DFA Titles

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.

View product
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

View product
LCD Soundsystem - Sound of Silver LP
LCD Soundsystem - Sound of Silver LP

LCD Soundsystem - Sound of Silver LP

$27.99

 

View product
LCD Soundsystem - Give It Up (Limited Edition White Label 7")
LCD Soundsystem - Give It Up (Limited Edition White Label 7")

LCD Soundsystem - Give It Up (Limited Edition White Label 7")

$8.99

We found the parts to this long-out-of-print LCD Soundsystem 7"! You may know these two guitar jams from the bonus disc of their 2005 Self-Titled LP. Super heavy 7" hand-stamped white label single that also includes a copy of the picture sleeve! 

This will ship in November and is a numbered edition of 500. 

Tracklisting:

  1. Give It Up
  2. Tired
View product
Guerilla Toss - Eraser Stargazer LP
Guerilla Toss - Eraser Stargazer LP

Guerilla Toss - Eraser Stargazer LP

$18.00

Ecstatic, vital, and brilliantly unhinged, Guerilla Toss promotes positive energy and twisted spirituality through the less-traveled path of brutal, intelligent, live rock and roll dance music. Like a hurricane of healing bliss, a Guerilla Toss concert is more of a ritual than a performance. It is the unique pairing of musical voices and backgrounds that makes Guerilla Toss such a special party band. But they are more than that – GT gets real when you pay close attention. Their music is inspired by both tragedy and beauty, drug addiction/mental illness and the re-birth of the soul through spiritual practice and psychedelic drug healing - helping the listener overcome these mind-fuck hardships.

GT had a productive 2015, releasing their acclaimed DFA debut Flood Dosed, which cemented support from folks ranging from punk icon Henry Rollins to Busy P of Justice’s Ed Banger Records. The band also relocated from Boston to NYC. “We felt like it was time to move closer to our favorite active bands and artists and they all just so happen to live in NYC!” This didn’t slow the pace of their live performances - between road trips to universities and DIY Festivals, they have a de-facto residency at Brooklyn’s premiere underground venue Palisades and scored opening slots for The Juan Maclean and Mission of Burma.

Eraser Stargazer was written and recorded in 6 weeks of winter isolation in upstate New York. Fans of the group will hear all of the beloved hallmarks of the Guerilla Toss sound - solid bass grooves, squealing guitars, and kitchen sink percussion. Each instrument now occupies its own part of the audio spectrum, with vocalist/poet Kassie Carlson’s spirited incantations brought into focus. Album centerpiece Grass Shack is a perfect example of this leaner, yet tougher Toss. It traverses nearly seven minutes of game- show-winner keyboard stabs, mutant funk basslines, and time signature changes - all grounded by Peter Negroponte’s virtuosic drumming. Carlson describes the themes of the song as “A deep analytical depiction of a small unit of time, with heightened senses, Ripping yourself out of bed even though it might be harsh and overwhelming. Seeing patterns in the little things that make life beautiful.” Heavy subject matter permeates the rest of the record - but that doesn’t mean it’s a downer. Lead single Diamond Girls casts Carlson as a no-wave cheerleader over instrumentation reminiscent of DFA alumni Black Dice and The Rapture, culminating in the group’s catchiest chorus yet. Album closer Doll Face On The Calico Highway is the perfect summation - angular guitars, bells, and low-end vibrations interject and decompose as quickly as they appear, until a hissing cymbal is all that remains.

Eraser Stargazer is released by DFA on March 4th, 2016. The initial pressing is limited to 1000 copies on green vinyl.

Tracklisting: 

  1. Multibeast TV
  2. Diamond Girls
  3. Grass Shack
  4. Color Picture
  5. Eraser Stargazer Forever
  6. Perfume
  7. Big Brick
  8. Doll Face On The Calico Highway

 

View product
Peter Gordon + Love Of Life Orchestra (CD)
Peter Gordon + Love Of Life Orchestra (CD)

Peter Gordon + Love Of Life Orchestra (CD)

$15.00

Peter Gordon and his Love of Life Orchestra--as a new audience discovered upon hearing the FabricLive.36 compilation, a handpicked mix from LCD Soundsystem's James Murphy and Pat Mahoney that opened and closed with Gordon's "Beginning of the Heartbreak / Don't Don't"--are testament to the incredible musical innovations happening in New York City in the late 1970s. Those two compositions, underpinned with disco and gilded with noisy guitar bursts, hanging piano chords and saxophone wails, exhibit not only Gordon's kaleidoscopic vision as a musician, but his precision as a producer and composer. Featuring avant-experimentalists and downtown legends David Byrne and Arto Lindsay as well as Love of Life Orchestra cofounders Gordon and David Van Tieghem, the tracks shine a light on the work of an artist whose influence on dance music is recognizable more than three decades later. 

Gordon's hefty contribution to music is given an up-close look with Love of Life Orchestra, a retrospective of the composer's work. Compiled here are the aforementioned singles and songs that show the breadth and quality of Gordon's output. "Extended Niceties" unfurls a dizzying call-and-response between blaring sax and synths, while the expansive "Roses on the Disco Floor" builds in intensity, size and tempo as it nears its epic end. "Still You" and "Beautiful Dreamer" by Justine & The Victorian Punks (a collaborative project with New York-based visual artist Colette) feature disco grooves and sweetly voiced melodies. "Iago's Escape," which begins with dramatic strings and quasi-operatic vocals, unexpectedly incorporates klezmer-influenced clarinet. "That Hat" is a quirky experiment incorporating early hip-hop beats and featuring vocals from pioneer Arthur Russell, New York Doll David Johansen and Rebecca Armstrong.

The album is rounded out with "Another Heartbreak / Don't Don't Redux," Gordon's own reworking of the seminal opening medley, which freshly reinterprets the original's sax lead and adds new synthesizer parts. Throughout this impressive catalog, harmoniously interwoven strains of jazz, rock and neoclassical, add texture and color to these wonderful songs. Love of Life Orchestra, taken as a whole, serves as ample testimony to the far-reaching scope of Gordon's musical sensibilities and a reminder of his enduring musical legacy.

Tracklisting:

    1. Beginning of the Heartbreak / Don't Don't
    2. Extended Niceties
    3. Don't Don't (Reprise)
    4. Roses On The Disco Floor
    5. Still You
    6. Beautiful Dreamer
    7. Iago's Escape
    8. That Hat
    9. Another Heartbreak / Don't Don't (Redux)

View product
Shit Robot - What Follows 2xLP
Shit Robot - What Follows 2xLP

Shit Robot - What Follows 2xLP

$22.99 $27.99

Marcus Lambkin aka Shit Robot returns with his third full length album for DFA Records, entitled What Follows. The 11-track album was conceived and recorded at Marcus’ home studio in a small town outside Stuttgart; worked on in various New York studios and then mixed over the course of 11 intense & coffee-fuelled days in DFA label mate Juan Maclean’s New Hampshire studio. 

The album follows Lambkin’s previous long-players, From The Cradle To The Rave (2010) and We Got A Love (2014), which drew plaudits from the likes of The Guardian and Pitchfork, and featured Reggie Watts and James Murphy among the array of contributors. 

The Dublin-born producer has enlisted the help of a stellar cast of guests for What Follows, with previous collaborators Alexis Taylor (Hot Chip) and DFA stablemates Museum of Love & Nancy Whang returning, alongside new faces Jay Green and leftfield fellow Dubliner New Jackson. 

What Follows marks a departure in Lambkin’s process - a simple, but fundamental one: getting away from the computer. He said: “This record is a lot more analog than 'We Got A Love', almost all of it comes from connecting machines together and playing around.” What was your biggest influence? “Drum machines.” What began in Stuttgart was followed up on in New York, before being finished in an 11-day blitz in New Hampshire with Juan Maclean. 

Lambkin: “This is the first time that I actually sat down and said, ‘I'm going to make an album now and I'm going to finish it by a specific date and time.’ I wanted to make a record that was more cohesive, that sounded like it all came from the one session. I wanted it to reflect my DJing style a bit more, less pop, less disco, more machines. There's no live bass and barring a few hi-hats, there's no live drums. 

“I began in Stuttgart - simply by creating about 12 drum loops. I then synched these up to some gear and created some bass lines so I had some solid grooves to start with. Then I went to NY and spent a couple of days at Holy Ghost's studio playing around with Nick and his modular synth coming up with different sequences and sounds. I then took all this over to Transmitter Park Studios in Greenpoint and spent a few days with the wizard that is Morgan Wiley of Midnight Magic and Tippy Toes. He's one of my favourite keyboard players on the planet. Sometimes I had a specific thing I wanted him to do, but mostly I just played him some things I like and got him to jam out on what I had come up with or play some nice chords or chord progressions. 

“I took all this back home and started to fool around with it and knock it into shape before sending it out for vocals. With the song I did with Museum Of Love, 'What Follows', Dennis and Pat were actually in Europe and they came by and stayed with me for a few days, so we made that one in Stuttgart over a few nights once I got the kids to bed. It was particularly fun and easy. I think the wine helped. 

“Then I brought it all to Juan's World in New Hampshire where we drank a LOT of coffee and did some additional production and mixed everything. Finishing the record with Juan was a game changer for me. We worked so hard. We finished eleven songs in eleven days, no joke.” 

The results are convincing - What Follows is definitely an album dedicated to dance music, but one that retains hallmarks of his previous LPs: good songs. Alexis Taylor turns in two memorable performances on lead single ‘End Of The Trail’ and album opener ‘In Love’; Museum of Love - Pat Mahoney and Dennis McNany - lend the album title track an air of something mined from the two months in between the death of Joy Division and the birth of New Order; and Nancy Whang gave such a strong vocal for ‘Lose Control’ that Lambkin and Maclean threw out the existing track and recorded the backing along with the vocal in one take, which the two producers working the machines live. Lambkin: “I had so much fun with Lose Control - and it inspired me to make so much more music. I've written 12 new tracks since finishing the record.” 

Newbies Jay Green and New Jackson hit their marks too - Green - best known for fronting American punk bands Orchid and Panthers - narrates Is There No End as though it were sibling to From The Cradle To The Rave’s single Simple Things. New Jackson makes two appearances, on both Phase Out and OB-8 (Winter Version), adding oddball vocals and spaced-out Krautrock guitar arrangements. 

How did the guests come about? Lambkin: “I didn't have a big plan, I just knew that I wanted to work with friends. I knew I wanted to do something with Museum Of Love again. I also knew I would do something with Nancy, I couldn't make a Shit Robot record without Nancy. Then while I was working on End Of The Trail, I could hear Alexis's voice in my head, it just seemed a perfect fit. New Jackson is my younger brother’s old room mate and I've wanted to do something with Jay ever since I made the Green Machine 12”s a few years back.” 

What Follows was preceded by two 12” singles - Where Its At (Feat. Reggie Watts), backed with a killer remix from Johnny Aux - and original version of album closer OB-8. 

Track List:

  1. In Love (Feat. Alexis Taylor)
  2. What Follows (Feat. Museum of Love)
  3. Ten Miles High
  4. Lose Control (Feat. Nancy Whang)
  5. End Of The Trail (Feat. Alexis Taylor)
  6. Phase Out
  7. Wir Warten
  8. Is There No End (Feat. Jay Green)
  9. OB-8 (Winter Mix) [Feat. New Jackson]
View product
Slim Twig - Thank You For Stickin' With Twig
Slim Twig - Thank You For Stickin' With Twig

Slim Twig - Thank You For Stickin' With Twig

$15.99

 

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.

 

View product
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.

View product
LCD Soundsystem - LCD Soundsystem
LCD Soundsystem - LCD Soundsystem

LCD Soundsystem - LCD Soundsystem

$19.99

The debut LP from LCD Soundsystem. We probably don't need much of a sales pitch on this one. 1xLP in a tip-on sleeve. 

Track Listing:

  1. Daft Punk Is Playing At My House
  2. Too Much Love
  3. Tribulations
  4. Movement
  5. Never As Tired As When I'm Waking Up
  6. On Repeat
  7. Thrills
  8. Disco Infiltrator
  9. Great Release
View product
Prinzhorn Dance School - Home Economics
Prinzhorn Dance School - Home Economics

Prinzhorn Dance School - Home Economics

$14.99

ALL ORDERS COME ON WINE-COLORED VINYL

“When our first album came out,” Tobin Prinz (guitar, voice) remembers, “we were awkward, miserable...” “Nervous, uncooperative” chips in Suzi Horn (bass, voice, drums), pausing just long enough for Tobin to supply the punchline - “and now look at us!”  

Prinzhorn Dance School are still recognisably the same spiky Brighton-based duo whose ultra-rigorous debut cut through the excess of 2008 like a scimitar through bacon fat. But with their trademark stripped-down intensity now winningly off-set by moments of unabashed tenderness, their third album Home Economics continues and even accelerates the move away from austerity and into human warmth begun by its acclaimed 2011 predecessor Clay Class. 

The starting point for the new record was the band’s “amazing” first US shows - two of their own and a triumphant showing at DFA’s 12th anniversary - in May 2013. Inspired by their American adventure, Prinzhorn Dance School brought the recording process into the heart of their everyday lives. Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard-drive wrapped in a sleeping bag in a specially-adapted suitcase, Home Economics gave them an escape route from “that frustration you feel when you spend days trying to recapture the intimacy of a particular moment”, Tobin remembers. “This time we could just use the original take, so sometimes these songs are almost like field recordings”. 

All the best six-track albums - The Fall’s Slates, Orange Juice’s Texas Fever - know exactly what they want to say and how they intend to say it. Home Economics shares that infectious sense of urgency. There’s not an inch of spare meat on it - from Reign’s snatched moment of optimism, through Battlefield’s restorative meeting of minds with an urban fox on a drunken walk home in the early hours, to Let Me Go’s concluding tribute to “a love that won’t rewind and will not be deleted”. Spindly yet sensuous, together and alone, exquisitely sad but somehow full of hope, Prinzhorn Dance School knit together disparate and even opposite fragments into an utterly satisfying whole.

View product
Shit Robot - OB-8
Shit Robot - OB-8

Shit Robot - OB-8

$13.00

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
View product
Guerilla Toss - Live In Nashville
Guerilla Toss - Live In Nashville

Guerilla Toss - Live In Nashville

$10.00

A live one from Guerilla Toss, experience the madness from the comfort of your home! 

Live In Nashville finds G-Toss playing a decadent array of tracks across a variety of earlier releases, as well as tracks from their breakout 2016 LP "Eraser Stargazer". This limited 12" features cover art by Keith Rankin, and is pressed on heavyweight black vinyl. All orders ship with DFA stickers. 

Tracklist: 
1) Polly's Crystal (Live)
2) 367 Equalizer (Live)
3) Drip Decay (Live)
4) Eraser Stargazer Forever (Live)
5) Operate (Live) 
6) TV Spell (Live)
7) Operate (Reprise) (Live)
8) Diamond Girls (Live)

RECORDED MARCH 11 2016 AT "THE END" IN NASHVILLE TN

View product
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. 
View product
The DFA Remixes Chapter 2
The DFA Remixes Chapter 2

The DFA Remixes Chapter 2

$5.00

Available in the DFA store for the first time in a minute! Remixes by The DFA from different times. 

A. Tiga - Far From Home (Instrumental) 
B. Junior Senior - Shake Your Coconuts
B2. Chromeo - Destination Overdrive
C. Goldfrapp - Slide In (Instrumental)
D. UNKLE - In A State
View product
LCD Soundsystem - This Is Happening
LCD Soundsystem - This Is Happening

LCD Soundsystem - This Is Happening

$27.99

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.

View product
LCD Soundsystem - London Sessions
LCD Soundsystem - London Sessions

LCD Soundsystem - London Sessions

$27.99

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. 

View product
Free Energy - Free Energy 7"
Free Energy - Free Energy 7"
Free Energy - Free Energy 7"
Free Energy - Free Energy 7"

Free Energy - Free Energy 7"

$7.00

Free Energy's debut single on DFA forever immortalized in 7" form. 45 cutout center with adapter included. 

A1) Free Energy
B1) Something In Common

View product
Hercules & Love Affair - Classique #2 b/w Roar (promo white label)
Hercules & Love Affair - Classique #2 b/w Roar (promo white label)

Hercules & Love Affair - Classique #2 b/w Roar (promo white label)

$17.00

Four white label promo copies from the initial release of Hercules & Love Affair's now-classic self-titled album. 

A) Classique #2 (vocals by Kim Ann Foxman)
B) Roar (vocals by Anohni)


View product
Museum Of Love - Never Let It End
Museum Of Love - Never Let It End
Museum Of Love - Never Let It End
Museum Of Love - Never Let It End

Museum Of Love - Never Let It End

$10.00

Limited pressing white label 12" single. Hand stamped and assembled at DFA Records in New York, NY.

SIDE A - "Never Let It End"
SIDE B - "Never Let It End" (Hardway Bros Remix) 
View product