"Track 5", a previously unreleased single meant for "The Days of Mars" album, but ultimately deemed out of place on the record, begins with the slow reveal of a repeating electronic ring atop a rising, falling, sine-curving synth. With each additional layer—a piercing, urgent synthesizer; a deep, continuous, ever-expanding rumble; the sound of a guitar, awash in reverb—the atmosphere thickens. It’s both restless and placid, anxious and tranquil. Just over ten minutes in length, the track closes with a chorus of high-pitched synths that fade to a sparse, darkened end. This 12-inch, very likely Gonzalez and Russom’s last, also features a remix from Âme, comprised of Germany’s Kristian Beyer and Frank Wiedemann. The house duo wholly transforms the A-side into a track so unrecognizable it seems brand new, taking it far from the introspective dreamworld to a dance party in the sweaty, blissed-out, wee hours of the morning. More

You must surrender. Because if you’ve followed Naum Gabo over the past 15 years – across various 12-inches, styles, and notable labels - and you’re listening to “F. Lux,” their first proper album, then you’re probably wondering how you wound up here, all the way down, barely able to see through the brain-clogging atmosphere and towering low-end. “F. Lux” is a deep, enthralling listen, alternating between moments of pounding, world-ending techno (“Schinokapsala” and “This 1”) and sharply imagined, surrealist scenes painted with metallic machines (“Aora” and “Haerstag”). There is light to be found in the darkness, but the only way out is through. Naum Gabo are Glasgow’s Jonnie Wilkes (also known as one-half of DJ duo Optimo) and James Savage (prolific mastering engineer). F. Lux was written and produced entirely by them at their Glasgow Hottrax Studios and mastered by James Savage. The album’s front cover artwork is a painting by cherished Scottish painter, Andrew Cranston. The vinyl was pressed at MPO in France using lacquers cut by Bob Weston in Chicago. More

Dickie Landry’s saxophones have challenged, soothed, and blown minds around the world in his lengthy career as a jazz and avant-garde blower of the highest regard. He was a founding member of the Phillip Glass Ensemble and (according to Wikipedia lore) introduced Paul Simon to zydeco, one of the indigenous sounds of his native southern Louisiana.

Rarely, though, does Dickie’s saxophone make you want to get up and dance like a crazy person.

Such is the effect of “Hang The Rich,” a nugget of slinky, ecstatic punk-funk that was until recently completely lost to the sands of time. Recorded in 1986 (or thereabouts) in New Orleans and featuring vocalist Evelyn Erhard, percussionist Billy Ware, drummer Ricky Sebastian and Dickie himself on saxophones and a Roland Jupiter 4 synthesizer, it’s the kind of song that compels you to move any which way you can, drunk on indignance and the power of satan’s music.

The track came to DFA via LCD Soundsystem’s Korey Richey, who knows Dickie from back home in Louisiana. After a lengthy search, we located the original tapes in a storage locker somewhere in the Southeast and finally were able to get a clean, quality transfer done here at DFA HQ.

From there, we only had one person in mind for a more DJ-friendly edit: Glasgow’s JD Twitch, one half of Optimo and a selector of similarly puckish spirit. Twitch’s ability to contextualize these older, skronkier sounds for a modern dancefloor are in full display on his version, which hits hard and jagged but then opens up into those ineffable rapturous moments. More

LIMITED EDITION RUN OF 1500 COPIES

Stretch 'em out and shake off the cobwebs - LCD Soundsystem have returned, in recorded form, from a 5-year hibernation. 'New Body Rhumba' was written and recorded for the new Noah Baumbach film, White Noise, which is an adaptation of the Don DeLillo novel. It’s classic LCD, all tight and brash, with a coda headed for the second star from the right and straight on 'till morning.

Single-sided 12'' vinyl, mastered and cut at 45rpm by Bob 'Sparklebear' Weston at Chicago Mastering Service, pressed at MPO in France. More

“What could have been a mere anthology of the label's uniformly excellent 2004 output is, additionally, a meticulously assembled personal narrative. This is a label that balances its musical and commercial aspirations with an earthy, no-bullshit disposition and-- let's say it-- the world's best fucking handclaps.” - Nick Sylvester, Pitchfork, in the heady days of 2004. Behold, Compilation #2. A compendium what are arguably the best prime-era DFA cuts, mostly all recorded and/or remixed at the old DFA Studios on W. 13th Street (with some notable exceptions), released as 12-inches and then compiled onto a 3xCD set for convenience because, at the time, people actually bought CDs more than vinyl. Now, in the spirit of time not really being much of a linear thing anymore, and for our own selfish desire to have this version of Liquid Liquid’s “Bellhead,” produced by the DFA, finally committed to wax, we have reverse engineered this thing back onto vinyl and presented it as a four-record boxed set. We went back and found the master tapes or files for each song - a not insignificant effort given our habit of disorganization. We then rather painstakingly resequenced and remastered it with the guy we trust with such things: Bob Weston at Chicago Mastering Service. The lacquers Bob cut were plated and pressed at what we believe to be one of the best pressing plants in the country: QRP in Salina, Kansas. We tell you all of this to say: we took this shit pretty seriously. Because we felt like it was important and because we felt like some folks would really appreciate it. It sounds remarkable. It looks great. (Rob Carmichael re-did the original packaging, adding a new photo from DFA OG Tim Saccenti from one of the original parties at W. 13th St.) Of course, we somehow can’t stop ourselves from making labeling errors - Pixeltan’s “That’s the Way I Like It” somehow escaped the center labels on the fourth record. It’s kind of the DFA curse. Has to be! More