Secretly Distributon

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2019-05-24
Edward: Underwater Jams

On his DFA debut, German experimental techno producer Edward largely departs from the 4/4 grid he frequents and blurs the focus towards a more slippery, improvisational vibe. Fans of his Desert Sky alias, as well as his work reshaping classic tracks by Harmonia & Eno and Rolf Trostel of Tangerine Dream, will be quite pleased with Underwater Jams. These two new songs unfold at their leisure, going off on whizzing, kosmiche-influenced tangents, all the while guided by the hand drums of percussionist Geronimo Dehler. On A-side "The Lagoon," the freedom of the long-form composition allows Edward to go deeper and more mesmeric, while the restrained stomp of B-side "Mental Dive" allows for an introspective dance floor moment. Though he's been releasing music for the past decade, Edward has always been a bit enigmatic, with a majority of his discography only available on vinyl. He remains as prolific as ever - in the last year alone, Edward has toured all over the world, playing esteemed clubs from Berghain to Fabric, and splitting bills with artists like Ricardo Villalobos and Oskar Offermann. His numerous releases on Giegling, Die Orakel, and White demonstrate his penchant for combining the psychedelic and the locked-in groove, but it’s the sprawling sense of adventure that makes this release one of the more idiosyncratic in Edward's catalog.

The Juan Maclean: What Do You Feel Free About? / Zone Nonlinear

The Juan Maclean returns to DFA with a new 12" - last June's electro-disco "What Do You Feel Free About?" backed with "Zone Non Linear," which evokes early Pet Shop Boys. As usual, Juan's sunny productions and Nancy's layered vocals come together to lend a maximalist warmth to the dancefloor. Man Power (ESP Institute, Correspondant) gives the A-side a club rework with a dubbed out vocal arrangement that adds a touch more drama to the track, while Massimiliano Pagliara (Ostgut Ton, Robert Johnson) revitalizes tropes of old-school piano house.

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2019-05-03
Eric Copeland: Trogg Modal Vol. 1 (The Remixes)

After the success of last year's Mixbone EP, we 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 humor 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.

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2019-05-03
LCD Soundsystem / Paperclip People: Throw

'Throw' by Paperclip People is reissued, accompanied by LCD Soundsystem's sublime and inventive cover on the flip. Perhaps the best-known release from Carl Craig's long-running alias, 'Throw' is instantly recognizable to the day; a joyous distillation of Craig's house, techno and disco nous, as a chugging, organ-led bassline leads to a sensational breakdown.

Once a favorite of LCD Soundsystem's live set, the flip of the record captures the now Grammy-winning US group performing a studio-recorded cover, one that instantly, naturally captures the original solid groove, while adding shades of their post-punk approach.

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2019-04-19
Khidja: In The Middle of the Night

After turning in a wall-shaking remix of Essaie pas last year, Romanian production duo Khidja present their first EP for DFA. These four tracks are deep, spooky heaters - think John Carpenter in the club, with industrial bass lines, frenetic melodies careening a bit out of control, and vocals echoing from the corners of the room. Their signature throb that runs along all four tracks, influenced by their time spent in underground scenes in Bucharest, London, and Berlin, as well as an emphasis on the jagged sounds of hardware.

Having established themselves with previous releases on labels like Hivern Discs and Malka Tuti, Khidja get darker, dubbier, and more twisted on In The Middle Of The Night. We find the record in the witching hour, and the tracks represent the cycle of nighttime mentalities, revealing the various directions the mind can wander in the place between consciousness and unconsciousness - mania, paranoia, even boredom. It all makes for a raucous dance floor experience, with the duo bringing something new and heavy to the DFA roster.

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2019-03-29
Eric Copeland: Trogg Modal Vol. 2

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October’s Vol. 1. The former Black Dice member’s ‘Freakbeat 4/4’ agenda gets further refined here - Vol. 2 is more laid-back than the first, but still highly danceable. 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. Eric’s textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and ‘jamming’ to a climate of uncanny smoothness and polish. Where Vol. 1 was composed of "rippers," Vol. 2 travels at its own pace, continuing to showcase Eric’s ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of "BS Dropout" to the blithe, video arcade soundtrack "High Score Zed." Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years - arriving in 2019 with his mischievous sense of adventure firmly intact.

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2019-01-18
LAPS: Who Me?

Glasgow duo Ladies As Pimps, a.k.a. LAPS, make their DFA debut with the Who Me? EP. After first meeting each other in an analogue production course run by Green Door Studio several years ago, Lady Two Collars (Golden Teacher) and Sue Zuki (Organs of Love) have now refined their sound and produced one of the most focused and vital club singles to emerge from the Glasgow underground, with their unique and thoroughly danceable fusion of dub, house, and trip-hop.

"Who Me?" asks the question via a French-English narration, anchored by a hard-edged rhythm that assertively struts between percussive triplets and whizzing frequencies. "Ladybug" gets even more dubbed out, with arrangements that unfurl somewhere between Neneh Cherry, ESG, and early Tricky. "Who Me?" caught the ears of everyone from Ben UFO (who hosted LAPS live at XOYO and on Rinse FM) to Rihanna, who featured their music in her Savage x Fenty show at this year's NYFW.

On remix duties, LA producer M. Geddes Gengras appears under his Duppy Gun alias, chopping the vocal track into a pleasantly disorienting remix. Vancouver-based D. Tiffany (1080p, Coastal Haze, Pacific Rhythm) and Melbourne up-and-comer Roza Terenzi collaborate on a stripped-back, high-energy take, while ANY WAYS, a.k.a. Tom Marshallsay (Golden Teacher, General Ludd) rounds out the EP, bringing it back to Glasgow.

"Who Me?" and "Ladybug" were originally released in July 2017 by MIC Records (London, UK). This EP is a co-release between MIC and DFA.

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2018-12-07
LCD Soundsystem: I Used To (Dixon Rework b/w Pulse v.1)

Last year, LCD Soundsystem released their long-awaited fourth album american dream. The band's first record since 2010's This Is Happening garnered critical fervor - Pitchfork raved that the songs "couldn’t sound timelier" and "Murphy and company have never sounded so invigorated," while The New York Times hailed "call the police" as "a quietly ambitious protest song… except that instead of searing, it motors." Noisey embraced "american dream" like "a warm blanket."

Now the band return to the fold with two new 12"s, featuring the previously digital-only single "pulse (v.1)," and remixes of "i used to" and "oh baby" by Dixon and Lovefingers. Berlin DJ Dixon (named Resident Advisor's #1 DJ four years in a row) takes on the broodiness of "i used to" and opens it up into a club space, a logical choice for the Innervisions head and Muting The Noise owner. LA native and ESP Institute founder Lovefingers puts two different spins on the sincere "oh baby," making the original track a bit more upbeat and psychedelic. Both Dixon and Lovefingers are prolific selectors and continue the impressive lineage of LCD remixes.

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2018-12-07
LCD Soundsystem: oh baby (Lovefingers Remixes)

Last year, LCD Soundsystem released their long-awaited fourth album american dream. The band's first record since 2010's This Is Happening garnered critical fervor - Pitchfork raved that the songs "couldn’t sound timelier" and "Murphy and company have never sounded so invigorated," while The New York Times hailed "call the police" as "a quietly ambitious protest song… except that instead of searing, it motors." Noisey embraced "american dream" like "a warm blanket."

Now the band return to the fold with two new 12"s, featuring the previously digital-only single "pulse (v.1)," and remixes of "i used to" and "oh baby" by Dixon and Lovefingers. Berlin DJ Dixon (named Resident Advisor's #1 DJ four years in a row) takes on the broodiness of "i used to" and opens it up into a club space, a logical choice for the Innervisions head and Muting The Noise owner. LA native and ESP Institute founder Lovefingers puts two different spins on the sincere "oh baby," making the original track a bit more upbeat and psychedelic. Both Dixon and Lovefingers are prolific selectors and continue the impressive lineage of LCD remixes.

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2018-11-23
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2018-11-09
Planningtorock: Powerhouse

This November, celebrated dance producer Planningtorock - aka Jam Rostron - will release their radical fourth album: Powerhouse.

Powerhouse marks the Berlin-via-Bolton producer's most intimate album to date, a kinetic, self-produced record flush with attitude, humour, vulnerability and swagger.

W, Planningtorock's critically acclaimed 2011 debut on DFA, revealed a visionary and politicised producer. It offered up deeply queered art-pop - tense, atmospheric dance music cut with classical flourishes, and spell-binding androgyny. But it was 2014's All Love's Legal ("a masterclass in left-of-centre dance music", Mixmag), released on Rostron's own imprint Human Level, where Planningtorock, with banner-ready slogans ('Patriarchy Over And Out', 'Let's Talk About Gender Baby'), revealed their ability to combine pop-oriented music with a political message. Powerhouse offers up something infinitely more personal: emotionally-charged, biographical anthems drawn from Rostron's lived experiences as a non-binary genderqueer artist, experiences around family, identity and music itself.

Powerhouse was written and recorded across Berlin, London, New York and Los Angeles. It 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 oldschool '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).

The striking, pitched-down vocals that shook fans of W are as radiant as ever on Powerhouse. It was pitching that gave Rostron's then-hidden inner self an authentic, external voice; and it was pitching that enabled them to come out, beginning "this long, complex and very much still evolving process of living their non-binary genderqueer self". For Rostron, pitching became the sonic embodiment of taking T (testosterone). Listen closely, for example, to the lyrics on W's 'Doorway' and you’ll see a through-line connecting that song with the refrain on Powerhouse's 'Jam of Finland': "I feel a transformation in me / All those empty spaces in me / Are filling up with me…"

Ultimately, Powerhouse is a celebration of liberation, a groove-filled record that sees Rostron consolidating power both personal and artistic.

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2018-10-26
Crooked Man: Crooked House

The elusive Crooked Man returns to DFA with Crooked House, 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 epicenters 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.

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2018-10-05
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2018-09-21
Amy Douglas: Never Saw It Coming

NYC singer Amy Douglas makes her official DFA debut with "Never Saw It Coming," a limited release 12" single co-written and produced by Tim Wagner of 33Hz, with two remixes by Sheffield artist 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 DFA artist 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 LP, and also appears on the forthcoming Crooked Man album, due out on DFA this fall. 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. Rumor 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.

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2018-09-14
Guerilla Toss: Twisted Crystal

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 out of honey-baked ham, the band consistently finds 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 LP, 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.

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2018-09-14
Marcus Marr: Familiar Five: Remixed

Marcus Marr shares his Familiar Five: Remixed EP. The remixed tracks first appeared on the UK producer's Familiar Five EP, released earlier this year. The new record will feature remixes from Justin Van Der Volgen, Prosumer, Gerd Janson and Ara Koufax. "It was fun to ask some of my favourite producers to remix these tracks," notes Marr. "I love Gerd's remixes and play them loads. Prosumer is a great producer and I've been a fan of his for ages. Justin Van Der Volgen I also love - his originals and his remixes are always interesting. And Ara Koufax I;ve been a fan of since their tune 'Brenda'." Marr is no stranger to collaboration, working with Australian musician Chet Faker on 2015's Work EP. Work yielded two hit singles, "Birthday Card" (Annie Mac's BBC Radio 1 first play, #1 Hype Machine) and "The Trouble with Us" (#1 Hype Machine). The Familiar Five EP, however, shows him in his individual element, an artist and performer who understands just how to make superb music for both man and machine.

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2018-05-25
CCFX: The Remixes

Sometimes the best remixes come direct from the artist themselves. Following the success of their debut EP, CCFX return to reimagine and reiterate all four tracks. At times turbulent, at others serene, and throughout unabashedly raffish, these instrumental versions take the liberty of exploding the originals and thrusting the fragments into deeper and more ornate sonic territory. Minimal beats as well as pumped up breaks take the forefront here, rendering nascent atmospheric jungle & dubbed out balearic new wave.

Though it was released last October, the original EP is still making waves, having been hyped by the likes of NPR, Pitchfork, and NME. With this new record, the band demonstrate their versatility in addition to their songwriting talent - always willing to take risks, The Remixes is a masterful selector's spin on their late 90s/early 00s indie pop-oriented sounds. And the band isn't slowing down, as this release comes on the heels of the band's debut live performance on KEXP, and ahead of their appearance at Sasquatch Music Festival in Washington state. Stay tuned for more from CCFX this year…

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2018-04-20
Perel: Hermetica

German DJ and producer Perel's debut album is a striking amalgamation of house, new wave, and kraut frameworks that shape a distinct new sound and add a strikingly direct vocal delivery to the mix. Her arrangements recall the starkness of Cluster, Grauzone, and Conny Plank's work with Liaisons Dangereuses ‐ all distinct German voices from the 1980s. 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. She 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. These days, she can be found playing DJ sets at internationally acclaimed venues like Berghain / Panorama Bar, De School, ://about blank, and Wilden Renate, while also forging connections with Paris' Rex Club, Oslo's Jæger, and Bossa Nova Civic Club in New York. She's shared bills with Jennifer Cardini, John Talabot, and DJ Harvey, among others, and the record's lead single "Die Dimension" was one of Dixon's most played tracks on last year's festival circuit. Hermetica is a focused, sonically adventurous work, where an artist previously known for her DJ sets plays every instrument, writes every song and explores this new dimension of her own creative process.

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2018-03-16
Essaie Pas: New Path

On New Path, their second album for DFA, Montreal electronic duo Essaie pas (Marie Davidson and Pierre Guerineau) take inspiration from Philip K. Dick's A Scanner Darkly, a dystopian science fiction classic. The album sounds like the book reads - a voyeuristic, druggy, and paranoid narrative of existence in the surveillance state. "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 addiction, loss, and the lingering strength of identity within late capitalism's mass media paranoia. It pins down the central character's destructive tendencies, 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 various kinds of dependences. "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." Essaie pas possess a wiry, experimental take on the more leftfield end of techno music, in the way of pioneers Chris & Cosey and Cabaret Voltaire, as well as newer acts like Fever Ray, Factory Floor, and Helena Hauff. The album trades in hypnotic pads of strings, punctuated by dramatic stabs and sensual rhythmic patterns, with Marie's tripped-out, pseudo-scientific verbiage further adding to the ambience. The world the duo have created here offers a tangled vision of tomorrow's aesthetics, a soundtrack stacked with cold music for cold times.

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2018-02-02
Marcus Marr: Familiar Five 12" EP

DFA is proud to present the long-awaited debut EP by London’s Marcus Marr, Familiar Five. Influenced by classic soul, rock, disco, and acid house, the multi-instrumentalist, DJ, and producer makes spacy dance music, often including percolating synths, funky bass guitar, and vocals. A regular at Berlin’s famed nightclub Berghain/Panorama Bar since 2014, the lifelong music obsessive’s first encounters with dance music were acid house records, which grew his vinyl collection of rock and soul, and attending all night parties under Brixton’s St Matthews Church. At last, Marr returns to DFA with a collection of elastic bassline stompers, reminiscent of early Daft Punk. The title track “Familiar Five” originally began with a rock riff, which he later repurposed as the backbone of a piece of slow, dark, dance music. Inspired by Dr. Jekyll and Mr. Hyde, Faust, and Kafka’s Metamorphosis, Marr explains that he wanted to make something spooky and simple – a song utilizing “very few elements, with a throb and synth vomit.” On the flip side, lead single “High Times” channels the electric guitar stylings of Nile Rodgers circa 1979, and makes good use of the producer’s trademark whizzing synths as well as vocals from collaborator Nandi Bhebe. “Love Release” and “Rocketship” are both equally effective tracks built for the dancefloor.

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2017-11-10
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 LP, 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 70's jazz fusion, kraut rock, 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.

The sound of this LP harkens back to a time not too long ago, in the early - mid 90's, with groups like Air, Cornelius, Stereolab, Tortoise, and Cibo Matto. All these artists combined a love of Krautrock & 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 - put on the record and get lost in the haze.

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2017-10-20
CCFX: CCFX EP

CCFX are a new trio from Olympia, Washington, featuring Mary Jane Dunphe (Vexx, CC Dust), David Jacques (CC Dust) and Chris McDonnell (TransFX). Collectively coming from a background of punk, new wave, and shoegaze, all three members embody Olympia's historical ethos of DIY, and join forces for a record that is a showcase of what is currently coming out of the Pacific Northwest.

Recorded and mixed with Captain Tripps, the CCFX EP is a testament to the nostalgic properties of 80's UK chiming and melodic guitar parts that counter and complement Mary Jane's emotional vocals. Undeniably indebted to the sounds of The Cure, New Order, The Smiths, and My Bloody Valentine, Chris McDonnell has made much of the kinship he feels between Olympia, Washington and Manchester, England. And like the Brits across the ocean, CCFX strike that delicate balance between heartfelt and gloomy, but there is an earnest sincerity to these tracks that sets the band apart.

The timbre of the music is warm and just slightly fuzzed out, and the expressive quality of Mary Jane’s voice is pushed to the front. These four songs allow access to suppressed and forgotten feelings from youth - punk's not dead, and neither are its descendants. This is the stuff indie dance nights are made of.

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2017-10-06
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2017-10-06
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2017-09-22
Eric Copeland: Goofballs

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: 'Goofstep'. We'll see if that one sticks...

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.

Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric's third solo album for DFA Records.

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2017-05-19
Guerilla Toss: GT Ultra

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 unhinged quality that made their earlier recordings so exciting. It is a dream state record for sure, 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.

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2017-05-05
Delia Gonzalez: Horse Follows Darkness

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."

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western.

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2017-05-05
The Juan Maclean: Can You Ever Really Know Somebody

The Juan Maclean return to DFA with a stand-alone single, bursting with deep house elastic bounce and electronic pop flourishes, married to the deadpan earnestness of Nancy Whang's vocal delivery. "Can You Ever Really Know Somebody" is the kind of slinky song that is easily absorbed and difficult to forget. It is a taste of things to come, as The Juan Maclean prepares a brand new LP for DFA due out in Fall 2017. The remix is courtesy of LA-4A, aka Ambivalent and legally known as American born producer Kevin McHugh. Stripping out the house music and replacing it with a grinding electro-acid template, LA-4A creates a lovely buzzing new bed of music for Nancy Whang's vocals to rest on top of it. This is a remix with wildly successful results and a perfect companion to the original.