (11:35)

On his DFA debut, German experimental techno producer Edward largely departs from the 4/4 grid he frequents and blurs the focus towards a more slippery, improvisational vibe. Fans of his Desert Sky alias, as well as his work reshaping classic tracks by Harmonia & Eno and Rolf Trostel of Tangerine Dream, will be quite pleased with Underwater Jams. These two new songs unfold at their leisure, going off on whizzing, kosmiche-influenced tangents, all the while guided by the hand drums of percussionist Geronimo Dehler. On A-side “The Lagoon,” the freedom of the long-form composition allows Edward to go deeper and more mesmeric, while the restrained stomp of B-side “Mental Dive” allows for an introspective dance floor moment.

Though he’s been releasing music for the past decade, Edward has always been a bit enigmatic, with a majority of his discography only available on vinyl. He remains as prolific as ever – in the last year alone, Edward has toured all over the world, playing esteemed clubs from Berghain to Fabric, and splitting bills with artists like Ricardo Villalobos and Oskar Offermann. His numerous releases on Giegling, Die Orakel, and White demonstrate his penchant for combining the psychedelic and the locked-in groove, but it’s the sprawling sense of adventure that makes this release one of the more idiosyncratic in Edward’s catalog.

Limited heavyweight vinyl with matte finish jacket and picture sleeve, rainbox gradient center label. Ships with bolt stickers. 
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Eric Copeland (Anthony Naples Remix) + Larry Gus (Boookworms Remix) Split 12"
Eric Copeland (Anthony Naples Remix) + Larry Gus (Boookworms Remix) Split 12"
Eric Copeland (Anthony Naples Remix) + Larry Gus (Boookworms Remix) Split 12"
Eric Copeland (Anthony Naples Remix) + Larry Gus (Boookworms Remix) Split 12"

Eric Copeland (Anthony Naples Remix) + Larry Gus (Boookworms Remix) Split 12"

$12.99

 

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

Eric Copeland - Black Bubblegum LP

$17.99

Black Bubblegum is on black vinyl

Black Bubblegum is the newest LP from Eric Copeland, and we are not kidding when we emphasize it sounds like nothing he has done in the past. The title of the record says it all: chewy, sticky pop that doesn’t taste quite like any chewy, sticky pop you’ve had before.

 
Recorded at Copeland’s old practice space in South Williamsburg, Black Bubblegumcontains songs with more conventional sounds and songwriting than any of his previous releases. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop. Wanting to take a more “hands-on” approach to these recordings, Copeland exchanged sample-driven tech and hardware for keyboards, guitars and effect pedals, creating a new sound that is oddly easy to digest despite its rejection of melody in favour of discord and dissonance. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop; imagine Arthur Russell going into the studio with the Ramones.
 
For a long time, Copeland considered this collection of songs to be recordings which would never be heard. This invariably influenced certain decisions made during the creation of Black Bubblegum, blessing Copeland with the unique freedom that comes from making music never intended to be heard, let alone released.
 
When asked to please jot down what influenced this new album and sound, Eric replied”glam holes, glitter dreams, money troubles, apocalypse paranoia, one hit wonders, manifest destiny, my family's westward migration, body troubles (was passing kidney stones almost the entire time), LGBT disco parties, Jonathan Richman, Missing Foundation, Neil Diamond, New Orleans, poverty, getting pushed out of another Brooklyn neighbourhood... No Beach Boys, no Beatles, no Buddha...  More Bad News Bears.”
 
Eric Copeland has been sound clashing at full volume for over twenty years, first carving out a named for himself as one third of the legendary NY-via-Providence band Black Dice. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world.
 
A long time Brooklyn, resident, Eric recently relocated to where the L Train does not run - Palma de Mallorca, Spain. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.

Tracklist:

  1. Kids In A Coma
  2. Rip It
  3. Fuck It Up
  4. Honorable Mentions
  5. Blue Honey
  6. On
  7. Cannibal World
  8. Don't Beat Your Baby
  9. Radio Weapons
  10. Get My Own
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Eric Copeland - Brooklyn Banks
Eric Copeland - Brooklyn Banks
Eric Copeland - Brooklyn Banks
Eric Copeland - Brooklyn Banks

Eric Copeland - Brooklyn Banks

$19.00

DFA is proud to distribute Eric Copeland's Brooklyn Banks LP via NYC label Palmetto Arts. The release is limited to 20 copies in the DFA store. 


TEXT FROM BOOKAT: NYC’s Palmetto Arts wrest the best from Eric Copeland (Black Dice) and his buddy Rusty Santos in the psychedelic dancefloor prods of Brooklyn Banks - Copeland’s 10th album after a slew of haywire aces for DFA, Paw Tracks and L.I.E.S over the last decade.

We’re not sure what he’s been taking or which clubs he’s been hanging out in, but there’s a distinct sharpness to these cuts feels more driven, jutting and insistent than Copeland’s more unhinged workouts.

OK, his sound is definitely still tapped and puckish in the best way, but there’s a craftier, DJ-friendly definition to these grooves which work equally well in both the context of an album and as dance tools in a similar way to head-spinning LPs by Moon Pool & Dead Band or Black Zone Myth Chant.

 The way he traverses styles with freeform agility is never not entertaining; whether channelling deep house into distorted wormholes with Mr. Mic, warping it with lysergic subtlety in Bear Country, or hacking into sloppy filter disco loops with Synching Cycles, he’s always got one eye on the floor and the other spinning in the back of his head.

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Eric Copeland - Goofballs
Eric Copeland - Goofballs

Eric Copeland - Goofballs

$10.00

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: ‘Goofstep’. We’ll see if that one sticks…

Eric explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:

“i made it here in Palma at my studio, this is the first full record i’ve made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.”

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.

Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric’s third solo album for DFA Records.

Tracklist: 
1) Boogieman
2) Neckbone
3) Disco Ball
4) Bibbidi Bobbidi Boo
5) Mixer Shredder
6) Close Encounters
7) Smearjob
8) Do Whatcha Wah Wah

COMPACT DISC AVAILABLE ON DFA BANDCAMP

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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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Eric Copeland - Masterbater
Eric Copeland - Masterbater

Eric Copeland - Masterbater

$11.00

Tracklist:
A) Masterbater (11:22)

A 12 minute Eric epic, written during the sessions for 2012 LP "Joke In The Hole". Available now at DFA Direct as a limited one-sided 12", with a moderately inappropriate custom sleeve. Ships with bolt stickers. 
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Eric Copeland - Mixbone
Eric Copeland - Mixbone

Eric Copeland - Mixbone

$20.00

2x 12" EP on heavyweight black vinyl, limited to 300 copies. 

Tracklist:
1) Mixer Shredder (LNS Remix)
2) Neckbone (NHK yx Koyxen Remix)
3) Mixer Shredder (Physical Therapy's Tegel Mix)
4) Neckbone (Cooper Saver Remix)
5) Mixer Shredder (Machine Woman Remix)
6) Neckbone (Machine Woman Remix)
7) Mixer Shredder (Physical Therapy's Gatwick Mix) 

On the 
Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.”Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.”Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.
 
Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.
 
“Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

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Eric Copeland - Ms Pretzel
Eric Copeland - Ms Pretzel

Eric Copeland - Ms Pretzel

$13.99

12" Vinyl EP in a picture sleeve featuring collaged artwork by Eric Copeland himself. 

Ms Pretzel is a 4 track, 20-minute EP of brand new material by Eric Copeland (Black Dice, Terrestrial Tones). This is Eric’s return to DFA after the release of an acclaimed single on Ron Morelli’s underground dance juggernaut L.I.E.S., which followed his beloved 2013 album “Joke In The Hole”, his solo debut for DFA.

The music on Ms Pretzel most certainly continues to break new sonic ground, a process which has gradually unfolded over the last few years via many prior works on seminal underground labels such as Underwater Peoples, Escho, Post Present Medium, and Catsup Plate, among many others. Ms Pretzel takes Eric’s outsider fascination with 4/4 dance music and twists it yet again. It is the sound of Eric Copeland throwing a wobbly dance party in a junkyard. DFA could not be more excited to host this gritty event.

“If Copeland is interested in the conventions of clubland, it’s at the point where someone’s puking on their shoes outside the venue, a distant throb of bass beating into their brain through the brickwork.” - Pitchfork

“The rhythms might be recognisably house or hip-hop, but Copeland pulls and squeezes their structures like accordions.” - Resident Advisor

“Though constantly teetering on a knife’s edge - to be expected in such mental, syncopated mashups - this is wildly colourful and knowingly absurd music.” - The Quietus

 

Tracklisting:

  1. Ms Pretzel
  2. SXIXO
  3. Scum of the Cream
  4. A1EZOK
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Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples)
Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples)

Eric Copeland - Remixes (Panda Bear, Larry Gus, Fhloston Paradigm, Anthony Naples)

$10.99

Limited editon of 1000 hand-stamped and numbered copies, assembled at DFA in NYC. 

DFA is proud to release a long-gestating 12” single of wild interprations of Eric Copeland’s 2013 album “Joke In The Hole”. The Black Dice member received universal acclaim for the record, “Fringe though Copeland may be, this album is a serious coup for DFA—he walks the line between complete nuttiness and outright accessibility, and ends up with one of his best records to date.” (XLR8R) Starting us off is Panda Bear, who adds his trademark falsetto vocals and shuffling percussion, sweetening Eric’s black coffee beats. DFA’s own sonic collagist Larry Gus blends Eric’s mumbled vocals with bright percussion and a vocoded male choir, among many other audio dalliances. Meanwhile, Hyperdub’s Fhloston Paradigm (AKA King Britt) takes aim with his laser cannons, firing volleys at unrelenting waves of marching alien armies, before being swallowed up in a solar flare. Finally, Anthony Naples (Text Records, Trilogy Tapes) brings it back to the club with snaps, claps, and hi-hats, but it sounds like you left ‘em out in the rear window of your car on a sunny day. You know what we mean. 

Tracklisting:

  1. Cheap Treat (Panda Bear Version)
  2. Grapes (Larry Gus Remix)
  3. Cheap Treat (Fhloston Paradigm Remix)
  4. Bobby Strong (Anthony Naples Remix)

 

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Eric Copeland - Trogg Modal Vol 2
Eric Copeland - Trogg Modal Vol 2

Eric Copeland - Trogg Modal Vol 2

$10.00

**Pre-Order, all orders ship the week of March 18th

Tracklist: 
1) Beat It
2) High score Zed
3) United Banana
4) Payoff
5) BS Dropout 
6) Light Fantastic
7) Blazin
8) Falo

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October’s Vol. 1. The former Black Dice member’s 'Freakbeat 4/4' agenda gets further refined here – Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as “late Night Flight proto tekno,” the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric’s textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and ‘jamming’ to a climate of uncanny smoothness and polish.    

Where Vol. 1 was composed of “rippers,” Vol. 2 travels at its own pace, continuing to showcase Eric’s ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of “BS Dropout” to the blithe, video arcade soundtrack “High Score Zed.” Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years – arriving in 2019 with his mischievous sense of adventure firmly intact.

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Eric Copeland - Trogg Modal Vol. 1
Eric Copeland - Trogg Modal Vol. 1
Eric Copeland - Trogg Modal Vol. 1
Eric Copeland - Trogg Modal Vol. 1
Eric Copeland - Trogg Modal Vol. 1

Eric Copeland - Trogg Modal Vol. 1

$10.00


Tracklist:

1) Mateo
 
2) 321 Contact
3) Electric Mud
4) Heads
5) Build-A-Brain
6) Fresco
7) Hugo


In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy. 


Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described “rippers,” music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

 

 

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Eric Copeland - Trogg Modal Vol. 1 (Remixes)
Eric Copeland - Trogg Modal Vol. 1 (Remixes)

Eric Copeland - Trogg Modal Vol. 1 (Remixes)

$15.00

*PRE-ORDER this item ships end of April and is released Friday, May 3rd.

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

After the success of last year’s Mixbone EP, we once again invite four dance music experimentalists to remix Eric Copeland. Where 2017’s Goofballs was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, last fall’s Trogg Modal Vol. 1 pushed his 'Freakbeat 4/4' agenda even further, with a sense of humor that bubbles over and out through the speakers. Rife with chunky percussive layers and tweaked loopy vocals, these frenzied, self-described “rippers” are practically designed to be remixed. 

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

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Essaie pas - Demain est une autre nuit
Essaie pas - Demain est une autre nuit

Essaie pas - Demain est une autre nuit

$14.99

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.

  1. Demain est une autre nuit
  2. Depassee
  3. Retox
  4. Carcajou 3
  5. Le port du masque est de rigeur
  6. Facing The Music
  7. Lights Out
  8. La chute

 

 

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Essaie Pas - New Path

Essaie Pas - New Path

from $12.00

Essaie Pas - New Path
Essaie Pas - New Path
Essaie Pas - New Path

Essaie Pas - New Path

$12.00

Tracklist:

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


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

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

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

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

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

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

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

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

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

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

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

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

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

 

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Factory Floor - 25 25 2xLP
Factory Floor - 25 25 2xLP

Factory Floor - 25 25 2xLP

$9.99

Tracklist:

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


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

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

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

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

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

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

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Factory Floor - Digital Download
Factory Floor - Digital Download

Factory Floor - Factory Floor

$17.99 $27.99

Yellow jacket + Black vinyl edition. 

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

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

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

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

Tracklisting:

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

Factory Floor - How You Say (Boookworms Remixes)

$4.99

DFA is pleased to announce three 12" vinyl singles, consisting of remixes of "How You Say" from Factory Floor's self-titled debut LP.

This one (DFA2439) features two unique remixes by Bookworms (L.I.E.S. / Confused House), which marks his return to DFA following an anxious remix of The Night Patrols by Larry Gus in 2013. It reinforces the deep and dark acidic sounds he has become so well known for, taking this hypnotic single and tweaking it out for maximum impact. 

Includes a digital download of the entire remix EP, because why not. 

 

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