Factory Floor return to DFA with their sonically striking sophomore album, "25 25". What was once a trio is now a duo, with members Gabe Gurnsey and Nik Void holding it down and co-writing and recording the new LP together.
Their debut self-titled album (2013) embraced "industrial, post-punk, disco, acid, avant-garde minimalism, electro, dub and - most crucially - the dancefloor, without being beholden to any one genre". (Pitchfork)
"25 25" certainly does not forego any of these genres. What it adds to it is a new level of intricate detail in the production and mixing, with hyper-attention paid to drums & percussion. Mixing was completed by David Wrench (Caribou, FKA Twigs) was emphasizing their love of classic & modern dub. Nik Void's hypnotic / robotic vocals also take a new-found center stage on many tracks. This artificial and human adding an extra layer of alienation with barely discernible lyrics on top of rock-steady time keeping and the arpeggiated squelching synths Factory Floor became initially known for.
Slim Twig is the name of a man, not of a band - though he has performed in many a group, some under his own moniker. Boasting a catalogue several under-the-radar releases deep, the Toronto native lays claim to a tremendously original work with his orchestrally-inflected, art rock album, A Hound At The Hem. Self-produced in the fall, 2010, Hound is a suite of narrative songs thematically inspired by Vladimir Nabokov's Lolita. DFA is privileged to re-issue this album in advance of the release of Twig's newest works. Upon completing AHATH in 2010, Twig struggled to find wide release for it due to its uncompromising textural onslaught and disregard for genre. This course of events set the stage for the composition and release of Sof' Sike, a somewhat more conventional set of pop songs released on Paper Bag Records, in 2012.
Recorded on Toronto Island in collaboration with fellow Torontonian, Louis Percival, the album features string arrangements by Owen Pallett, and other collaborators including Meg Remy (U.S. Girls), Carl Didur (Zacht Automaat), and the St. Kitts Quartet.
As a concept-album exploring the troubling and the taboo and themes like the transformative power of lust, AHATH can be interpreted as an echo-like response to Serge Gainsbourg and Jean-Claude Vannier's Histoire De Melody Nelson.
Ninos Du Brasil are Nicolo Fortuni and Nico Vascellari, an Italian percussion duo with a background in visual art. Through their aptitude with drumming, they are masters at fusing the seemingly disparate influences of punk, tribal techno, and batacuda, emerging with a sound that is truly singular. The project takes its rhythmic backbone from Brazilian carnival music, and the duo injects each track with the frothy attitude of punk and the shuffling dancefloor domination of techno.
Nico Vascellari had the following to say of these two tracks: "These two songs are meant to be poisonous and malignant, As if somebody had the idea of inviting us to a party between the bushes of Queimada Grande (Snake Island, Brazil.)"
Recorded at Copeland's old practice space in South Williamsburg, Black Bubblegum contains songs with more conventional sounds and songwriting than any of his previous releases. While there are similarities with Copeland's earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop; imagine Arthur Russell going into the studio with the Ramones. Wanting to take a more "hands-on" approach to these recordings, Copeland exchanged sample-driven tech and hardware for keyboards, guitars and effect pedals, creating a new sound that is oddly easy to digest despite its rejection of melody in favour of discord and dissonance.
Eric Copeland has been sound clashing at full volume for over twenty years, first carving out a named for himself as one third of the legendary NY-via-Providence band Black Dice. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world.
A long time Brooklyn, resident, Eric recently relocated to where the L Train does not run - Palma de Mallorca, Spain. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.
DFA is pleased to announce the long-awaited followup to Marcus Marr's acclaimed 2013 single "The Music".
A music obsessive all his life, Londoner Marcus Marr's first encounters with dance music were acid house records which augmented his vinyl collection of rock and soul, and attending all night parties under Brixton's St Matthews church. Traveling to the south of England to watch DJ Harvey play a lengthy set, he saw the kind of power a DJ can wield over a willing crowd.
"The Music", was featured prominently in the 2012 film "Pusher", starring Richard Coyle and Agyness Dean. The single's B-Side "Pleasure Moon" was used to open the 2014 Versace show in Milan. Additionally, it was placed at #3 in Spin Magazine's "The 40 Best Dance Tracks of 2013", bested only by Daft Punk and Todd Terje.
These two tracks are a taste of what we can expect in the future from Marcus Marr, who will be releasing his debut album on DFA in 2015.
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.
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.
The new EP Crime Cutz is the first new original Holy Ghost! music since the NYC-based duo of Nick Millhiser and Alex Frankel released their sophomore album 2013's Dynamics. As with most of their catalog, "Crime Cutz" benefits from Holy Ghost!'s insistence on tactile instrumentation with live drums recorded over the track to accelerate its tempo. The duo are quite methodical in their output - shimmering bursts of disco, synth-pop, and lingering grooves - but that doesn't mean Holy Ghost! is not prodigious. Over nearly a decade, they have gone from being DFA's rising sons to triple threats: indefatigable DJs, producers remixing new life into the work of Cut Copy and Katy Perry alike, and inventive musicians who've released countless original singles. They're again adding to their thinking-man's dance repertoire with the vibrant Crime Cutz EP out later this year on DFA Records.
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.
He may be ill at ease with the darkroom throb of 21st century clubs, but the house music 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.
Richard Barrat aka Parrot aka Crooked Man is the Sheffield based producer who is most famous for being one half of the duo Sweet Exorcist, alongside Cabaret Voltaire founder Richard H Kirk.
Sweet Exorcist were known as the first architects of the bleep techno sound, closely associated with Warp Records, and responsible for releasing the first CD on Warp, in 1991.
The 5 singles and full length self-titled album marks a celebratory musical return for Richard, still making club music - sounding vibrant electric and relevant.
Essaie pas is a Montreal-based electronic duo comprised of Marie Davidson and Pierre Pierre Guerineau. Their musical language is vibrant and varied, touching upon styles such as Film Soundtracks, Electronic Body Music, Disco, and Minimal Techno. Their sensually-delivered lyrics explore the themes of fantasies, obsessions, and the feeling of "The Void".
The CD release of DFA Records Compilation #1 came out in days of yore, when the iTunes store did not exist, when iPods were more coveted than your phone. The only way to hear the first batch of singles DFA released was to seek out the vinyl and lots of people did.
This magical mythical first group of releases from DFA included "House of Jealous Lovers" by The Rapture, "Losing My Edge" & "Give It Up" by LCD Soundsystem. It also included two very different approaches to dance music from The Juan Maclean - "By The Time I Get To Venus" and "You Can't Have It Both Ways", which subtly introduced the world to the vocal powers of Nancy Whang.
Black Dice also released a 12" single, throwing their noise roots behind a 4/4 screech and created one of the most unique singles in the DFA catalog with "Cone Toaster".
The compilation was edited to fit onto one CD, more a sampler than a completist's anthology. In hindsight, it should have been an anthology of the first 5 singles in full but the A sides had enough momentum happening to make the sampler a bonafide success for the label.
The 8.0 review from Pitchfork in 2003 helped cement the DFA label as both the leaders of a new production approach, as well as a collection of artists who could co-exist make music together and please both the discerning DJ and the indie rock enthusiasts.
In the review, the writer Nick Sylvester calls DFA "The Neptunes of the discopunk underground", which maybe seems funny and far-fetched now, but back in 2003 was a compliment and comparison that DFA were very willing to accept. It is now 2016 and both parties continue to work and stay busy and relevant. Success being relative, this compilation represents the humble beginnings of the label and the birth / re-birth of DFA flagship artists The Rapture, The Juan Maclean, LCD Soundsystem & Black Dice.
This is the first time this title has ever been pressed to vinyl.
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 the seachange 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 out before.
The sound created here is strange and immediate. Stuttering sharp bass kicks combine with clanging 5-alarm snare drums made of glass, orchestra stabs and melancholy piano lines jump in and out of the arrangements. These new elements and ideas are married to the already singular voice of Nils Bech, with "Echo" becoming something new, exciting and 100% Norwegian - homegrown and ready for the world. Just listen to new track "Waiting" for evidence of his truly inimitable vision, as martial drums anchor Bech's floating, weightless vocals, to create something swoonsome, beguiling and defiantly its own creature.
The music comes to full fruition when performed live, as proven at two packed performances at the 2016 By Larm Festival where Nils was joined onstage by both Drippin & Oyvind Mathisen, who also produced, arranged and played on the album alongside Bech. Make sure not to miss the completely original and striking sound of Nils Bech.
Ecstatic, vital, and brilliantly unhinged, Guerilla Toss promotes positive energy and twisted spirituality through the less-traveled path of brutal, intelligent, live rock and roll dance music. Like a hurricane of healing bliss, a Guerilla Toss concert is more of a ritual than a performance. It is theunique pairing of musical voices and backgrounds that makes Guerilla Toss such a special party band. But they are more than that - GT gets realwhen you pay close attention. Their music is inspired by both tragedy and beauty, drug addiction/mental illness and the re-birth of the soul throughspiritual practice and psychedelic drug healing - helping the listener overcome these mind-fuck hardships.