Blog Archives

Eric Copeland – Goofballs LP

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 offbalance. 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 explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:

I made it here in Palma at my studio, this is the first full record I’ve made entirely here since moving. Some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this.

The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.

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

Crooked Man – Happiness EP

Crooked Man comes back around with their second release of 2017. The Happiness EP contains three alternate versions of this epic album track closer. Extended dance floor edits & bleeped out glitchy funk. Three new takes on one instant-classic song.

Earlier this year Crooked Man released the Remix EP Volume 1, which contained reworks from Whatever / Whatever, Juan Maclean and Barker & Baumecker.

Coming soon is the Remixes Volume 2 featuring versions from Tee Mango, Luke Solomon & Lovefingers. There is also a four part 30-minute new track on the way, entitled “Echo Loves Narcissus.”

Delia Gonzalez – Horse Follows Darkness (Barker & Baumecker Remix)

Barker & Baumecker (Ostgut Ton / Berlin) remix the title track off of Delia Gonzalez’s upcoming LP ‘Horse Follows Darkness’ out May 5, 2017 on DFA Records.

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 deromanticised era are still relevant today. America hasn’t changed – the cast, times and settings have, but we still hold onto the same ideal.

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 L.A. 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 & 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 & Berlin. Her disciplines include everything from composer to filmmaker, dancer / choreographer, sculptor, painter & 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.

DELIA GONZALEZ – Horse Follows Darkness LP

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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 deromanticised era are still relevant today. America hasn’t changed – the cast, times and settings have, but we still hold onto the same ideal.

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 L.A. 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 & 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 & Berlin. Her disciplines include everything from composer to filmmaker, dancer / choreographer, sculptor, painter & 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.

Crooked Man – The Remixes Vol. 1

Crooked Man’s debut album was one of the landmark releases for DFA in 2016. Crooked Man is Richard Barratt of Sheffield England, one half of Bleep music pioneers Sweet Exorcist (Warp Records).

This remix collection is Volume 1 in a series of forthcoming collections that revisit key tracks from the LP, reinventing them into headier dance floor explorations, without abandoning the undeniable pop hooks that set this whole release apart from your typical full length dance LP.

Remixers include:

Whatever/Whatever remixing “I’ll Be Loving You”. Whatever/Whatever are a remix duo that includes famed DJ and musician Justin Strauss.

Juan Maclean remixing epic album closer “Happiness”. The vocals for “Happiness” were actually sung by Amy Douglas, also the singer in Peach Melba with Juan Maclean. So this remix brings the everything full circle in a tidy way.

Barker & Baumecker remixing “Fools & Fanatics”. This duo are recognized musical leaders in the Berlin techno scene originating out of the world of Ostgut Ton Records and the Berghain club. 2016 saw them releasing their epic 2nd LP entitled Turns.

Remixes forthcoming for Volume 2 include Tee Mango, Luke Solomon & Lovefingers.

Crooked Man is currently hard at work on the follow up album, due out in 2017 on DFA Records.

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.

Nils Bech – Glimpse Of Hope (Joe Goddard Remix)

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Norwegian star Nils Bech is a classically trained opera singer, now taking his vocal chops pop, incorporating performance art, electronica, and club culture into his latest LP Echo out now on DFA. Fusing synth pop, classical elements and dance music, the LP – produced by Drippin (LE1F, Cakes Da Killa) and Øyvind Mathisen – marks a pivotal turning point for Bech and something of a radical sonic departure as well.

Now, Bech reveals a brand new remix of “Glimpse of Hope” by Hot Chip’s Joe Goddard via Blackbook. In this remix, Goddard takes the tune to soaring, 80’s synth-pop heights, effortlessly showcasing Bech’s acrobatic vocals with sprightly retro-electronica (fans of Yazoo and Erasure take note).

Watch: “Glimpse Of Hope” Video

A favourite of the art world, Nils Bech has performed at such venerable venues and events as Venice Biennial, ICA (London), New Museum (New York) and the Van Gogh Museum (Amsterdam).

He has also featured in two plays at the Norwegian National Theater, most recently in Shakespeare’s Richard III; where he performed excerpts from his third album Echo out now on DFA Records.

Already a star at home, Echo is Bech’s first album with DFA. The album explores “echoes” of the people in his life over the past five years; their search for love, how love can deceive and destroy, but also be the key to everything. Sonically, the record infuses urban, contemporary dance music with hip hop roots – hard beats in juxtaposition to Bech’s vulnerable bass-baritone

Essaie pas -Demain est une autre nuit (Remixes)

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In March of this year, Montreal duo Essaie pas released their DFA debut LP, entitled Demain est une autre nuit, which in English translate to “Tomorrow is another night”. This album has now been remixed to close out the year, bringing together some of the most exciting names in dance music, Orphx, Function, Daniel Maloso, Brooklyn-based techno producer Malory and more.

Check out the Malory remix below:

Emerging from an underground electronic avant-garde scene that also included Dirty Beaches, Bernardo Femminielli & Jesse Osborne-Lanthier, the duo stood out thanks to their dizzying combination of EBM, techno and minimal electro-pop, held together with the sing-song poetry of both members, Marie Davidson & Pierre Guerineau, delivered predominantly in their native French.

The year 2016 comes to a tidy close, as band member Marie Davidson releases a solo LP on the Cititrax/Minimal Wave label, and the duo release the aforementioned remix EP.

Spiked Punch (Black Dice) – Guinea Pig

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Spiked Punch is a new project from 2/3 of Black Dice, Eric Copeland & Aaron Warren. After the third member Bjorn Copeland relocated to Los Angeles in 2015, Aaron & Eric worked on a Black Dice remix commission for Awesome Tapes From Africa, for artist Aby Ngana Diop. Through this creative process, they hit upon a new sort of inspiration for making music and Spiked Punch was born.

These two tracks were born out of long form improvisations between Eric & Aaron. It is most definitely music born of their environment in Brooklyn – the lo-fi bodega beats seeping out of the dozens of delis, trial and error with early sample chopping, watching YouTube tutorials for help, the eerie comfort of late nite local tv, and a sweltering Brooklyn summer cooled and fueled by Tecate. The duo also emphasizes the music was recorded on an iBook from 2004.

The music Spiked Punch have created is wildly percussive and zig zags around tweaked vocal stabs and dubbed out bass lines. When pressed for more personal descriptors for the music the band responded with this: “Coconut bongos, pineapple kick drums, stolen bike vocals, peanut chew bass-lines”.

Make of those phrases what you will. Like this new music, as well as song titles like Vanilla Meatball, it makes no sense and and also perfect sense. Like Black Dice and the solo work from Eric Copeland this duality is one of the greatest gifts of Spiked Punch. Hoping there is more in store….

Shit Robot – Is There No End (New Jackson + Khotin Remixes )

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“Is There No End” is an a rambling five minutes of shuffling techno where a spoken-word vocal describes a man’s stream-of-consciousness journey to the club, only to get kicked out at the party’s peak. Narrative vocals are brilliantly delivered by Jayson Green, former lead singer of punk bands Orchid & Panthers.

Remixes are handled by New Jackson (Hivern, Permanent Vacation) & Khotin (1080p, Normals Welcome). Both remixers deliver long form, gorgeous slow motion disco interpretations of the original, foregoing the manic vocals and creating what might be two alternate come-downs to an indulgent and night on the tiles.