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Limited white label 12” of Shit Robot’s ‘End Of The Trail’ featuring Alexis Taylor (Hot Chip) on vocals b/w the instrumental mix and a killer Roman Flugel remix. 

FORMAT INFORMATION

Ltd 12" Info: Super limited white label 12"

Well they got the title right on this one didn't they: "Confuse The Marketplace" brings together the three CD bonus tracks from "45:33", but all have also been previously released on vinyl too - yes, you knew you'd seen them somewhere before. The EP kicks off with the brilliant "Freak Out" (on the flip of Harvey's mix of "All My Friends") - a better tribute to Edwin Starr's "Get Up Whirlpool" you will not find. Here's the difference though, where as the original mix was blended into "Starry Eyes" here you get a little break so the drum solo won't mess up your mix. Over on side-B we have the Onastic Dub of "North American Scum" (previously promo-only) and last up is the absolutely brilliant "Hippie Priest Bum Out" ("North American Scum" B-side cut). Even I am buying one of these and I bought them already because that little gap and the louder version of "Hippie Priest Bum Out" are definitely worth it.

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!

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.

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.

FORMAT INFORMATION

LP includes MP3 Download Code.

The elusive Crooked Man returns to DFA with the Crooked House LP, a maximalist take on electronic and house music that picks up where 2016’s self-titled LP left off. Teaming up again with Michael Somerset Ward (Clock DVA) and David Lewin (Bleep & Booster) in the studio, Richard Barratt crafts a comprehensive journey of hi-fi house belters with more sinister electro-pop mixed in for good measure.

The LP is influenced by two historic epicentres of electronic music: Sheffield, UK, where Richard has had an illustrious career in a mix of legendary groups like Funky Worm, Sweet Exorcist, and The All Seeing I; and the NYC Loft-era disco sound, where extended grooves were layered with peak-time choruses.

Richard’s diverse collaborations and intensely prolific discography have now led him to records as lush and sophisticated as Crooked House. Considering the rarity of a live Crooked Man performance or DJ set, it’s a testament to his hyper-creativity that these tracks are able to reach new heights in a club setting. With support from disco historian Bill Brewster and NTS resident Ross Allen (not to mention ‘Echo Loves Narcissus’ being named #1 single of the year by Piccadilly Records in 2017, before it was even properly released), it’s clear that Crooked House brings a timeless vitality to the current landscape of dance music, and continues an exciting new chapter in Crooked Man’s career.

STAFF COMMENTS

Matt says: Incendary, party starting house music from Sheffield's finest. No nonsense, bassbin buggin', soul-flecked finesse from a true artist. Big ups!

NYC singer Amy Douglas makes her official DFA debut with "Never Saw It Coming", co-written and produced by Tim Wagner of 33Hz, and with two remixes by Sheffield artist and firm Piccadilly favourite - Crooked Man.

With a five-octave range and a diverse background in performance, ranging from rock to soul to jazz, Douglas’ voice is the heart of the song, lending heightened drama to the steady mechanical funk of Wagner’s production.

The two remixes by Crooked Man let the track grow and build slowly with longer, lush arrangements, while his hypnotic dub doubles down on the woozy bassline and has Amy’s vocals echoing out into the ether.

Though this is Douglas’ first release on the label, she is no stranger to the DFA roster. She is the voice behind "Happiness", the epic closing track on Crooked Man’s self-titled 2016 album and she also appears on the forthcoming Crooked Man album on DFA. Amy also works with Juan Maclean as one half of Peach Melba, who have released singles on both DFA and Defected / Classic. Crooked Man’s signature maximalist house sound has always been complemented by the support of strong female vocalists and together the pair take each other’s work to a new level for an impressive collaboration. Rumour has it they’re currently working on more tracks together.

Lots of artists these days aim to ‘reimagine’ the sounds of disco, house and soul but Amy Douglas and Crooked Man are creating something all their own that pulls from the best of times past, while also looking decidedly forward.

For fans of Yaz, Inner City, Horse Meat Disco, Hercules & Love Affair.


STAFF COMMENTS

Matt says: Second winner in as many weeks from New York taste makers DFA joined with that man Parrot. What is it about the Sheffield connection? Top stuff here by all involved.

Analog synthesizers give tangible life to the works of Guerilla Toss. Whether it be the sound of a rocket ship, a kitten-with-a-wah, distorted dolphins, or a clavichord made of honey-baked ham, the band consistently find new ways to bring together the many ideas that combine to shape each new batch of art-rock puzzle pieces.

"Twisted Crystal", Guerilla Toss’ new album, feels more personal than ever for the band. Angular yet irresistibly catchy, this collection of pop songs pulls influence from powerful groups like The Slits, ESG, Gina X and early Madonna, with sing-speak vocals from Kassie Carlson nodding to legendary artists like Laurie Anderson, Grace Jones, and Lizzy Mercier Descloux - combining this all into a twisted, crystalline concoction.

Oracles and enigmatic egos are common lyrical themes but charismatic instrumentality springs the listener back to extraterrestrial comfort. Old favourite sounds ring true from the trusty Sequential Circuits Six Track Synthesizer and Clavia drum machine. New, more refined sounds are moulded and polished by drummer/producer Peter Negroponte, whose passion for perfection and creation goes far beyond an all-consuming Tetris effect. Peter has truly excelled on this new recording, creating a complex network of beats and sound that become easily intertwined with the rhythmic fabric of life.

In albums past, vocalist Kassie Carlson’s performances resembled more of a manic, possessed high priestess; humming at the gates of hell, hacking telepathy and tugging the strings of every audience member. "Twisted Crystal" goes beyond this familiar darkness, leading us into a rhythmically calming charm with deep wisdom, serenity, and understanding.

At times the listener wanders through mazes of dizzying, alternately pulsing time signatures, but the roads always bounce, meet and magically snap back together. That meditative groove, both live and in the studio, has become signature for Guerilla Toss, drawing deep influence from 70s krautrock and experimental rock music like Tom Tom Club, Talking Heads, Brian Eno, Neu!, Cluster, Todd Rundgren and La Dusseldorf.


STAFF COMMENTS

Barry says: A perfect balance between off-kilter experimental electronics, synth-led ambience and good old-fashioned songs, Guerilla Toss have managed to craft a monolith, clever and deep but without being too intimidating for the uninitiated. A synth-lover's dream.

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.

Essaie Pas always seek out fresh challenges. After all, there’s a whole universe of sounds, sights, and new ideas to explore. Emerging from Montreal’s sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau – feel completely free to express themselves, to sketch out hitherto unmapped musical regions and the results are rather quite arresting. "New Path" takes their philosophy one step further. Their second album to date and second on powerhouse label DFA Records, it is loosely based on Philip K. Dick’s 'A Scanner Darkly', a classic of dystopian science fiction.
'I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,' explains Pierre. 'In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that’s not based on ourselves but on someone else’s universe. It was going to be more conceptual, more political.'

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

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


‘Exit Entrance’ is the DFA debut for Kohei Matsunaga aka NHK yx Koyxen. Kohei has been making / releasing music since 1997 and has recorded for such iconic labels as Mille Plateaux, Important, Pan & Diagonal. His latest recordings explore intricate drum programming, lush melodies & sparkling arrangements. Touchstones include the legendary ‘Clicks & Cuts’ compilations from the 1990’s as well as Aphex Twin & Autechre. RA called his music “bombastic techno funk….unpredictable but rarely disappointing”. ‘Exit Entrance’ is a collection of new songs that snap and flicker unlike anything Kohei has done in the past. There is a clarity and beauty to these tracks that bursts out of the speakers in a three dimensional way, matching the 3D glasses that the artist wears during all his live performances. The elegant arrangements and crisp drum breaks match the concise song titles – Kohei foregoes the typical impenetrable track names made up of numbers and shorthand, and opts for a more direct emotional sincerity through the sonic themes of the record. Not all the music here falls into the same exact formula. As the album heads towards a close, after several tracks of harmonious beauty, we get ‘Outset (for Mika Vainio)’, a sombre hushed techno tune, dedicated to his late friend and musical collaborator, who unexpectedly passed away earlier this year as the record was being completed. What follows after this track is perhaps the real catharsis, as ‘Dented’ ominously kicks off with acidic stabs and rolls into a tumultuous dirge of gritty techno.

For fans of Aphex Twin, Actress, Zomby, Kraftwerk, Four Tet.


‘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.

"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.

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. 


FORMAT INFORMATION

LP Info: LP comes with digital download.

He may be ill at ease with the darkroom throb of 21st Century clubs but the house music the Crooked Man produces is as weighty, alien, raw and left of centre as anything you’d get from many a hyped young producer. His instincts, honed through years of DJing, production and dancing in sweaty cellars, remain as sharp as ever. Bored of having no decent parties to go to, he became DJ Parrot and began promoting the soon to be legendary Jive Turkey events in 1985.

Alongside his DJ partner Winston Hazel, he united Sheffield’s disparate dancers by joining the dots between Northern Soul, disco, hip hop, electro and the emerging underground dance sounds of Chicago, Detroit and New York. He also teamed up with Cabaret Voltaire’s Richard H Kirk under the Sweet Exorcist alias, delivering the peerless "Testone" in 1990, one of the landmark records of the bleep era. The pair went on to release the first album on Warp, "C.C.E.P.", in 1991. Since then, Parrot has kept a low profile. When not working his sheepdogs, he’s quietly produced for Roisin Murphy, Add N To (X), Richard Hawley and Toddla T, amongst others. His decision, some years back, to revisit his love of raw, bass heavy house music merely marks another twist in the winding path of the Crooked Man and is where we find him on this self titled double LP for DFA. Fun loving, party starting but meticulously produced and studiously engineered. Whether soundtracking your Saturday night warm-up blaring from yer I-phone dock, or slammin' outta your Ford Fiesta on the way to the club or even providing that all-nite score for your dancing pleasure, "Crooked Man" is a skillfully curated opus from a creative master.


STAFF COMMENTS

Matt says: Incendary, party starting house music from Sheffield's finest. No nonsense, bassbin buggin', soul-flecked finesse from a true artist. Big ups!

Guerilla Toss

Eraser Stargazer

Ecstatic, vital and brilliantly unhinged, new age ragers Guerilla Toss promote positive energy and twisted spirituality through the less-travelled path of brutal, intelligent, live rock & 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. They’re more than that, however - Guerilla Toss get real when you pay close attention. Their music is inspired by 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 hardships.

Following the release of the acclaimed ‘Flood Dosed’ EP in 2015, their first recordings for DFA Records (which cemented support from folks ranging from punk icon Henry Rollins to Busy P of Justice’s Ed Banger Records), Guerilla Toss release their new album ‘Eraser Stargazer’ via DFA.

“[Lead track] ‘Diamond Girls’ is about the desire to disconnect from the material properties of social interactions and boil it down to pure elemental form,” explains vocalist, Kassie Carlson. “It’s about letting go of the bullshit to run away from smoke and mirrors.”

‘Eraser Stargazer’ was written and recorded in six 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 centrepiece ‘Grass Shack’ is a perfect example of this leaner, yet tougher Toss. It traverses nearly seven minutes of gameshow-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. 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.

Having now relocated from Boston to New York (“We felt like it was time to move closer to our favourite active bands and artists and they all just so happen to live in NYC,” states Kassie), Guerilla Toss are poised to make 2016 their year.

STAFF COMMENTS

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

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.


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. 

FORMAT INFORMATION

LP includes MP3 Download Code.

Prinzhorn Dance School

Home Economics

“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.


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.

Brooklyn-based Holy Ghost! make their triumphant return on DFA following 2011's eponymous debut with the sleek electronics of "Dynamics". The duo, who began life with some hard hitting nu disco releases and remixes on DFA, Permanent Vacation and Modular, added classic songwritting to their strong production game for their debut album, and they continue their evolution on this new LP. The result is an 11 tracker of distilled pop brilliance, drawing influence from disco, new wave and synth pop but stamped with the trademark Holy Ghost! warmth and groove. Lead single "Dumb Disco Ideas" brims with punk funk majesty, reminiscent of LCD Soundsystem at their best, while "Changing Of The Guard" and "Dance A Little Closer" will appeal to fans of Italians Do It Better's reboot of new wave. Elsewhere "It Must Be The Weather" and "I Wanna Be Your Hand" see the duo paying their respects to "Rumours"/"Tango In The Night Era" Fleetwood Mac. Holy Ghost! have evolved from a strictly dancefloor entity into a proper pop band with big songs and great hooks. And they've never sounded as good.


The wait's finally over and one of the most hotly anticipated records of the year is on the platter. "Turn it Up" opens the record in sparse fashion, a heavy duty drum track with plenty of rhythmic complexity and some trippy vocals, but where are the synths? Patience is a virtue. Building up out of near silence, a whirling arpeggio sets "Here Again" in motion, as human and machine percussion marry perfectly amongst a backdrop of ever changing sounds and fx. Theirs is a music repetitive and metronomic in tempo and signature yet ever shifting, ever surprising, ever ear-boggling. A battered drum kit, Jomox Xbase drum machine and Roland SPDS sample pad create the tools for deep and effective hypnosis.  A Fender Telecaster is brutalised with fists and fraying violin bow, an assault complimented by Roland SP555 sampler. For those in the know, previous singles "Fall Back" and "Two Different Ways" appear here, perfectly exemplifying the collision of analogue techno, heavy synthesis, EBM vocals and industrial acid which the trio have made their own. On their own terms and in their own league, Factory Floor have lived up to the hype and then some.


STAFF COMMENTS

Philippa says: When making music, like art, part of the process is knowing when a particular piece is finished. The temptation to embellish, to fill-out, to just-add-one-more-thing is often given in to. Factory Floor (Gabriel Gurnsey, Dominic Butler and Nik Void) show us exactly how much is enough on their debut eponymous album. All excess fat is trimmed from these tracks – even the geometric pattern on the sleeve alludes to this with its tessellating Stanley knife / cutter blade shapes. This is dancefloor music pared down to muscle and bone. The London trio combine heavy synthesis and live instrumentation – human and machine – to create alt-dance music of dynamism, tension and relentless propulsion. Gurnsey’s tight, metronomic kit drumming sets the pace, pushing the tracks forward, while Butler’s layered, oscillating analogue synths and arpeggiated, sequenced keyboard lines fill the space above with morphing, modulating complexity. Void’s detached, treated robotic vocals sound like the broken transmissions from a computerised dystopian future. Crashing Linn drums, guitar feedback, woodblocks and cowbells complete the picture, but there is always still enough space between the instruments, giving the tracks room to breathe. With a lineage that can be drawn through krautrock, post-punk (they’ve previously worked with New Order’s Stephen Morris), electrodisco, industrial (Void records as Carter Tutti Void with Throbbing Gristle’s Chris Carter & Cosey Fanni Tutti no less), EBM, acid house and even other DFA acts, Factory Floor have moved beyond direct influence and pastiche to create electronic dance music that is totally their own. Raw, brutal, intense, this is EDM Factory Floor style.

Free Energy

Free Energy / Something In Common

Original band members Scott Wells and Paul Sprangers formed Free Energy from the ashes of cult Minneapolis rockers Hockey Night, augmenting the line-up with Geoff Bucknam, Nicholas Shuminsky and Evan Wells. Coming across less like yer usual spiky / electroclash / punk-funk DFA outfit, Free Energy see the label move into the mainstream currently occupied by soft pop-rockers Phoenix, Passion Pit and Empire Of the Sun. It's all very 1979 post-punk power pop! Check out "Something In Common" on the flipside for some sing-along disco-not-disco Balearic pop plod - sure to be massive!

FORMAT INFORMATION

7" Info: Limited promo only copies direct from DFA. We have a handful for sale. One per person!

Now co-released via EMI in the UK, New York's ultra-cool and totally brilliant DFA (Death From Above) label bring us a second round up of all their twelves following on from "Compilation #1". Included are two discs of awesome punk-funk bombs from JOY, The Rapture, LCD Soundsystem and a first ever DFA-Liquid Liquid collaboration "Bellhead" (soooo good!), or more electronic and electro-punk outings from The Juan Maclean, Pixeltan, Delia Gonzalez, Black Leotard Front and Black Dice. The third disc features a DJ-mixed selection by Tim Sweeney and Tim Goldsworthy. You need this!!

FORMAT INFORMATION

3xCD Info: Triple CD comes packaged as 3 gatefold / digi-pack CDs in an extra thick outer card sleeve.


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