LCD Soundsystem

Most people probably don’t know a whole lot about James Murphy, The DFA, or LCD Soundsystem, that is unless they collect obscure 12-inch vinyl or live in a liberal college town (or New York City). Those folks most likely know a little too much about such things. All three entities are fundamentally just different identities for the bottomless musical mind of Murphy, indie Rock’s newest superhero. A producer by trade, LCD Soundsystem sees Murphy taking his Here Come the Warm Jets steps into the spotlight of rock stardom. And, given his recent abrupt rise into semi-fame, he seems poised to make a go at it. 

LCD Soundsystem is an idea man’s modern-day version of disco for self-conscious, sober ears. Pulsing beats, punk-quality vocals and layer after layer of treated sound transmit the varying style exercises of a modern music scholar with a record collection deeper than most vinyl shops. What Murphy lacks in soul and pure songwriting ability, he makes up for with a vast understanding of the development of rock and dance music as a recorded medium.

With a collection of influences ranging from the fabled “German Rock Explosion” of the 70s (namely Neu!, Faust, Can and Public Image Ltd., if they count), up through modern dance acts such as Aphex Twin, Daft Punk and Autechre, Murphy is surprisingly successful at creating his own distinct sound despite his open affections for the bands he holds so dear. On the first disc of his double-album debut, Murphy presents a sweeping crop of nine new compositions, the bulk of which are artful prog-rock works masked behind the resonance of keen New York City grooves. The album plays through as an ode to the various modern-day hipster styles, one moment embracing thedance rock sound of The Rapture, the next expanding on Bjork’s electro-orchestras.

“Daft Punk is Playing at My House” starts LCD Soundsystem with a loopy blast, complete with hand-claps, layered guitars, feedback and Murphy’s punk vocals. The youthful lyrics, “there’s every kid for miles at my house, and the neighbors can’t call the police. / There’s a big fight brewing at my house, cause the jocks can’t get in the door,” play up the party-minded image that Murphy has regularly embraced in his previous work.

“Never as Tired as When I’m Sleeping,” drops the dance beat format in favor of a dreamy guitar driven landscape as Murphy again returns to his roguish teenage days for fuel, singing, “It seems it would be simple, if I could just grow up. But I’m never gonna get it right, cause I’ll never grow up.” All throughout disc one, Murphy diverts his attention to youthful themes universal enough to appeal to a wide range of listeners.

Since the demise of grunge, Brian Eno has been celebrated as one of the primary influences on pop and alternative music. Often compared to modern producers, instrumentalists, and avant garde composers, Eno’s name has again been coming up around the subject of Murphy lately. The only difference is, for once, the likening seems justified. On disc one’s closing track, “Great Release,” Murphy’s of-the-moment track summons Another Green World-era Eno, thus cementing the “ahead of his time” tag Eno often caries and further proving Murphy to be a masterful music geek.

Much like disc one’s indie rock version of disco, disc two chooses dance beats and NYC jive over the more standard route of melody and idyllic meandering. Compiling seven past works, disc two is essentially a collection of songs coiled from various LCD Soundsystem 12” singles. Containing the music-snob theme song and now classic “Losing My Edge,” disc two is a welcome addition despite it’s disjointed compilation makeup.

Murphy’s greatest skill is his ability to keep listeners coming back to his recordings for more. Each song is catchy enough to justify repeat listens. However, none of his songs pay off in full until listeners have heard the songs numerous times, learned the structures and picked up on all of Murphy’s intricate ideas. With his first full work as creative helmsmen, Murphy has created an openly pretentious modern-day opus of impeccable dance rock.   9/10

Written by G. William Locke