L Soundsystem

Product Information

Matrix / Runout (Side E): [DFA Logo]DFA-2362LP-DISC 3-E [sideways Ⓨ]121013 DR. ORANGE BE39269-03 E1 YOU Matrix / Runout (Side J): [DFA Logo]DFA-2362LP-DISC 5-J [sideways Ⓨ]121013 DR. ORANGE BE39269-05 J1 DOWN

Matrix / Runout (Side B): [DFA Logo]DFA-2362LP-DISC 2-B [sideways Ⓨ]121013 DR. ORANGE BE43108-01 B1 YORKMatrix / Runout (Side H): [DFA Logo]DFA-2362LP-DISC 3-H [sideways Ⓨ]121013 DR. ORANGE BE43116-04 H1 BRINGING The Brighter The Light” emerged while Juan waits (somewhat) patiently in Brooklyn for Nancy Whang to return from touring with her ‘side gig,' LCD Soundsystem. Taking the tiniest splice of a demo vocal and sprinkling it throughout, Juan spun off the work being done for the next LP and created a new piece altogether, offering the smallest glimpse of what is to come, but ending up with something with a completely different purpose: his DJ set. It’s a fool’s errand trying to define the greatest act of any given decade but I’m going to foolishly declare LCD Soundsystem the quintessential noughties dance band regardless. Matrix / Runout (Side G): [DFA Logo]DFA-2362LP-DISC 5-G [sideways Ⓨ]121013 DR. ORANGE BE43129-04 G1 YOU’RE JJULIUS is Gotebörg’s Julius Pierstorff, who, with his partner Elin Engström aka Loopsel, also records as Monokultur and runs the tiny label Mamma’s Mysterious Jukebox.

The cautious observations and honest reveals that follow are literally and figuratively quieter moments than that initial blare. On "All I Want," against a wall of whirling guitar, Murphy recognizes a relationship that can't be saved, and instead asks for "your pity" and "your bitter tears." "Get Along" shuffles over pulsing keys and bubbling percussion as Murphy tries to bridge physical and emotional distance, singing, "You might forget, forget the sound of a voice / Still, you shouldn't forget the things we laughed about." Conversely, the sparsely decorated, sauntering "Somebody's Calling Me" is almost hopeful in comparison: "Somebody's calling me" Murphy half whispers, "to be my girl." 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. Museum of Love moves at a stately pace here, offering a slow and steady chugger that wraps itself in gauzy vocal layers and takes its sweet time reaching its climactic peak.” - Pitchfork The New Jerseyite had already spent the ’90s languishing in also ran punk bands Pony and Speedkings but had a road to Damascus experience in 2000 thanks to ecstasy and techno, which revolutionised how he looked at music. Matrix / Runout (Side C): [DFA Logo]DFA-2362LP-DISC 1-C [sideways Ⓨ]121013 DR. ORANGE BE39269-01 C1 I

On The Go

Matrix / Runout (Side A): [DFA Logo]DFA-2362LP-DISC 1-A [sideways Ⓨ]121013 DR. ORANGE BE39269-01 A1 NEW

The music they make both together and separately is entirely their own, with its own rules of what instruments come and go; when a song begins and ends or swells like a marshmallow. And yet! It’s also referencing all the records we love and know - Young Marble Giants, Postcard Records, early Cabaret Voltaire, and even contemporary local peers like Mathaverskan. But more to the point suddenly they were showcasing a bit of pop/indie nous by having the kind of shout along chorus that was perhaps more suited to festivals, college radio and student discos than cool punk funk clubs and hipster parties. ‘Never As Tired As When I’m Waking Up’ and ‘Great Release’ revealed a heartfelt love for the weirder peripheries of AOR and post-Roxy, ‘pop’ Brian Eno, signifying, among other things, that there was a lot more to this band than just a cool post punk record collection and a working knowledge of ESG. That LIGHT ASYLUM found a sort of rarefied status makes sense. It’s the kind of record cherished by Those Who Know: perfectly crafted, spiritually commanding synth-pop with a voice that sounds like some kind of goth oracle from beyond. It’s simply too good to remain out of print. Matrix / Runout (Side I): [DFA Logo]DFA-2362LP-DISC 4-I [sideways Ⓨ]121013 DR. ORANGE BE43117-05 I2 ME Matrix / Runout (Side D): [DFA Logo]DFA-2362LP-DISC 2-D [sideways Ⓨ]121013 DR. ORANGE BE39269-02 D1 LOVE

What this record really is, and why it’s called Disco has to do with the layering of time and life energy present in the spaces where we have traditionally danced to music which are sometimes called Discos. From the pounding urgency of “Muscle Machine” through the unbridled night vision romp that is “Fluid Feline Forms” and the shimmering investigations of “Whispers Between Worlds” to the extended lazer pointer focus of “I’m Unmelting” this record lays out a broad slab of practice-based research into the ghosts we connect with on the dance floor. Whether it be through partying in former industrial buildings, contested spaces of labor built on lands violently appropriated from indigenous people, uncomfortably inhabiting vacuums in queerness left by the AIDS epidemic, lifting lineages through sampling, or the relentless cycle of whitening that accompanies dance music’s march into the market, our experiences in the Disco have been permeated by the spectral and the haunted. Through rhythm and frequency, organized over time, this music blurs the veil between the living and the dead inviting those who move to it to connect with experiences beyond that false binary. Vocals – Janine Rostron, Jeremy Gara, Lizzy Yoder, Reggie Watts, Régine Chassagne, Shannon Funchess, Tiffany Roth, Will Butler*, Win Butler 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.

Morningside” treated piano recorded at DFA Recording, Manhattan, 2009 originally for an installation at Palais De Tokyo, Paris, in October 2009. Engineered by Matt Thornley and James Murphy. We connected with Stuart during the early clutches of COVID through Korey Richey, DFA Studios engineer and LCD Soundsystem band member. Synthesizer, Percussion, Piano, Electric Piano [Wurlitzer], Clavinet, Vocals, Vocoder – Gavin Russom* Naming their duo in ode to Daniel Johnston’s song of the same name, Mahoney divulges, “I had always loved the song, and had been thinking of what such an edifice would contain when we were trying to name the project.” McNany continues, “Pat’s a sculptor, I’m a painter, we make music and museums are sacred spaces and love is an elusive thing.” Guitar, Percussion, Percussion [Electronic], Bass Guitar, Synthesizer, Electric Piano, Sampler [Samples] – Matthew Thornley*

Side guide

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.