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LCD Soundsystem

The Long Goodbye: LCD Soundsystem Live At Madison Square Garden - Reissue

    The 10th anniversary of a milestone in the history of LCD Soundsystem will arrive August 6, when DFA Records partners with Parlophone / Warner Music to celebrate The Long Goodbye: LCD Soundsystem Live At Madison Square Garden; a 5-LP vinyl unabridged recording of LCD Soundsystem’s near four-hour April 2, 2011 show at New York’s Madison Square Garden, and released on 3CD for the very first time.

    Produced and mixed by LCD founder and frontman James Murphy, The Long Goodbye is the ultimate audio document of LCD Soundsystem’s legendary — if not quite final — sold-out Madison Square Garden performance.

    The Long Goodbye show was the lengthiest, most career-spanning LCD Soundsystem has played to date. The album finds the LCD core live band of Murphy, Pat Mahoney, Nancy Whang, Al Doyle, Gavilán Rayna Russom and Tyler Pope joined by a choir, string and horn sections — plus special guest performances including Win Butler and Regine Chassagne of Arcade Fire, Reggie Watts, the Juan MacLean, Shit Robot, Planningtorock, and Shannon Funchess of Light Asylum.


    The Long Goodbye:
    01 “Dance Yrself Clean”
    02 “Drunk Girls”
    03 “I Can Change”
    04 “Time To Get Away”
    05 “Get Innocuous!”
    06 “Daft Punk Is Playing At My House”
    07 “Too Much Love”
    08 “All My Friends”
    09 “Tired / Heart Of The Sunrise”
    10 “45:33 Intro”
    11 “You Can’t Hide (Shame On You)”
    12 “Sound Of Silver”
    13 “Out In Space”
    14 “Ships Talking”
    15 “Freak Out / Starry Eyes”
    16 “Us V Them”
    17 “North American Scum”
    18 “Bye Bye Bayou”
    19 “You Wanted A Hit”
    20 “Tribulations”
    21 “Movement”
    22 “Yeah”
    23 “Someone Great”
    24 “Losing My Edge”
    25 “Home”
    26 “All I Want”
    27 “Jump Into The Fire”
    28 “New York, I Love You But You’re Bringing Me Down”

    Cold Beat


      San Francisco band Cold Beat make their DFA debut with Mother, a collection of ten pop transmissions from Earth. Wound tight with an energy that ricochets from one song into the next, Mother was made while frontperson Hannah Lew (formerly of indie trio Grass Widow) was pregnant and considering the chaotic conditions of the world she was bringing a new human into. If we consider Mother an artistic style guide through space and time, the framework Cold Beat provide is overcast by design but focused in execution; locked-in drums and synths with choir-like melodies high above it all.

      “I found myself trying to describe our earth to a new human who had never been here,” says Lew. “It was a bleak year to be pregnant, but I was simultaneously filled with so much love and hope at the same time. I remember feeling a sense of wanting to show my whole range of self to this new person I was about to meet. In past albums, I sometimes held my artistic self in an ethereal place, but I found myself wanting to be very much on this earth and grounded during the creation of this record.”

      The A-side of Mother presents the facts as we perceive them, while the B-side accelerates into the uncertain. Each of the first five track titles is one evocative word: the synths on ‘Prism’ slide against the motorik guitar riffs and the plaintive saxophone on ‘Paper’ casts the Leonard Cohen-esque melody in a melancholy shadow; ‘Gloves’ is a real mood, all drive. Everything begins to unfurl from there. “Will it be over if there’s no sound?” Lew wonders on album standout ‘Double Sided Mirror,’ and then ruminates, “it won’t be long until you find me in the beyond” on the more upbeat ‘Crimes.’ The early architects of these sonic settings—Eurythmics, The Human League, Depeche Mode—act as touchstones and inspiration.

      One of the most prescient things Mother teaches is that existence will not be, and has not ever been, a solitary experience. “It's really the first album where the project felt more like a band,” Lew says. “In a lot of ways, it feels like our first album.” And though four LPs (released on Dark Entries and Lew’s own label Crime On The Moon) precede this one, Mother is Cold Beat at their most concentrated and crystalline. It’s an honest, forgiving, and ultimately optimistic team effort from a band busy being born, re-born and giving life.


      Barry says: Brilliantly melodic synthy business on the newest outing for indie scene stalwarts DFA here from Cold Beat. 'Mother' mixes in all the best bits of Joy Division, 80's synthpop and the more modern filmic sensibilites of Italians Do It Better into a sonically crystalline, richy evocative tapestry. Huge swathes of strings and growing pads soar beneath insistent, momentous guitars and hazy vocal streams.


      1 Smoke
      2 Prism
      3 Paper
      4 Pearls
      5 Gloves
      6 Through
      7 Double Sided Mirror
      8 Mother
      9 Crimes
      10 Flat Earth

      Four years on from their debut DFA album "Less Than Human", John Maclean gathered the Juan Maclean posse (Nancy Whang of LCD Soundsystem, Jerry Fuchs - RIP - formerly of !!!, and Nick Millhiser and Alex Frankel of Holy Ghost!) together again for a brand new long player. This time round Maclean wanted to make a male / female duet album, and took his main inspiration from the Human League. But if you're now thinking that "The Future Will Come" is a sad Oakey and Co. pastiche, think again, as "Dare" was just the jump-off point. As well as the title track sounding more "Being Boiled" than "Don't You Want Me Baby", we also get taken for a ride along Kraftwerkian motorik rhythms ("The Station"), via uplifting piano house (breakout single "Happy House"), acid house ("No Time") and electrodisco (previous single "The Simple Life"), with everything sounding superb to these ears. Like label-mates LCD Soundsystem, The Juan Maclean know how to write proper songs that work on both the dancefloor and back at home while you're doing the ironing. This is an underground pop-dance album that would, in an ideal world, be number one in the charts, but instead it will have to make do with a nailed-on Piccadilly Records recommendation: We heart this LP!


      1. The Simple Life
      2. The Future Will Come
      3. One Day
      4. A New Bot
      5. Tonight
      6. No Time
      7. Accusations
      8. The Station
      9. Human Disaster
      10. Happy House

      Larry Gus

      Kerkis (Judas-Tree)

      Larry Gus releases a single alongside his ‘Subservient’ album. The single features ‘Kerkis (Judas-Tree)’ and ‘Foreign Steps’ from the same recording sessions as Subservient. The 7” precedes an upcoming audio play, written by Efthimis and scored by Larry, to be produced with the Onassis Stegi (AKA Cultural Center). The audio play will be released on DFA in 2020.

      The record graciously explores the nuance that can be found within delineated lines: pop and folk music, rooted in Greek tradition; internal anxieties and empathy expressed outward; the tightrope struggle of living in the present and wallowing in the past.


      Kerkis (Judas-Tree)
      Foreign Steps

      Larry Gus (real name Panagiotis Melidis) returns to DFA with ‘Subservient’, his fourth release for the label. ‘Subservient’ sees more pop-oriented than his previous albums, a lush combination of “crisis funk pop and trad Mediterranean grooves.” Lyrics sung in Greek and English address Larry’s overwhelming struggles with being a father, husband, artist, and human in 2019. In the artist’s own words, this album is about “trying to understand empathy and act with it on everyday life,” as well as “the imperative of empathy above everything else.”

      ‘Subservient’ is sample-free, a first for Larry, who plays every instrument himself: a drum kit, an SM57 microphone, a guitar, a bass, a TE OP-1 synthesizer and a Roland JV-1010 synth module. This is fourth-world power pop, as if Alex Chilton was produced by Eno and Hassell. The thoughtful, upbeat arrangements and gentle vocals are spacious and warm, and tend to offset whatever darker tone the lyrics might imply. Larry confronts more acute tensions, such as being a father in Greece during the crisis, and the parallels of a child’s sicknesses and adult ailments, as well as larger, more existential pressures - the grasp of nostalgia, the weight and meaning of making decisions, and the desire to move from hermeticism towards sociability.

      The record graciously explores the nuance that can be found within delineated lines: pop and folk music, rooted in Greek tradition; internal anxieties and empathy expressed outward; the tightrope struggle of living in the present and wallowing in the past. Larry will also be releasing a 7” single alongside the album, which features ‘Kerkis (Judas-Tree)’ and ‘Foreign Steps’ from the same recording sessions as Subservient. The single precedes an upcoming audio play, written by Efthimis and scored by Larry, to be produced with the Onassis Stegi (AKA Cultural Center). The audio play will be released on DFA in 2020.


      Sil says: Another cracker from DFA. A perfect amalgamation of electronics and pop sensibilities. Deserves your attention.


      Total Diseases (Subservience)
      A Likely Projection
      Text Of Intent
      Taped Hands Here
      In This Position
      Ayler The Pilot
      The Sun Sections
      Readers And Authors
      Classifying A Disease
      Bare Concreate (Itea 97- 09)

      Chain Tripping — the band’s seventh LP and third for DFA —was recorded between Marfa, Texas and the band’s home in Los Angeles. The ten songs are unlike anything YACHT has ever made: pop experiments from a sideways dimension coaxed into their studio through a portal opened by machine intelligence.

      “AI and Machine Learning represent a revolution in music equivalent to the introduction of the synthesizer or the beginning of laptop music. We’ve been a band long enough to watch technology overwrite our assumptions many times, and felt compelled to bring these new tools into our life,” explains YACHT.

      YACHT (an acronym for “Young Americans Challenging High Technology”) is Claire L. Evans, Jona Bechtolt, and Rob Kieswetter. For "Chain Tripping", the trio invented their own working method, at the intersection of DIY and high-tech: they used neural networks to break their patterns apart into infinite variations, which they re-assembled into new songs that they then learned, performed, and recorded live. Rather than rely on any single tool, they brought together several distinct AI processes to generate lyrics (Char-RNN), musical data (MusicVAE), raw audio (SampleRNN), and instrumentation (a “neural synthesizer” called the NSynth). They were inspired by the long history of generative composition, from William S. Burroughs’ cut-up writing method to David Bowie’s custom “Verbasizer” lyrics software from the ‘90s.


      1 (Downtown) Dancing
      2 Hey Hey
      4 Loud Light
      5 Blue On Blue
      6 DEATH
      7 Sad Money
      8 California Dali
      9 Stick It To The Station
      10 Little Instant

      Essaie Pas


        Montreal duo Essaie pas return to DFA with a single that picks up where their 2018 album ‘New Path’ left off. ‘Earth’ is a blistering ride through the rave, an amalgamation of techno and trance. The galloping bassline is the backbone of the song and Marie Davidson’s vocals climb to new heights against synth stabs. ‘Corps Étranger’, with its stuttering percussion, is a slow burner in comparison. For the remix of ‘Earth’, Marco Passarani of Tiger & Woods (Running Back, Numbers) doubles down on the Italo disco angle and doesn’t shy away from the more anthemic moments of the original, managing to rework it into something akin to a celebration of this place we call Earth.


        Patrick says: DFA duo Essaie Pas find their inner Faithless with a trancey techno journey on the A-side before knuckling down for some arthouse electro on the flip. Italian legend Passarani steps up on the remix doing a 'Lectric Workers meets Visage Italo romper perfect for the next Red Laser party.


        Corps Étranger
        Earth (Passarani HiNRG Remix)

        The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting.

        The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer.

        Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.


        1 What Do You Feel Free About?
        2 Zone Non Linear
        3 You Are My Destiny
        4 Get Down (With My Love)
        5 Feel Like Movin'
        6 Quiet Magician
        7 Pressure Danger
        8 Can You Ever Really Know Somebody
        9 The Brighter The Light

        Eric Copeland

        Trogg Modal Vol. 1 (The Remixes)

          After the success of last year’s ‘Mixbone’ EP, DFA 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 humour 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.


          Matt says: Upfront crew of remix action tackles Eric Copeland's wild mind. Hard to pic a favourite, squiggly acid, sloppy digi-funk and smudges house are all flavour of the day...


          Heads (Parris Remix)
          Heads (RAMZi Remix)
          321 Contact (Lokier Remix)
          Electric Mud (Gerry Read Remix)

          I've never met him, but I'm fairly certain Eric Copeland is a total lunatic. Don't get me wrong, he dealt in the deranged during his time in Black Dice, but since going solo on our ass, the NYC musician has disappeared through the looking glass. Wrong speed brain mulch, queasy tape loops, jacking perx, all brought together with the same narcotic glee you find at the heart of the darkweb.
          This time out Eric delivers "Trogg Modal Vol. 2" pushing his 'Freakbeat 4/4' envelope further than ever before. 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.
          Opener "Beat It" is less a reference to a lately disgraced child molesting popstar, and instead a slamming combo of girthy bass and kick, red lining hats and overlapping synth work - generally as demented as it is danceable. "High Score Zed" scoots down the coin slot of a Jamaican arcade game, blasting out a high speed hybrid of digi-dancehall and 8-bit funk, while "United Banana" slides a morbidly obese bass sound under dreamy pads and crashing cymbals for some unorthodox house bizz. A-side closer "Pay Off" is optimistic, off kilter and kinda nonsensical in the best way possible - play this and put your lampshade on your head. Over on the flipside "BS Dropout" stomps and squelches like Krang in a washing machine, "Light Fantastic" flips e-funk and new wave into a new form of drug addled wrongness (Super intense!) and "Blazin" sounds like Mr Fingers after 7 bottles of cough syrup. Last but not least "Falo" picks up the videogame vibe, recreating a Sonic in the labyrinth ambiance but with way more bitrate. Top notch weirdshit from my favourite experimentalist.


          01. Beat It
          02. High Score Zed
          03. United Banana
          04. Pay Off
          05. BS Dropout
          06. Light Fantastic
          07. Blazin
          08. Falo

          LCD Soundsystem

          Oh Baby (Lovefingers Remix) / Oh Baby (Lovefingers Dub)

            Reformed, refreshed and reinvigorated, the most important band of the 21st Century (Patch says!) LCD Soundsystem returned last year with the remarkable "American Dream", their finest album to date. Now, Murphy and co pluck a couple of killers from that masterpiece and hand the stems over to a pair of party fiends and friends for a two part remix series. This second serving sees ESP Institute founder Lovefingers putting his own psychedelic touch on sincere synth serenade "Oh Baby". The New York producer and label head adds a rolling house piano and tripped out textures, reworking the original percussion elements and acid tinged fx into a hypnotic shuffler perfect for extended warm ups and post peak euphoria. In time honoured ESP fashion the off-kilter congas come to party while the arpeggios and sequences of the LCD original take on a "Big City" grandeur. Lovefingers drops the vocal just on time, lending the medicated music a mantra for the ages, then twists us out with pitch bent synth riffs and a nagging bassline. I'd go as far as to say this is my favourite Lovefingers production, and the dub version on the flip is the icing on the cake, doing away with 95% of the vocal, and rinsing the rest through the space echo for added cosmic impact. Straight in the bag I should think!

            TRACK LISTING

            Oh Baby (Lovefingers Remix)
            Oh Baby (Lovefingers Dub)

            LCD Soundsystem

            I Used To (Dixon Retouch) / Pulse (v.1)

              Reformed, refreshed and reinvigorated, the most important band of the 21st Century (Patch says!) LCD Soundsystem returned last year with the remarkable "American Dream", their finest album to date. Now, Murphy and co pluck a couple of killers from that masterpiece and hand the stems over to a pair of party fiends and friends for a two part remix series. First up, Innervisions head and Berlin house legend Dixon takes on the broody, pensive and propulsive "I Used To" and opens it out into a clinical club cut. Reshaping the track into a spacious mix down, Dixon allows maximum room for the icy synth tones to stand out, while the clipped rhythm section is perfectly suited to a Funktion One. Stealing the show though is that most wonderful of things, a non album LCD track. Like "Starry Eyes / Freak Out" and "Hippie Priest Bum-Out" before it (amongst many others), "Pulse (V.1)" sees the NYC ensemble wave goodbye to pop songform and say hello to freeform jamming, this time on a punk funk meets minimal techno trip out. The track builds from the icy arps of a techy synth line, through loose live drums and Blank Tapes organs into a bleeping, squelcho bassline breakdown right out of the Maurice Fulton playbook. After five body moving minutes, the track suddenly veers off into new realms, repurposing those elements first as a tense and claustrophobic snapshot of ambient techno, then as an ecstatic and spiritual experience. Edge intact, LCD are back.

              TRACK LISTING

              I Used To (Dixon Retouch)
              Pulse (V.1)



                After four years, Berlin-via-Bolton dance producer Planningtorock, aka Jam Rostron, returns to DFA with "Powerhouse". The album is a personal reflection, told via an avant-pop musical narrative that serves as a path to making peace with their family, hometown, and the ever-changing nature of identity. Written and recorded across Berlin, London, New York and Los Angeles,  ‘Powerhouse’ comes couched in the precision-tooled synths that have become Rostron’s signature, though critics and fans will hear a subtle, ear worm-y shift in style here: from the Noughties US R&B swagger of ‘Transome’ and the bubbling old school 90s house of ‘Beulah Loves Dancing’ and ‘Non Binary Femme’, to the funky, flute-laced ‘Much To Touch’ (the only track on ‘Powerhouse’ to feature a co-producer, long-time friend and collaborator Olof Dreijer of The Knife). Ultimately, ‘Powerhouse’ is a celebration of liberation, a groove-filled record that sees Rostron consolidating power both personal and artistic.

                TRACK LISTING

                Dear Brother
                Somethings More Painful Than Others
                Much To Touch
                Jam Of Finland
                Non Binary Femme
                Piece Of My Mind
                Beulah Loves Dancing



                  Shrouded in mystery, the Hermetica are a series of Egyptian-Greek didactic texts, meant to help the willing student better understand the cosmos, divinity, and nature. On her debut LP for DFA Records, German producer Perel takes the listener into deep space and explains it all. Over the course of nine tracks, she shares a striking amalgamation of house, new wave, and kraut motifs that crystallize to form a unique sound.

                  Born in Saxony, Annegret Fiedler ventured into the realm of songwriting at the age of eight, composing her first songs on her grandmother’s piano while listening to Eurythmics and 2 Unlimited cassettes in her spare time. Moving to the East German city of Halle to study in the mid-aughts, she was heavily influenced by the multifaceted alternative music scene there, and the parties people threw in post-Berlin Wall abandoned buildings. Fiedler went on to develop her craft as a formally trained singer, co-producer, and multi-instrumentalist in several bands, covering a broad palette of styles ranging from punk rock to electro pop and honing her performance skills. A move to Berlin (and the city’s club landscape) inspired her to start recording solo productions under the moniker Perel.

                  TRACK LISTING

                  1 Projekt 3
                  2 Pastarella Al Limoncello
                  3 Si
                  4 Alles
                  5 PMS
                  6 Signum Viridi
                  7 Myalgia
                  8 Crocus Vernus
                  9 Die Dimension
                  10 Die Dimension (Dub Version)
                  11 Pastarella Al Limoncello (Massimiliano Pagliara Remix) - CD Only Track
                  12 Die Dimension (Jayda G Remix) - CD Only Track

                  Dawn People

                  The Star Is Your Future

                    Dawn People’s ‘The Star Is Your Future’ is a studio collaboration between New York musicians Nick Forte and Peter Negroponte. The pair’s mutual disregard for musical categorization results in a genre-bending ride on the nine-track album, which portrays their diverse backgrounds while maintaining a sense of accessibility, continuity and purpose.

                    Both veterans of the underground experimental scene, the duo entered into the project preparing to make a serious racket. In time, their mutual appreciation for breezy 70s jazz fusion, Krautrock and library funk became apparent, setting the course for the sessions. In the summer of 2016, they started tracking live jams with drums and electronics at the Outlier Inn studio in upstate New York with engineer Josh Druckman. As the tracks took shape, Forte and Druckman arranged the material and Negroponte overdubbed guitar, synthesizer, bass and percussion. Finally, the tracks were handed to Abe Seiferth for mixing and post production.

                    Dawn People’s dense, funky and psychedelic music is the result of the wide range of musical influences of the collaborators. Nick Forte’s resume spans influential hardcore punk band Rorschach, post-punk outfit Beautiful Skin and recent underground sensation Raspberry Bulbs. With Dawn People, Forte digs deep into his own childhood nostalgia: making mixtapes from the early NYC hip hop show ‘Rap Attack’, watching Christian Marclay experiment with vinyl on the TV show ‘Night Flight’ and his first musical instrument, the Casio SK1 sampler keyboard.

                    Peter Negroponte is a virtuosic drummer and guitarist whose influences are rooted in rock & roll, jazz, funk, fusion and free improvisation. In reaction to his brief stint at the New England Conservatory, Negroponte sought to transcend what he felt to be an esoteric approach to making ‘experimental’ music by forming the psychedelic art-rock-noise-funk band Guerilla Toss. He has worked with an array of contemporary DIY labels such as Feeding Tube, NNA Tapes, Digitalis and John Zorn’s Tzadik.

                    The sound of this album harkens back to a time not too long ago, in the early to mid 90s, with groups like Air, Cornelius, Stereolab, Tortoise and Cibo Matto. All these artists combined a love of Krautrock and David Axelrod records into a lushly produced jigsaw puzzle of live instrumentation, editing, sampling and immaculate production. It is a genre that Pitchfork’s Eric Harvey recently described as “recombinant pop,” which is applied to “adventurous, sample-driven and style-copping music.”

                    ‘The Star Is Your Future’ shifts aesthetically and dramatically between sections and phrases, woozy in the best way and never unfocused. Together, Forte and Negroponte have cobbled together a dazzling scope of sonic elements to create something cohesive and mesmerizing.

                    For fans of Cornelius, Air ‘Virgin Suicides’ OST, Beastie Boys ‘Check Your Head’, Stereolab.

                    STAFF COMMENTS

                    Barry says: Funky breaks, jazzy woodwind, and the hazy laid-back atmosphere of early hip-hop melt together seamlessly into this brilliantly accessible formation of style and substance.

                    Eric Copeland


                      Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper and hectic leftfield club music. ‘Goofballs’ places its emphasis on playful melodies, ear worm hooks and 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.

                      Eric explained the creation of this new album 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 and 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.

                      For fans of Powell, Aphex Twin, Panda Bear, Oneohtrix Point Never.

                      STAFF COMMENTS

                      Matt says: Off-it technoid fun and frolicks from this leftfield luminary. Top stuff.

                      ‘Horse Follows Darkness’ is the second record by Delia Gonzalez, her follow up to the album ‘In Remembrance’.

                      The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western. Delia explains that what she observed “was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into a new genre.”

                      The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticized era are still relevant today.

                      ‘Horse Follows Darkness’ is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman’s ‘McCabe & Mrs Miller’.

                      The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to “going to the finest tailor.” Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as “a magical and incredibly intuitive collaborator” regarding the sound of the record.

                      The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to ‘Salon De Musique’, the solo piano record by Su Tissue (of the LA punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster and Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.

                      Delia Gonzalez is a Cuban-American musician and artist, based in both New York City and Berlin. Her disciplines include everything from composer to filmmaker, dancer / choreographer, sculptor, painter and performance artist. Her musical career with DFA Records began in 2004 when the label released the 12” single ‘Relevee’, followed by the album of cosmic acid house ‘The Days Of Mars’, with Delia and then musical partner Gavin Russom.

                      In 2015, DFA released Delia’s first solo album entitled ‘In Remembrance’, which was a full piano score for a 30 minute filmed ballet, a perfect example of the type of work Delia creates as a multi-disciplinary artist.

                      STAFF COMMENTS

                      Barry says: Gonzalez spans the whole range of avant-garde ambience on this stunning release, from clattering field recordings (a-la Set Fire To Flames), Krautrock rhythms and stunning modern classical beauty. An exceptional album from an exceptionally gifted composer.

                      TRACK LISTING

                      In Through The Light
                      Hidden Song
                      Horse Follows Darkness

                      "GT Ultra" is the second full length album by Guerilla Toss on DFA Records. The album demonstrates a remarkable shift in sound, musicianship and songwriting, without ever giving up the remarkable unhinged quality that made their earlier recordings so exciting. The album title "GT Ultra" is a clever nod to Project MK Ultra, the government sponsored experiments using new experimental drugs to explore mind control, torture and forced confessions, often with LSD as their drug of choice. These tests lasted from the mid-1950s-1960s but with a new administration in the White House, government sponsored torture is fresh again on many minds. The songs on the album ricochet back and forth between hyper bouncy pop and deeper darker longer, more nuanced tracks. Peter Negroponte’s drumming, always a major highlight for the band, is in full force once again, this time bringing a Nassau / Compass Point feel to many tracks, like the classic recordings of Grace Jones and Talking Heads. Kassie’s vocals and lyrics are both more personal and more cryptic than ever (but you can hear every word this time and there is a lyric sheet). As preferred, the meaning is within the listener. It is a dream state record for sure, meant to take you along on a similar vibe that the band has been tripping on these past few years, filled with an insistence to “hydrate, gyrate, think straight, no weight,” all the while under the influence of golden beams of orange sunshine, glimmering glitter and kaleidoscopic bursts.

                      Adding to the authenticity, the album is wrapped in vintage blotter acid, created by legendary LSD archivist and artist Mark McCloud and The Institute Of Illegal Images, based in Francisco.

                      STAFF COMMENTS

                      Barry says: A visceral and heavy-hitting mash-up of worldy psychedelia, funked-up soaring electronica and swirling cosmic freak-outs. Brilliantly innovative, eminently satisfying groovers.

                      TRACK LISTING

                      Betty Dreams Of Green Men
                      Can I Get The Real Stuff
                      Crystal Run
                      TV Do Tell
                      The String Game
                      Skull Pop
                      Dog In The Mirror
                      Dose Rate

                      DFA hit us up with  "Echo", the first album for the label from acclaimed Norwegian avant garde pop vocalist Nils Bech. A busy stage actor and singer already well known in his native Norway for three albums released on Oslo’s Fysisk Format, "Echo" marks a pivotal turning point for Bech and something of a radical sonic departure too. The keys to this change lie with Bech’s new collaborator, the young underground DJ, producer and beat maker Drippin’, known for his work with American rap artists such as LE1F and Cakes Da Killa. As a result, where his previous work was strange, ethereal and otherworldly - completely and utterly unique - ‘Echo’ throbs with a renewed sense of vigour and urgency, without losing any of the idiosyncratic beauty which marked Bech’s work before. 

                      TRACK LISTING

                      Too Little Too Late
                      Glimpse Of Hope
                      Please Stay
                      Drip, Drip
                      Let Go
                      A Sudden Sickness


                      Shangri-La - White Vinyl Edition

                        Patrick says: Back in my salad days, before I became the hirsuite vinyl pedlar am I today, I toiled away as a full time DJ and party promoter, bringing exciting and alternative performers to half full venues on a continuous loss-making journey. It was during this period when I first came across DFA act Yacht. The conceptual thought bubble of Jona Bechtolt and Claire L. Evans, Portland's Yacht sold themselves as an inclusive organisation aiming to enhance the spiritual, physical and psychic well being of mankind through seminars and self help tapes; plus they had tunes, looked amazing and brought the party live. I once saw Jona jump 5' onto a stage from standing. On "Shangri-La", Yacht assert that the future is a blank slate upon which anything can be imposed. "Shangri-La" argues that "Paradise is kinetic potential, a latency within us that has been eaten alive by time." In line with the existing emphasis on self-empowerment in the Yacht philosophy, Yacht's idea of "Utopia" is personal. Yacht believes that the only real sustainable paradise is in our minds, and hence creative output can be a tangible piece of the Utopia within each individual. 'Shangri-La' literally is Yacht's Utopia, a place made of songs.  And what are the songs like, you ask. Still working in a post-punk landscape the duo created a mix of B-52's style quirky pop, DFA disco and off kilter bass grooves. The result is an absolute classic, join the movement.

                        Panagiotis Melidis started writing music as Larry Gus (λάρυγγας [larigas], Greek for larynx) in 2006, after his previous band, the bass and drums duo Ginger, parted ways. Initially his music combined sample-based constructions and psychedelic pop melodies, merged into an infinitely dense amount of layers and polyrhythms. He soon became known for his energetic and chaotic improvised live performances that involve intricate layering of vocals, drums, and electronics… along with lively stage banter.

                        On his new DFA album, "I Need New Eyes" (a title inspired by a Marcel Proust misquotation), moving slowly out of his sample-based roots and using clearer songwriting structures as his starting point, he stares intensively into his obsessions, anxieties and inadequacies, namely failure, humiliation, subservience, submission, and comparisons with other musicians’ careers, always through the prism of a provincial outsider.

                        TRACK LISTING

                        1. Black Veil Of Fail
                        2. NP Complete
                        3. A Set Of Replies
                        4. Taking The Personal Away
                        5. Belong To Love
                        6. All Graphs Explored
                        7. The Sun Describes
                        8. Nazgonya (Paper Spike)

                        DFA Records are proud to announce the new album from Slim Twig.

                        ‘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. 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.

                        It's a fuzz-heavy psych-pop fest with hints of early Syd Barrett era Pink Floyd. 

                        TRACK LISTING

                        Slippin’ Slidin’
                        A Woman’s Touch (It’s No Coincidence)
                        She Stickin’ With Twig
                        Textiles On Mainstreet
                        Stone Rollin’ (Musical Emotion)
                        Roll Red Roll (Song For Steubenville)
                        You Got Me Goin’…
                        Fog Of Sex (N.S.I.S)
                        Fadeout Killer
                        Trip Thru Bells
                        … Out Of My Mind
                        Live In, Live On Your Era

                        Delia Gonzalez

                        In Remembrance

                        DFA Records are proud to announce the release of "In Remembrance", a multimedia project by acclaimed contemporary artist Delia Gonzalez. 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 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 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 Don’t Look Back by Nicolas Roeg.

                        The the album also features remixes by 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.”.

                        CD and double LP formats include a DVD featuring ballet performances set to the music of "In Remembrance".

                        For fans of Nils Frahm, Kiasmos, Hauschka, Philip Glass, A Winged Victory For The Sullen.

                        TRACK LISTING

                        Remix I
                        Remix II
                        Remix III
                        Remix IV

                        Latest Pre-Sales

                        79 NEW ITEMS

                        RT @VinylRevivalMcr: 2 spare tickets for @PiccadillyRecs end of year booklet launch party tonight @nightanddaycafe. Live sets from @michael
                        Fri 2nd - 1:42
                        Yes, our End of Year Charts have been revealed today but it’s still New Music Friday 🙌 Here’s a small selection of…
                        Fri 2nd - 1:21
                        We love it Michael. Can’t wait for tonight! Get the album here Last tickets for tonight…
                        Fri 2nd - 1:12
                        RT @markbrownstudio: Interesting behind the scenes info from the @PiccadillyRecs review - No.1 album winner @michaelheadtreb sent in handwr…
                        Fri 2nd - 1:04
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