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DFA RECORDS

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Fundido Feat. Emma Dufaux

Get A Grip

DFA Records

Look, there are a lot of DJ duos in Brooklyn. Most of them are fine. Fundido are the kind who’ve been doing the good work for 10 years. What started as euphoric, after-band free-for-alls in the front room at Baby’s All Right now takes place in increasingly bigger rooms, further afield, regulars and new faces side by side. It’s a music lover’s paradise and a responsible adult’s worst nightmare.

After curating beloved annual edits comps for years, Latane Hughes and Billy Scher are now making their own music with the help of producer Miles Felix. 'Get A Grip' felt almost purpose-built for DFA: four-on-the-floor drums, a synth that maws away your inhibitions, a vocal from Emma Dufaux that closes the deal. It’s really good. The 12” gives you four ways to hear it: the Original Mix, a Bliss Mix (less maw), and remixes from rising stars Make A Dance and Asa Tate. These guys spent a decade learning what makes people lose themselves and keep coming back. Now they’re making the tracks to match.

STAFF COMMENTS

Matt says: Despite being veterans of the scene DFA can always be relied upon for fresh, contemporary signings, consistently looking to push the envelope of this thing we love. Enlisting modern New York party royality Fundido, as well as two of the hottest producers of the current landscape - Make A Dance & Asa Tate - they continue to lead where others follow with "Get A Grip".

TRACK LISTING

1. Get A Grip (Original Mix)
2. Get A Grip (Bliss Mix)
3. Get A Grip (Make A Dance Remix)
4. Get A Grip (Asa Tate Remix)

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EXEK

Prove The Mountains Move

DFA Records

For just over a decade, EXEK has very quietly become one of the most hypnotic bands on the planet, mutating and growing from record to record, gradually opening themselves up without ever losing that strange, inscrutable, altogether essential quality that’s made them so great—so EXEK-y.

'Prove The Mountains Move' is the seventh album and first for DFA for the Melbourne post-punk outfit. It is, as Wolski says, “a bit more ‘epic’” than anything he’s recorded to date, a lush and unabashedly melodic set of surrealist pop that luxuriates in contradiction. “This record is experimental in its craft,” Wolski says, “but it may not necessarily sound experimental.”

There’s good reason for that. Work began on a cold afternoon in June of 2023, as Wolski and Stephenson came together at Pelican Refill Studios in Melbourne to track drums—the first thing they always do. From there, Wolski went home on his own and began sifting through the beats and breaks they’d captured, letting the drum sounds guide him towards melodies and basslines, looping and layering and laying foundation for what would become 'Prove The Mountains Move'. “I feel comfortable tinkering away alone like a mad scientist,” he says. “I also enjoyed pressing record with no clear intention. More often than not, that would steer me towards an interesting direction that my conscious mind probably wouldn’t have sought out.”

And yet, somehow Wolski arrived at his most direct work since he launched the project, newly inspired by the clarity and concision of mainstream pop, the strong and undeniable pull of a simple vocal melody. After Melbourne’s famously stringent COVID lockdowns ended, he found himself wanting to stay out. “Working on new music took a distant backseat to raging with friends,” he says. “And those parties were filled with big bangers as the soundtrack—stuff I didn’t really listen to on my own, stuff I hadn’t really encountered since my adolescence. But in the early hours of Sunday morning, ‘Alive’ by Pearl Jam sounds like you’re talking to God. And so does 'All I Wanna Do' by Sheryl Crow, and so does 'Feel' by Robbie Williams. Krautrock and dub were still in my DNA, but the music that I started to make was perhaps a little more lighthearted, and perhaps a bit more emotional.”

Which isn’t to say you should expect to hear traces of Eddie Vedder in Wolski’s vocal delivery here, but the stakes feel similar in their own way—this is what it sounds like when EXEK are really going for it. Take, for instance, the levitating synths of opener 'Sidestepping' or the mountainous guitars of 'Arriverderci Back Pain', the piano bench pyrotechnics of 'Don’t Answer (When They Call)' or the Bowie-like melancholy of 'You Have Been Blessed'. The arrangements feel more open, the sonics more focused. It’s not hard to believe him when Wolski says he spent time earnestly A-B’ing his mixes of 'Prove The Mountains Move' against some of the most important albums ever recorded, Abbey Road among them.

But everything is relative. And lyrically, Wolski remains oblique. ”Each song is a vignette into an abstract milieu, whether it’s an experimental chiropractic business at an airport, or scantily clad creatures made from dust at a food court. No matter how wacky, there’s themes and motifs throughout the record, both lyrical and musical, that mirror up and reflect each other throughout different songs.” That dissonance—between the direct and indirect, smooth and textured, shadowed and incandescent, zany and deadpan—is the animating force at the heart of these songs, his best yet.

TRACK LISTING

1. Sidestepping
2. You Have Been Blessed
3. Visiting Dust Bunnies
4. Arrivederci Back Pain
5. Don’t Answer (When They Call)
6. Tyres
7. Spotless
8. Chef’s Hat Renaissance

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Babytalk & Watussi

Shaking Moving Dancing People

DFA Records

"Eric Broucek was the ur-engineer of the most fertile era of DFA Studios, from about 2003 to 2008 (no one knows anything precisely about that time, as it’s all lost in the fog of chaos). His hand was on all of the remixes, LPs, dance 12s. He was there in that over-designed gear dungeon almost every day, recording, mixing, struggling to not roll his eyes at Tim and me. And somewhere in that fog, he quietly dropped limited runs of three 12-inch delayed reaction bombs on his own label Stickydisc Recordings—two under the name Babytalk, and one as Watussi with another DFA regular, Morgan Wiley.

"Back in the day, Eric did not want his music released on DFA. He wanted to forge his own identity, which he did, sending out music that wandered from the DFA path with its uniquely wonky, upended and understated power. His music is so unlike everything else of that era, so profoundly singular, that it still sounds completely out of time.

"A few years back, I started DJing the tracks again, and saw how the world was still surprised by what Eric had made, and the idea of this compilation was born.

"So, in the end, Eric, we totally got to release your records anyway. We heart you, man."

-James Murphy

TRACK LISTING

1. Babytalk - Chance (Original Mix)
2. Babytalk - Chance (Hercules & Love Affair Remix)
3. Babytalk - Chance (Babytalk Remix)
4. Watussi - If All We Had Was Love
5. Watussi - Purple Moon
7. Watussi - Purple Moon (Instrumental)
8. Babytalk - Enough

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LCD Soundsystem

Home (Tom Sharkett Edit)

DFA Records

Celebrated producer Tom Sharkett recently took it upon himself to do his own edit of LCD Soundsystem's ‘Home’, reworking the classic cut from 2010’s 'This Is Happening' purely out of love for the track and LCD Soundsystem.

Sitting quietly online, Sharkett’s edit caught the attention of Flo Dill, Breakfast Show DJ on NTS Radio who played the track twice in one show.

This then caught the attention of the band and it wormed its way into their hearts and never left. As a result they felt there was only one thing they could do - make it official!

STAFF COMMENTS

Matt says: Legendary stuff here from Todmorden-via-Manchester-via-WH Lung's Tom Sharkett. Tastefully working his magic on this bonafide LCD classic, it's no wonder the band have gotten right behind it! Without getting too gushing, it's really nice to see the spotlight on the northwest at the moment: Sid Minsky, Psychederek, Ata Music, all the stuff emanating from The Golden Lion. What a time to be a northerner!

TRACK LISTING

1. Home (Tom Sharkett Edit)
2. Home (Tom Sharkett Edit) [Instrumental]

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LCD Soundsystem

X-Ray Eyes

DFA Records

Brand new single drop from one of the most beloved bands of the modern era, part-pioneers of DFA records and Brooklyn-based scene starters, LCD Soundsystem. As you'd expect, the main groove is an angular vocal-led stomp that harks back to the classic days of machine-heavy off-piste electronics (Chris Carter, Reznor) and minimal, snappy electro but soon descends into an artifact-laiden suite of echoic blips and increasingly frenetic synth soloing.

Murphy's vocals here slot in perfectly beneath the slow synth passages too, lending a momentum that belies the reasonably unchanging percussion, and the flip-side focuses a little more on the vocal and snappy percussion with an aquatic sounding dub that relies even more heavily on the avant-garde drone elements of the original. Another superb single from one of the most legendary figures in todays indie landscape.

TRACK LISTING

A1. X-Ray Eyes
B1. X-Ray Eyes (Extended Trash Can Dub)

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34 NEW ITEMS

Fundido Feat. Emma Dufaux

Get A Grip

DFA Records

STAFF COMMENTS

TRACK LISTING

EXEK

Prove The Mountains Move

DFA Records

TRACK LISTING

Babytalk & Watussi

Shaking Moving Dancing People

DFA Records

TRACK LISTING

LCD Soundsystem

Home (Tom Sharkett Edit)

DFA Records

STAFF COMMENTS

TRACK LISTING

LCD Soundsystem

X-Ray Eyes

DFA Records

TRACK LISTING

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