If you’re familiar with Public Release’s sibling, FACE, a series of parties, you’ll already know that Jee Day, né Dennis McNany, has been in the Bay Area label’s orbit for some time; as half of the DFA act Museum of Love, he joined the inner circle years ago. Here, with Amot Herga Laxy, he makes his bold debut on Public Release itself. The single begins with “Crocodile Tears,” an abstract, impressionistic tapestry of African rhythms, meditative synth washes, Vangelis-esque horns and pads. It recedes and Jee Day plunges deeper into the jungle with “Communication Masterbation,” a propulsive number built around a psychedelic, droney bass that’s wrapped with gritty, distorted effects and layers of topline keyboard licks stacked high. A raw club track cut from transcendentalist cloth that’ll lift you off the dance floor. The B-side is a dub of “Communication Masterbation,” with an emphasis being placed on pulling out, unraveling, extending the rhythmic elements and emphasizing the electronic veil the piece is shrouded in. A trancey, menacing sprawl that could be an extended Sonic Youth live jam if they swapped their stringed instruments for Roland and Korg gear—and dusted the whole thing in an unknown psychoactive slime.

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recorded at relax and enjoy (london) and dfa (nyc). produced and mixed by james murphy for the dfa. engineered by al doyle and james crump (london) / korey richey and pablo morales (nyc). mastered and cut by bob weston at chicago mastering service. cover photo by stephen nebesney 1987. Genre: Electronic, Indie, Dance. RIYL: Patrick Cowley, Fire Engines, The Human League.

Tracklist
1.1X-RAY EYES
1.2X-RAY EYES (EXTENDED TRASH CAN DUB)

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In the discourse around new albums from singular, world-building artists, the phrase "a big step forward" can often be a blinking red warning sign. You know you're about to be pulled somewhere new against your will. Inertia is a hell of a thing. It's nice here. Surely, the party's not over yet? JJULIUS' Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There's no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of "Brinna ut," which, in spite of its meaning ("Burn out"), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm. JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they're titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco ("Dödsdisco") and dream-pop ("Etopisk hallucination") to his forever favorites Arthur Russell, African Head Charge, and The Fall. Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration. Unless you're Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. "No looking back, no misery, no talking trash, no enemies."

Tracklist:
1.1BRINNA UT
1.2ETIOPISK HALLUCINATION
1.3LETAR EFTER NYA PLÅGOR
1.4KÖPA SAKER
1.5VERKLIGHETEN OCH JAG
1.6BALLADEN OM ELPRISET I AUGUSTI 2022
1.7CORAL BASS STRINGS
1.8DÖDSDISCO
1.9RINGER Å RINGER
1.10VÄLKOMMEN PÅ INTERVJU

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One of Ireland’s finest and DFA mainstay Shit Robot returns to James Murphy’s legendary label, seven years after his last release for the New York heavy hitters.

Four classic cuts from the twisted machine mind that is Shit Robot. Distinctively punk, daringly futuristic, with a driving heart that’s as warped as it is welcoming. Entrancing body music for basements and big rooms alike, featuring Suzi Horn (Prinzhorn Dance School) and Mutado Pintado (Warmduscher, Paranoid London) on vocals. Recorded in London with Al Doyle (Hot Chip, LCD Soundsystem) and mixed by James Murphy for the DFA.

DJ support: Optimo, Ivan Smagghe, Justin Strauss, Heidi Lawden, and Horse Meat Disco

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Shit Robot reunites with Nancy Whang for a sharp blast of raw-to-the-floor acid house - Spencer Parker bosses it on the remix, delivering a road-tested, siren-and-sub ‘Workmix’ and dub that’s in the (red) zone

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Holy Ghost! release their second twelve this month, more fantastic work from A/JUS/TED - the pairing of fellow DJ & Producer Justin Strauss also part of Whatever Whatever and Teddy Stuart/Eddie Mars (UNONYC). The remixers take on 2 consecutive singles from the Holy Ghost! LP "Dynamics" - both "Okay" and "Bridge & Tunnel" get stripped tweaked and reworked into 4/4 floor fillers, songs rebuilt from the ground up. Their current remix of the Blood Orange single "Uncle Ace" really has proved that this duo are on an official winning streak, and this 12" is a fantastic document of what they are capable of. A/JUS/TED have had steady single releases on Plant Music, Southern Fried and Under the Shade, and now back to back break through remixes. The 2 had this to say about Holy Ghost! Holy Ghost! has been an integral part of the New York music scene for so long now it seems - it was a pleasure to remix them. We both share an affinity for old analog gear -it seemed like a very natural collaboration. With "Okay" the idea was to build up to a re-imagined vocal and base a track around it. For "Bridge & Tunnel" we thought a more stripped down and chunky club jam would be a nice compliment to the original."

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The Crystal Ark return with a double pack 12” containing some wildly engaging stripped down mixes of 4 tracks off their debut album on DFA. Contains new versions of the songs Rain, Paradise, Ascension & We Came To.

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Limited vinyl edition of two previously digital-only singles by Berlin singer, songwriter, and producer. Dan Bodan, hailed by Pitchfork as "an expression of the storied NYC dance label's more oddball tastes." First up is "Anonymous", a poignant portrait of yearning for the post-Facebook generation. The A side is rounded out with a remix by DJ Richard (1/2 White Material with Young Male) that manages to drag the track to even deeper depths of anxiety. The flip features 2013 single "Hunger Games", a widescreen epic of a track that will be stripped down to the bare minimum on Dan's forthcoming LP. It features production by left-field dance geniuses Physical Therapy and Ville Haimala of Renaissance Man. Comes in a custom spineless picture sleeve featuring an illustration by Julien Ceccaldi.

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i did the "this beat is talking to you" (club mix) at my parents house in my old kinderzimmer. i forgot to take my blood pressure pills back then so maybe thats the reason it sounds like that. jacques renault is a old friend of mine who is one of the best djs. he told me he was working with mark verbos in the studio so i had to ask both for a remix. mark has already released awesome acid in 1994 on labels like DJAX-UP-BEATS and he is responsible for the best live performance i've seen in a hotel room in miami! secret circuit is eddie ruscha who doesnt need an introduction. but i heard his release on "beats in space" records and i fell in love with his 707 madness. furthermore looking at his sweaters was trippy enough for me to ask for a remix

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‘How You Say’ is the new single from Factory Floor. This is the third of three 12” singles and contains part of a wide and wonderful selection of remixes. This third 12" contains new versions, both from Bookworms, who turned in 2 new versions that were so good, we had no choice but to put them both out. Bookworms aka Nik Dawson, had recorded many striking singles for both L.I.E.S. & Confused House, collaborating with Steve Summers. This is his second remix for DFA (the first was for Larry Gus) and we are thrilled to have him back in the mix.

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This first 12 contains new versions from Daniel Avery (Phantasy), who released a striking debut album last year, as well as a string of much-played 12” singles. The 12" also contains a remix from Invisible Conga People (DFA), which marks the return of this elusive act, who recorded a fan-fave 12” for DFA in 2011, and have not been heard from since.

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‘How You Say’ is the new single from Factory Floor. This is the second of three 12” singles and contains part of a wide and wonderful selection of remixes. This second 12" contains new versions from Gunnar Haslam, who released a striking debut album last year on L.I.E.S., as well as a lean percussive house 12” single on Chicago’s Argot Records. The 12" also contains a remix from Helena Hauff (Werk/PAN),who made a distinctive mark in the dance community with a brilliant debut 12” on Werk as well as single on PAN under the alias Black Sites.

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Dedication is an ongoing collaboration of Japanese musicians and Western singers brought together by producer and DJ Felix Dickinson and Japanese artist Mikey Yamada. Felix Dickinson aka Foolish Felix has been releasing and remixing stellar disco for years, as L.H.A.S., Foolish & Sly and several releases under the name Dedication via his label, Cynic Music. Felix was part of the legendary Tonka Sound System with DJ Harvey, a pioneer of the early UK House music scene. He also co-hosts the Bring It parties alongside Idjut Boys. "I Aint Gonna Tell You" is Dedication's DFA debut. The single features the vocals of UK soul singer Brendan Reilly and a remix from DFA alumni DJ Kaos.

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The Juan Maclean returns with “Get Down (With My Love)” - part 3 in an alleged dance-floor trilogy that also includes the 2 singles released in 2013. “You Are My Destiny” & “Feel Like Movin’ were both instant classics and both were awarded Best New Track from Pitchfork. Both are still in heavy rotation. But part 3 in this 4/4 Odyssey is here now, and it cannot be ignored, so make room for all of them in your playlists and record bags. A full length album by The Juan Maclean is being mixed now for a Summer 2014 release.

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DFA is pleased to announce a split 12" single featuring remixes of Shit Robot by Paul Woolford and Juan Maclean by Leon Vynehall. Extremely limited, so move quickly. The creative partnership of Marcus Lambkin aka Shit Robot & Reggie Watts yielded "We Got A Love" one of the wonkiest house singles DFA has released. When we asked DFA remixing alumni Paul Woolford to have a crack at the tune, we had no idea Paul & his Special Delivery project would take off in such a major way. Either way, he strips and flips the rubbery soul of it into something leaner - and does very nuanced work to a special track. Feel Like Movin' was named Best New Track by Pitchfork. This officially makes it relevant and "critically acclaimed" so we won't spend any more time except to say it is the best song made by anyone ever and includes Nancy Whang on vocals. The remixing duties of this went to the capable and English hands of "overnight sensation" Leon Vynehall who turned in a sensational remix virtually overnight. As many have already brought to our attention, the remixing "rules". It does.

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The Hi-NRG history of Luke Jenner's hometown San Francisco is freshly revived for Shit Robot's cheekily-titled "Feels Real," on which Jenner plays the slinky Sylvester to Marcus Lambkin's Patrick Cowley wizardry. Meaty and a bit menacing, Jenner asserts "I think you'll always want my love" over washes of organ. It all builds to an ecstatic, shouted peak before the whirligig synths implode under the weight of Jenner's pure falsetto. For the remix, Luke Solomon scrapes off some gloss and opens synthetic space around the ghosts of a guitar lick, while extending the blissful vocal peak over analog bombast and tasteful strands of acid.

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The Juan Maclean has clearly reserved some crackling energy for "You Are My Destiny," his 19th release on DFA. Refracting frequent vocalist and former LCD Soundsystem band member Nancy Whang's vocals into glossolalic whirls before crashing into a full-on progressive peak-time tool, "You Are My Destiny" manages to make you believe the endearment of the title. Saved Records head Nic Fanciulli takes the reins for the b-side with a stripped remix that subverts the soaring vocal and numerous crescendos into a claustrophobic thump, while a crunchy bass line plays hide-and-seek with shy pads

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Following Daphni's exhilarating treatment of "Runnin," the dusty squawk-box psychedelia of Sinkane is again prepared for dance floor omnipresence with a new pair of remixes from Germany's Tuff City Kids and Barker & Baumecker. Running Back label boss Gerd Janson teams with Philip Lauer as Tuff City Kids to create an anxious burble out of "Making Time," squeezing dry Ahmed Gallab's processed guitar histrionics and letting staccato bass get tangled in a maze of refracted synths. For "Warm Spell," Ostgut Ton pillars Barker & Baumecker turn abrupt twitches into a big-room tool, teasing out soft chords over crusty percussion, with Sinkane's weary vocal chasing after itself until exhausted. Both remixes further reveal Sinkane's emotional range, as comfortable on a sweaty dance floor as a sunny beach.


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Lace Curtain is James, David & Mikey from Total Control, Rat Columns, Rank/Xerox, Eddy Current Suppression Ring et al, exploring an electronic world of pleasure, frustration and sadness. Bedroom dancers, synthetic singers, basement kicks in a romantic void. Influenced by the Germans, the Italians, pale British button pushers, glamorous alien pop futurists, Mid-Western sweat, NYC disco dreamers, undercover kings and queens escaping a dull grey world with rhythm and noise, sound and vision. 4-track EP with picture sleeve and digital download card.

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