Nu Disco Vinyl 453 Items

“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!

Pictureplane has made his name circling the outer limits of pop culture in several mediums. The Brooklyn-based artist's gallery works, shown both in the U.S. and abroad, collide familiar with fringe and hard lines with visceral spatter. His Alien Body clothing line serves up a stylized study of symbology, the occult, and societal decay. And his music—beautiful yet heavy, swirling wild strains of industrial dance, gothic hip-hop, and emotive New Age—treats electronics not as artificial, but as extensions of our analog selves. After a decade thrashing the status quo, Egedy is not only kin to makers of lovely dark music everywhere, but a vital player in the global DIY community. He is a proud outsider, yes, but his tribe is legion and ever-growing.

In 2011, Pictureplane's Thee Physical arrived, marking a major leap forward. Egedy's voice was suddenly dripping sex at the forefront of a lush synthscape, while cuts like "Trancegender" and "Breath Work" explored the human body with gender-dissolving aplomb. He moved to Brooklyn in 2012 in order to stoke alt-rave culture from a more powerful vantage before teaming up with fabled indie-rap imprint Anticon for Technomancer (2015), an LP about the blurring line between ourselves and our machines. Along the way, Egedy's toured with everyone from Crystal Castles and Major Lazer to the Faint and Gang of Four. He has remixed Lil B; been remixed by Grimes; collaborated with bands (Prayers) and SoundCloud stars (Goth Boi Clique)

It's been 5 years since Psychic Mirrors released their critically acclamied album Nature Of Evil, now the cult funk family from Miami return for the album of the decade. Recorded at Platinum Blonde Sound Studios, by Mickey De Grand IV. A washed-up Hollywood composer gets his last chance at stardom when he is employed at a once-hot but now failing television network. 19 new chart topping hits from the romantic comedy of the year! The Miami Star Reporter calls it "Hilarious, daring, provocative, unquestionably a new step forward in album marketing campaigns." 150g vinyl double LP, in deluxe gatefold jacket.

From an aspiring b-boy to working with luminaries Billy Porter, Joss Stone, Kimberly Davis and Teni Tinks, The Shapeshifters, Simon Marlin announces the release of his brand-new studio album “Let Loose”.

Wrapped in a defining optimistic mood and colourful palette, “Let Loose” plays with the friction between musical persona and influence, delivering a masterclass in Simon’s flourishing depth of integrity as a producer and admiration to those that exert their enduring influence upon him.

“I'm a facilitator of talent. I'm blessed that over the years I've managed to put a team of people together - as a producer, that's what I do, very much in the old school sense like a Quincy Jones or Gamble & Huff, they’re the guys I try to emulate - and make something magic out of nothing, but do it in a contemporary way. That’s what really floats my boat, and that's what this whole project is about.” Simon Marlin – The Shapeshifters

Across the latest and long-awaited studio album “Let Loose” The Shapeshifters pledge rhythmic allegiance to the golden era disco records and their spellbinding qualities; embracing the tension often found between tradition and future to craft a euphoric, certifiable body of work presented to the devoted audience he deserves. The Shapeshifters exemplify a scene in rude health one that is now switching on an ever-younger fan base, and with Marlin being the beating heart of it it’s easy to see why The Shapeshifters are more in demand in the clubs than ever.

The twelve-track album is illuminated with vocal collaborations including the recently released and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter.

Layers of rushing strings, flares of brass and hedonistic grooves provide refreshing dancefloor power dynamics and deliver a liberating, triumphant and inherently uplifting record.

Taking an impeccably smooth course through disco-infused house, The Shapeshifters continue the rich relationship with Glitterbox and its record label; one that has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio Vinyl published by Henryk Gericke Texts and liner notes by Henryk Gericke Remastered by Calyx/ Bo Kondren Digital distribution via aufnahmeundwiedergabe.de

We’ve patiently waited after LSW’s 2019 debut “Life Style West” and it was more than worth it. The Düsseldorf group is blessing us with their sophomore work “Mir Tut Alles Weh” — Everything Hurts. But why does it feel so good?

This 11-track double LP is guaranteed to be a hit in your local Stammkneipe. Packed with forward-thinking nostalgia, poetic impressions of western decadence, LSW are certifying that punk remains posh in the Federal Republik of Germany. In an undeniably candombléan set up, Leonard Horres, Sebastian Welicki, Gregor Darman and Aki Vierboom continue their weird world building with a more mature sound. A holistic, detailed production that leaves you finding new elements at every listen.

Broken only by occasional melodic whispers, Horres introduces us to his city with ecstatic reiterations of his deepest, most deconstructed and sarcastically self-depreciating narratives. Dampened, forward-moving, industrial rhythms, orchestrated upon with live instrumentation and spherical synths pull us back and forth between dirty streets and the light clouds above. All with that chique nonchalance we cannot withstand.

Is this the new Deutsche Welle? Or eclectic Angstwave at its finest? Whatever,

Japanese edition of the latest Harvey Sutherland full-length album "boy" is now available!! The Japan edition CD includes bonus remixes from Adrian Sherwood and Martyn Bootyspoon. The Japan edition LP with an Obi strip comes with a bonus DL card for two remix tracks from DJ Plead and Surprise Chef!!

In Flagranti needs no introduction they have been at it for more than 25 years. The project is a compressed package of all their experiments in music, art and graphics, and is defined by a raw cut'n'paste aesthetic and DIY attitude. This EP is no different featuring two magnificent tracks with remixes by Eric Duncan and Fango Calypso Records is happy to welcome these legends to our catalogue.

Gatefold with UV gloss finishing. 'Reunion' is the third album from nu-disco star Tim Bernhardt, aka Satin Jackets. Released this summer on Eskimo Recordings 'Reunion' is a stunning follow up to the German producer's first two critically acclaimed albums and features 14 stunning tracks of sun kissed disco, Balearic house, leftfield pop and guest vocals from the likes of Australian star Panama, Belgian singer Ivy Falls, US based vocalist Metaxas and up and coming British singer Tailor.

After many homeruns, Star CREATURE's "Prince", E. Live, drops this double album of hot, sophisticated boogie beats spanning the full solar sonic spectrum. 13 tracks ranging from jazz-funk, vapor cloud funk, boogie beats and everything in between. Due out April 4th. Don't sleep on this one.

Platform 23 again explores to the dense voids, this time with a touch of the funk, with a reissue of Dutch experimentalists De Fabriek and two tracks from their "Music For" cassette series, this time calling all Hippies. Featuring both original and reinterpretations from modern-day heads, Dunkeltier and Khidja, this double-pack is something of an oddity, showcasing the bands' expansive range, moving away from the noise, drone and industrial soundscape releases they had become known for and crafting here, free flowing, groovy longform jams. Active since the late 70s to today, De Fabriek (The Factory) have never considered themselves a real band - being also a label too - with an evolving and irregular line up centred around Richard van Dellen, they present their music and output as a kind of work-union. With literally four decades and dozens of releases across all formats, 1988's cassette release, 'Music For Hippies', has become something of a cult curio, with the long improvisational tracks, Lullabye and Coming Down eschewing the rougher, industrial experience for something completely different. In opener Lullabye, we go full leftfield P-Funk meets Motorik undertones. An incessant beat is laid from the start and doesn't cease for over 10 minutes, while spoken vocals call closer to the Krautrock realms of Can and hark to Liebezeit's stylised grooving best. Analog, echo washed, with touches of glam and wrapped in simple effects pedal work, the secrets are passed to Dresden / Berlin inhabitant Dunkeltier aka Sneaker DJ aka Thomas Smorek. His darker moniker, appearing on obscure edits for Macadam Mambo and the much-missed Bahnsteig 23, his 'Hey Robot' mix adds bass, percussion, strings and synth to remold Lullabye into a late night, red light, basement denzien. This is followed by an additional, bonus reimagining, creating an all-new time piece, an ear worm of the best kind with Tik Tok Goes The Clock. The second slab presents in Come Down, a more resembling De Fabriek werk. Edited to fit, the darkness is entered as snapshot vocal quips, oscillations and synthesised mutations are laid over a lazy, relentless ostinato rhythm where cymbals crash on the bar. Inviting, calling, De Fabriek's aptly titled downer is in fact, a joyous journey. To complete, label affiliates, Khidja take a break from finalising their debut album to unfold their 'Psychebabble Mix', a dozen plus minutes of warped, twisted, cassette machinations that suck the listener further along the trip. Added bass propels their edit suddenly to a new direction, a hook for mind and for the open willed, the body. De Fabriek's "coming down lullabye" arriving on vinyl for the first time, with a twist and shake, calling deeper to acceptance.