James Murphy, aka LCD Soundsystem, is too cool for his own good. His self-titled and often self-righteous debut album defines the stereotypical New York City dance-club scene. Unfortunately, his too-cool-for-school electric sound is eventually LCD Soundsystem‘s ultimate downfall.
LCD Soundsystem makes essential, really good house music. While house music has its appropriate time and place, it’s not the most listenable genre. Sure the beats are catchy and danceable, but there is something distinctly missing.
For the most part, LCD Soundsystem is too superficial to listen to on a consistent basis. The album offers no surprises and the first five seconds of each song are representative of what the entire track will sound like. Although LCD Soundsystem is a decent substitute for rap in a party situation, it is missing an intangible quality to facilitate steady playtime.
Murphy, however, is a meticulous producer and performer, a trait that shines through in his album. Each track seems rather self-conscious with the appropriate amount of sound effects, inviting cadences and head-thumping beats. There is nothing haphazard about any track, and you can tell by listening to the album that each song is immensely structured and performed to a tee.
James Murphy seems to have the Midas touch when it comes to the indie music scene. In 1999, Murphy set up his own production studio, DFA (an acronym for Death From Above) Records, which has had a hand in producing many industry-acclaimed records such as The Rapture, N.E.R.D. and an unreleased Britney Spears collaboration. Ironically though, where Murphy’s previous progeny flourished, his album sputters. Like a doctor who can’t cure himself, Murphy might be better suited to the role of producer than to the role of frontman.
LCD Soundsystem includes a two-disc set: one includes his new studio releases and the other is a collection of songs from his previous EPs that have contributed to the hype of his new album. The first single, “Daft Punk is Playing in My House,” is catchy at first but quickly grows annoying. It employs an AC/DC guitar riff that is remixed to create an upbeat dance tone. The song is too long (5:16 runtime) and becomes grating on subsequent listenings.
Ironically, the best parts of the album are the two more downbeat, guitar/piano-heavy non-dance songs. “Never as Tired as When I am Waking Up” has an epic Beatles-esque guitar riff that carries throughout the song. Murphy’s mix of methodical drums, lulling lyrics and crisp guitar riffs makes it the strongest song on the album.
The other mellower track, “Great Release” pays homage to Brian Eno. It starts slowly with Radiohead-esque drums and beat, gradually building to a momentous climax — the perfect ending to an album.
The second disc in the set, while more ambitious, is much of the same dance-pop that is found in “Daft Punk is Playing in My House.” The songs are longer and more experimental, but seem to have more interesting beats, the main ingredient in LCD Soundsystem’s pseudo-house music style. The best song on the second CD is “Yeah (Pretentious Version).”
It is hard to peg LCD Soundsystem’s influences; on that note, it is hard to compare his distinct sound and style to other bands. His more upbeat and poppy tracks sound like a mix between other indie newcomers !!! (chk chk chk) and the junkyard funk of Beck. However, on his more introspective and melodious songs it sounds more like a mix of Radiohead and Pink Floyd. While both mixes sound like a potent musical combination, his tracks are mainly hit or miss.
While Murphy proclaims himself the “King of Disco-Punk” or “Godfather of Remix,” those tags seem a tad ambitious. While LCD Soundsystem doesn’t seem to have the repeatability aspect found in other DFA creations, it still provides for an interesting listen. His style of music is definitely unique enough to give it the old college try, but don’t be surprised if this album finds its way to the dusty attic of your CD collection.
Grade: B
