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Woolfy – Looking Glass review

Woolfy’s debut solo album If You Know What’s Good For Ya! released collectively between New York’s disco titans Rong and DFA last year was filled to the brim with under appreciated gems. “Looking Glass” perhaps stood tallest and demanded your attention most; mercilessly short for electronic music at just under four minutes, it packed enough potent synth drama and lyrical wistfulness to demand repeat listens. A two minute burst of golf claps to DFA for allowing Woolfy the chance to revisit the track and expand upon its qualities is certainly in order.

Inherently warmer in feel, Woolfy’s ‘expanded version’ also allows prominence for the bontempi style synth melody to shine. This element is discarded altogether by rising British DJ/ Producer Foolish Felix aka Felix Dickinson, of London’s excellent Bad Passion Project monthlies, on a remix that begins all acid house before a swift French Kiss tempo breakdown marks the onset of something wholly more psychedelic. Expanding on this psychedelic hue, Australian duo Canyons provide perhaps the most richly rewarding version to close proceedings. Beginning with a tapestry of acoustics and gentle piano melodies, the remix gradually accrues pace, with a subtle beat that never imposes itself. Woolfy’s distinct vocal refrain becomes ever more poignant it as it is drowned in vast echo.

Tony Poland


Watch: Shit Robot – “Take Em Up”

DFA chanteuse Nancy Whang is the star of the new video for Shit Robot’s excellent “Take Em Up”, one of the highlights from the producer’s debut album.

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Jacques Renault – Marilyn’s Gold review

Before making a name for himself as one of New York’s most prolific makers of off-kilter house and disco, DFA associate Jacques Renault was something of a low-slung disco fetishist. His first releases, as one half of Runaway, were a series of oddball disco and punk-funk re-edits on Roy Dank’s Wurst Edits imprint. In an edit scene saturated with string-drenched reworks of familiar favourites, those Wurst 12”s were a revelation.

This new 12” for Hand of God sees Renault return to those roots with a pair of distinctly heavyweight disco jams. In style and feel, they sound like those early edit excursions fused with Renault’s more recent trips into organic deep house. Lead cut “Marilyn’s Gold” sounds like it was inspired by Renault’s superb remix of Midnight Magic’s “Beam Me Up”. It has a similarly prominent disco bassline, this time sitting atop some of the greatest drums ever to grace a disco record. They may not be original – anyone with a serious interest in disco will spot the source – but they still sound great. On top of this, Renault throws all manner of bizarre and brilliant loops and samples. The effect is mesmerizing. It’s not always easy listening, but it will sound formidable blasting out of a big soundsystem at five in the morning.

Compared to the A, flipside “Pleasure” offers some light relief. To these ears, it sounds like Basement Jaxx’s “Fly Life” recreated by Patrick Adams. It boasts the sort of deadly dancefloor groove that’s near impossible to dislike. Furthermore, the action all revolves around a near-perfect disco bassline. Honestly, it’s a killer. Throw in some well-timed vocal hooks and Renault’s usual late night production sheen, and you’ve got a real winner. If they’re not dancing to this in sweaty Brooklyn basements already, they soon will be.

Review by Matt Anniss


LCD prep London Sessions

Whilst James Murphy is keeping us guessing over whether we’ll ever be treated to a fourth LCD Soundsystem album proper, fans of the band will delight in the news of a forthcoming studio live session recorded in London.

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Peter Gordon – Love Of Life Orchestra review

The DFA love for the work of Peter Gordon was first made public when James Murphy and Pat Mahoney chose to open and close their Fabric:Live mix with the deliciousness of “Beginning of the Heartbreak” and “Don’t Don’t”. That love is expanded on fully with this brilliant retrospective of the avant garde musician’s career as a producer and figurehead of the Love of Life Orchestra. The aforementioned two tracks open this album and still amaze with the sheer magnitude of production values, though the swift changeup between tracks will always annoy!

From here, your senses are treated to a dizzying array of vintage disco sounds from the era’s prime. Especially delightful are “Still You” and “Beautiful Dreamer”, the tracks Gordon produced with visual artist Collette as Justine & The Victorian Punks. Ethereal and multi layered discoid arrangements and impossibly sweet vocal melodies combine to hypnotic effect on both tracks. Elsewhere “Iago’s Escape” contains the sort of abstract arrangements you’d expect from a producer who worked with Arthur Russell whilst “Extended Niceties” contains a joyous exchange between sax and synths. This is one of those albums you sink right in to and come out the other side with a nagging sensation to find out more.

Tony Poland


Delia Gonzalez & Gavin Russom – Track 5 review

To date Delia & Gavin’s “Track #5” has only appeared in a criminally short burst of some three minutes towards the end of the Goldsworthy and Sweeney mixed DFA Holiday Mix 2005. Culled from the mind bogglingly good Delia & Gavin album The Days Of Mars for it’s supposed incongruous sound, “Track #5” has remained a frustratingly unavailable curio for Delia & Gavin completists. Hooray to James Murphy and the other DFA decision makers for finally unveiling the track in all its ten minutes of soporific glory.

With Russom knee deep in his increasingly psychedelic Crystal Ark project as well as delivering a continually dizzying array of stellar remixes – including a forthcoming mind melter for Populette – it’s been purported this is potentially the last time we’ll see the contemporary wizard on a release with Gonzales. If that’s the case it’s fitting that the duo appears to be sauntering towards the light on the cover. Further delight can be gleaned on the opposing side where German duo Âme transforms the track into a relentlessly throbbing piece of house music that deserves to be played loud late at night in dark basement venues across the globe. The addition of this truly breathtaking dancefloor reimagination means this is a fine final chapter to an all too brief but excellent partnership.

Tony Poland


Discodeine team up with Jarvis Cocker for DFA 12″

Slick French duo Discodeine (aka Pilooski and Pentile) have announced a collaboration with former Pulp crooner Jarvis Cocker that will see the light of day on New York’s hardest working imprint, DFA.

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Shit Robot – From The Cradle To The Rave review

Little Known DFA Fact # 23: James Murphy employs a rusty old swingometer to decide which of his cadre of DFA acts get to release an album. Having been stuck between LCD Soundsystem and The Juan MacLean in recent times, Marcus Lambkin snuck into the office one day whilst Justin Miller and his office minions were enjoying a lunchtime slice at Grimaldis and applied a liberal dose of WD40. Newly greased, the arrow of fortune finally fell on Shit Robot, allowing Lambkin to unleash the beast that is From The Cradle To The Rave.

Questionable title aside, this debut long player from the Godfather of DFA ticks all the boxes. The opening sinewy bass strains, synth rises and trademark congested vocal delivery of James Murphy which characterise “Tuff Enuff?” set the tone. References to early Chicago House, European progenitors of techno and the finest in gay disco pulse with energy throughout, but this is an album that works just as well on headphones as in the club. This is thanks in no small part to the impressive and interesting cast of guest vocalists involved. Hot Chip’s Alexis Taylor delivers a gloriously fragile falsetto turn on “Losing My Patience” which is matched perfectly by the glacial synth melodies crafted by Lambkin.

Equally impressive on the ears is “Take Me Up” the following track which allows DFA chanteuse Nancy Whang to maintain her record of seemingly appearing on every album the label drops. Long may it continue on this evidence as Whang’s almost disinterested vocals ride the retro mid tempo Human League synth breeze with aplomb. The inclusion of “Simple Things” lends familiar warmth amidst the overall newness of an album that feels just right at nine tracks long.

Tony Poland


Hang Tuff with Shit Robot

DFA provide further reason to cement themselves in the affections of Juno Plus with the release of  Shit Robot’s new single “Tuff Enuff” that acts as a prelude to his long overdue debut album From The Cradle To The Rave.

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NDF – Since We Last Met review

DFA continue to hit the right note in the second half of 2010 with this encouraging debut release from NDF aka Bruno Pronsato and Sergio Giogini, hot on the heels of essential releases from The Crystal Ark and Jee Day. The original version of “Since We Last Met” is steeped in melancholic beauty which spreads from the warm synth melodies to the undulating kaleidoscopic chords to the intermittent bursts of languid vocals. Beyond the mid point inclusion of some sub heavy kicks, this is a track that has no illusions towards crescendo building, its purpose is to enchant and delight – something that is achieved with ample success. Ricardo Villalobos makes his DFA debut across the B Side with a 12 minute plus abridged 12” edit of the suitably expansive 17 minute remix which appears on the digital release. Giogini’s vocals cascade in the mix around off kilter drum programming and a bodily function sampling bassline that combines with dubby melodies for a truly hypnotic effect.

Tony Poland


The Crystal Ark – The Tangible Presence Of The Miraculous review

Whilst the raw orgasmic energy of Black Meteoric Star was impressive, it seems that Gavin Russom has really hit his stride with The Crystal Ark. The addition of vocalists and Brazilian polyrhythmic percussion has imbued Russom’s music with a new psychedelic energy that is utterly captivating. The second release from The Crystal Ark captures this energy perfectly. Snappily titled “The Tangible Presence of the Miraculous”, it hurtles along at a hypnotic 135bpm. It’s not short either at near 14 minutes but totally consumes your senses, not least due to the menacing acid pulse that dips and throbs throughout. On top this Russom plays orchestrator to thumping percussion from Alberto Lopez, layers of druggy synths and vocal interplay between long term collaborator Viva Ruiz and Lizzy Yoder. At the tracks most psychedelic point, a haunting organ riff comes to the fore before yielding to Russom’s own chant of being on fire which melds to now completely lysergic acid throb as the track plays out.

On the flipside, Russom presents an equally intricate instrumental version which reduces the vocal contributions to just the rhythmic chanting. The emphasis here is expanding on the psychedelic qualities of that acid throb, which Russom transforms into a mind melting globule of druggy brilliance across the length of the track. Yet more essential music from the Brooklyn offices of DFA Records.

Tony Poland


Villalobos remix gets release on DFA

In yet another intriguing artist/label matchup, Chilean minimal techno don Ricardo Villalobos will release material on New York disco imprint DFA this month, FACT magazine has reported.

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DFA announce new Crystal Ark EP

DFA have filled us with ripples of Friday excitement with the news of an impending new release from Gavin Russom’s Crystal Ark project.

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Featured DJ Chart: Jee Day (DFA)

You have to applaud DFA’s penchant for putting out release after release of killer material with little or no fanfare. Their latest effort is no different, calling on the production talents of Jee Day, yet another alias for NYC scene fixture Dennis ‘DJ’ McNany. McNany has turned knobs for The Rapture, worked on early DFA releases, dropped remixes of Panthers and Ghostape as Run Roc as well as overseeing Run Roc records and performing tour keyboard duties for The Juan Maclean.

From the moment “Like A Child” commences this impressive CV translates perfectly. Referencing the early pop moments of Madonna, McNany crafts a raw hypnotic 909 groove that positively thumps through the reverberating vocals from Jee Young Sim. McNany takes over vocal duties for the sprawling elastic EBM thump of his Run Roc dub that is spread across the B Side. Sim’s vocals also resonate with cavernous aplomb through the slo mo throwback electro of “Snake Bite”. It’s a superb EP, and one we wanted to celebrate by asking Dennis to talk us through his top tunes for the month. Enjoy…

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Shit Robot goes from Cradle to Rave

James Murphy, Alexis Taylor and Juan Maclean will all appear on the debut album from Shit Robot, aka DFA stalwart Marcus Lambkin.

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New LCD album gets a name

So, it’s official: the new LCD Soundsystem album is called This Is Happening, and will be released on May 18 in the U.S. on DFA and May 17 in the UK.

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The Crystal Ark – The City Never Sleeps review

Artist: The Crystal Ark
Title: The City Never Sleeps
Label: DFA US
Genre: Disco/Nu-Disco
Format: Digital
Buy From: Juno Download

Following the awesome gothic techno thump of his Black Meteoric Star project last year, Gavin Russom returns from a five week stint travelling through Brazil full of inspiration and yet another alias in The Crystal Ark. Much like the title, the prodigious nature of Russom’s musical mind evidently has little time for human needs such as sleep.

“The City Never Sleeps” is a typically intricate production that adds and strips layers of percussion, pulsing basslines wiggling synths and some hypnotic vocals from Viva Ruiz over the space of 12 minutes with spell binding results.

Review: Tony Poland

Ray Mang – Bullet Proof review

Artist: Ray Mang
Title: Bullet Proof
Label: DFA
Genre: Disco/Nu-Disco
Format: 12″, Digital
Buy From: Juno Records, Juno Download

This is a great if slightly unexpected collision between two legends (well, strictly speaking, three legends). Edit and disco king Ray Mang has been a constant source of delight for DJs for 10 years now, working with The Idjut Boys and The Glimmers, as part of Block 16 or for his superb disco edits on his own Mangled imprint. He’s joined on this DFA release by Lady Miss Kier, the unforgettable vocalist with Dee-Lite, whose classic “Groove Is In The Heart” still rules after all these years.

And the third legend is George Clinton, who had a hit with “Bullet Proof” in the early 80s. This version really pushes the boat out though, coming in faster and way more frenetic than Clinton’s already fairly bouncy number. With wild keyboard stabs and fierce snare hits running rampant, it’s a hell of a lot of fun and sounds like a party kicking off right between the ears as LMK repeats the chorus “I ain’t bullet proof and I won’t wear a ball and chain”. Mang’s production excels as ever, and this should easily set a crowd off with no delay.

The flipside, “Look Into My Eyes”, is calmer and more cosmic than the title track, but it’s still a true beauty with a luscious breakdown in the middle. Yet another superb job all round by the reliable Mr. Mang.

Review: Oliver Keens


Video: Michoacan

New York imprint DFA have teamed up with Scion AV to release a pair of music videos, featuring Michoacan‘s upcoming release on the label and Pixeltan’s recent single “Yamerarena-i“.

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The Juan Maclean – A/V Remix Project review

Artist: Juan Maclean
Title: A/V Remix Project
Label: Scion/DFA
Genre: Disco/Nu-Disco
Format: Digital
Buy From: Juno Download

Opening with a surprising take on the desolate, down-trodden piano ballad, “Human Disaster”, House of House show exactly what a remix can do for a track – spin it around and turn it on its head so it becomes a completely different animal. And in this case a hungry one, gradually fattening itself up with every layered effect over the track’s eight minute sprawl. Blending together deep house tones with combination percussion and cut-up, looped together vocal distortions, the NYC pair maintain the momentum throughout beautifully.

Irishman Marcus Lambkin a.k.a. Shit Robot, stiffens up the more limber original of “No Time” with a deeper, more robust bassline which gives the track an oddly sinister feel. Combined with the pint-sized Nancy Whang’s aloof, icy vocals, the track becomes sassy, and starkly sexy. Meanwhile, having peeled away the surface polish of “Accusations” by re-recording the bassline with his own analogue synths, Gavin Russom replaces the rippling piano notes of the original with hollow maraca-esque percussion under lingering cosmic waves. The cruisy disco-funk vibe of the original is still there, but it’s less quirky, more otherworldly.

And speaking of otherworldly, Sydney duo Canyons, take “The Future Will Come” even further out to space, starting it off with a deep bass loop coupled with peculiar metallic echoes and sheepish robot wails before it kicks into gear with a retro drum roll and ghostly whisper.

Playing off skittering computer bleeps and a startling “woosh!” or two, the gentle quivering wails are alternated with eighties-inspired synths to give the forward-looking title track a slick-but-offbeat treatment.

Review: Bec Crew


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