Wolfram - Talking To You (featuring Andrew Butler)
A) Talking To You (Club Mix)
B1) Can't Remember (Jacques Renault & Mark Verbos remix)
B2) Can't Remember (Secret Circuit Mix)
Includes a digital download.
Comes in a custom matte sleeve with spot gloss embellishments. Album illustrations courtesy of contemporary artist Julien Ceccaldi. This is one of the nicest records we have ever pressed. I promise.
“I write about the things I know, but it should be interesting for other people. So I want it to be like a really great roman-a-clef, or reading your older sisters diary.” - Dan Bodan
“Soft”, the new album from Dan Bodan, is a rose-scented journey through millennial love issues, Soundcloud collage, and post-empire paranoia. Co-produced with Physical Therapy and Ville Haimala (Renaissance Man) and featuring M.E.S.H., 18+, Great Skin, Latisha Faulkner, Dena Yago, and Stadium.
Berlin based songwriter Dan Bodan was born in the wide open Canadian prairies and raised in Montreal. Reared on the city’s underground noise and experimental music scene, Bodan moved to Berlin 8 years ago. Blossoming in the city’s unique mixture of crumbling old-world european values, start-up philanthropy, sleepless techno and epic grey skies, he began writing songs to soundtrack his train rides through the city and make sense of it all.
Working together with a team of world-class producers, poets and artists, he writes songs to fit comfortably in that space between the finger and the mousepad, the bedroom and the club, the earth and the ether.
“He blows in like a sweet guardian angel over the beat, making a track so light it feels almost like daylight peeking into a dark nightclub.”
- The Fader
“The real star is his voice, which quivers as it rises and falls through each line, powerful but slightly fragile”
- Resident Advisor
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.
Losing My Edge backed with Beat Connection. This is the 2012 Remastered version cut super loud by Bob Weston. And it doesn't skip anymore! Yay.
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.
The new EP Crime Cutz is the first new original Holy Ghost! music since the NYC-based duo of Nick Millhiser and Alex Frankel released their sophomore album 2013’s Dynamics. As with most of their catalog, “Crime Cutz” benefits from Holy Ghost!’s insistence on tactile instrumentation with live drums recorded over the track to accelerate its tempo.
The duo are quite methodical in their output—shimmering bursts of disco, synth-pop, and lingering grooves—but that doesn’t mean HolyGhost! is not prodigious. Over nearly a decade, they have gone from being DFA’s rising sons to triple threats: indefatigable DJs, producers remixing new life into the work of Cut Copy and Katy Perry alike, and inventive musicians who’ve released countless original singles. They’re again adding to their thinking-man’s dance repertoire with the vibrant Crime Cutz EP out later this year on DFA Records.
Long-awaited vinyl version of Guerilla Toss' FLOOD DOSED, now on wax instead of magnetic tape.
Cut incredibly loud at 45RPM, Featuring a new (bonus track) from the same recording session, "Teacher Speaks".
Ships in early March.
A1 Hold On (Switch LA Remix)
A2 Hold On (Switch LDN Remix)
B Hold On (Mock & Toof Remix)
C Touch Too Much (Ewan Pearson Remix)
D Touch Too Much (Kollektiv Turmstrasse Remix)
Syclops is trio Sven Kortehisto, Hanna Sarkari and Jukka Kantonen. First to appear on a Bubble Tease 12 in 2001, followed by two singles for Tirk and finally with the debut album 'I've Got My Eye On You' on DFA in 2008. 'A Blink Of An Eye' is the long awaited successor with 10 tracks of future funk. Ranging from the nastiness of 'Jump Bugs' to the fragile beauty 'Ray & Claire' it's classic Syclops all the way. Available double LP via Running Back and produced by Maurice Fulton.
|B3||Got To Get Up For Monday||5:58|
|C1||Sarah's E With Extra P||5:52|
|C2||Michele's H With C||6:18|
|D1||Raj & Claire||6:04|
|D2||Back When Lynn (The Classic)||5:59|
|D3||A Blink Of An Eye||6:19|
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.
The man behind the name Capracara is Englishman Jonathan Burnip, who has released 2 acid drenched singles on UK label Soul Jazz and remixed for the likes of Matt Edward’s Rekids label and Kill The DJ. He also remixes as one half of Tiger Timing and has contributed to the esoteric disco label History Clock. His latest project is 'Churchill's Leopards' with Joel Martin of Quiet Village.
'King of the Witches' takes its cues from the psychotronic, primitive electronics of early house music and ancestral rhythms of heathen drum machines. Chock full of wonky leftfield quirkiness and primitive sounding gear, the song is geared for the headz and the headphones and is so uniquely catchy and bouncy, it sounds more Jean Jacques Perry than Jacque Lu Cont.
The remix comes courtesy of NYC legends Rub ‘N’ Tug (Thomas Bullock and Eric Duncan), who create what will inevitably be one of the remixes of 2009, and no it is not too early to make that statement. They flip what might sound quaint into something sinister and ever-growing, a dark loopy anthemic interpretation that does nothing but help cement their status as the most creative and exciting remixers and musicians working today.
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.
Purchasing now gives you an instant digital download of "Maintain The Charade".
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?
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.
1) I'll Keep On Loving You
2) Living Without Your Love
3) Living Without Your Love (Instrumental Re-Work)
"That spectral voice that presides over "I'll Keep On Loving You," the A-side to Walter Jones' debut 12-inch for DFA isn't some Julee Cruise wannabe. It's Jones himself, reverbed to the max, and transformed into a ghostly presence over the slo-motion disco groove that propels the song forward ever so slowly. "I sound just like Luciano Pavarotti in the car, alone, with the radio blaring," Jones told The Fader earlier this year. But this is even better—a perfect complement to one of the most seductive beats you'll hear all year.
"Living Without Your Love" has the same lo-fi feel as its predecessor, picking up oooohs and aaaahs to counterpoint the shampoo synth and sharp-pricked guitar lick (provided by none other than fellow deep house producer Juju). It loses some of the vibe in its instrumental reworking, but unless you want to put your own vocals over top, I suggest you keep with the vocal version anyway. If this track is as big of a hit as it should be on nu-disco dance floors, the clubbers will be begging for it."
Copy via Resident Advisor.
The one-two kick drum beat that starts “In the Dark of the Night” functions as a bit of a tease. Instead of just establishing the languid pace of the track, it has the power of suggestion, and its stark nakedness raises the question of just what will happen when the music fully launches. When, a few seconds later, a punch-drunk, flanging keyboard enters the procession, it’s the first clue that we are in for an off-kilter ride; the sauntering bassline that next appears adds a springy, funk bounce. But it’s the tripped-out, multi-tracked vocals of Fernando Miranda Rios – aka Michoacan, the producer behind this slow reveal – that give the song its peculiar, space-y vibe; it’s a bit like David Byrne with funk aspirations. Taken altogether – and there is plenty more, including tinkling piano notes; bits of percussion; and electrical washes – there’s a vaguely cosmic feel. The song coalesces, using funk to lure you to the dance floor, then intoxicating you to keep you there.
The Side B re-mix – courtesy of Italy’s Clap Rules – actually feels like more of a re-build: The song has been taken apart and put back together with all brand new parts. Instead of the more relaxed, dazed funk at the core of the original, it’s a glittery, disco ball-splattered track with funk elements scattered here and there, and glossy keys all around.
“In the Dark of the Night” is Michoacan’s debut DFA release. He has already created music for Grayhound, Headinghome, Lektroluvv, Smash Hit Music Co., Speak Recordings, Bearfunk and Tiny Sticks.