To have one record on this list is already an accomplishment. That means that critics generally felt very highly about your record. To have more than one record on this list is a testament to the creativity, innovation, and longevity. LCD Soundsystem, specifically James Murphy, personifies the latter. On this list there are three LCD Soundsystem records, the first of which I am listening to today. Had I run this list a few months later, chances are they would have had four records on the list (This Is Happening would have most likely made the list).
The reason I find LCD Soundsystem so fascinating is that, unlike many techno artists, Murphy and his crew utilize all types of instruments in addition to turntables and computers to create their sound. Murphy himself is a multi-instrumentalist…I envision him as the guy with a bass drum strapped to his back while he’s playing the guitar and accordion and other instruments while walking around. He’s not afraid to take chances on his records, and it shows in the strength and danceability of the songs.
# 128 – LCD Soundsystem, LCD Soundsystem (Metascore = 86)
LCD Soundsystem is a two-disc record that was originally released February 2005. The first disc represents newly recorded songs, while disc two is a compilation of songs that Murphy had released from 2002 to 2004. The record is pretty eclectic in its sound, but you begin to hear Murphy’s signature as you go through the record.
The self-titled record opens with my favorite track from LCD Soundsystem, “Daft Punk is Playing at My House”. The song itself is a playful tune about having a house party, and Daft Punk is actually playing it. When I hear it, I believe Murphy is paying tribute to a band that had a significant influence on the sound he wanted to pursue with his band. The song is a bouncy tune that I have heard used on commercials and call-in shows the last few years.
Both discs are an all-out party assault. Each song creates a different groove to do some type of dance. Lyrically Murphy is not addressing social concerns or political injustices or anything of the sort. The songs thematically can range from love and relationships to dancing and partying. Murphy is just keeping it simple. I have always liked his lyrics because many times he is self-deprecating, and other times he uses a sort of sly style that’s borderline sarcastic. That makes for a fun listening experience.
What I hear differently on this record that I am accustomed to on their later records is more frequent use of instruments as opposed to the computers and other programming used in 45:33 and Sound of Silver. You can hear this particularly on songs like “Never as Tired as When I’m Waking Up” and “Movement”, both contrasts in styles, too (“Movement” is a punk pop song, whereas “Never as Tired” sounds like a slowed-out jam from T. Rex). However, you do start to hear the unusual eccentricities in Murphy’s vocals. He sounds whacked out at times, robotic at other times.
Disc two is more akin to 45:33 and Sound of Silver, featuring more programming than instruments (drums and/or some type of percussion always exist on the songs). Since these songs precede 45:33, the first few tracks (“Losing My Edge” and “Beat Connection”) feel like the precursors to the direction Murphy would take in 45:33. In contrast, “Give It Up” and “Tired” are edgier punk songs more like those on the first disc.
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