Artist Spotlight – LCD Soundsystem – Why They Were the Voice Of A Generation and of No One All At The Same Time

Musicheads,

James Murphy’s creative collaboration LCD Soundsystem is dead and gone, not likely to be revived anytime soon.  However, that does not discount the cultural significance/insignificance of their musical collection.  The duality of the group’s entire being is something that could easily be discussed in length and should be brought to light.  That being said, let’s get started.

We can begin with the familiar expression “absence makes the heart grow fonder” because as much as anyone wants to make themselves believe, James Murphy and the group that comprised LCD Soundsystem were far from world-renowned and well-praised when they were still making music together, and only after the group broke up did the renaissance of the group’s sound and identity truly come to light for most listeners.  Yes, there will always be those diehards that loved the band from the beginning and good for them, but this post is not for them (or maybe it expressly is).  This is written for those that have come to love the unique sound and style that defines this group, whether it be Murphy’s conversational singing style, or the ongoing, often repetitive beats that build, shrink and grow and tell a story perfectly.

 LCD Soundsystem began in 2001 and only released three studio albums, before disbanding in 2011 with an accompanying farewell concert at Madison Square Garden which was recorded and released as well.  While the first two albums, the 2005 eponymous, LCD Soundsystem, and 2007 release, Sound Of Silver, received little to no popular recognition at the time of their releases, both albums held fantastic tracks that garnered critical acclaim and have since become the bedrock of any LCD Soundsystem fan’s listening repertoire.  It was the third (and final) studio album, This Is Happening, that really brought LCD Soundsystem to the forefront of the music scene with commercial success from many of the album’s tracks including the lead single Drunk Girls.  Whether listening to the underground party track Daft Punk Is Playing At My House, feeling uplifted by All My Friends, or in the mood for personal growth as you listen to I Can Change, LCD’s discography offers multiple moods, from somber to high energy.

It seems that we hear LCD Soundsystem music everywhere these days, from commercials to movies to and now even quite regularly on radio waves.  The group’s music has become a household name and singles like Dance Yrself Clean and Losing My Edge are instantly recognized by almost any Joe on the street.  Only five years ago however (when the band was still in operation), you probably couldn’t find one in ten who would know those tracks or associate them with Murphy and company.  Now, every little musical endeavor Murphy is rumored to do or potentially conduct becomes major chatter in the music news circuit, whether there is validity to the information or not.  It is quite silly, really.  Currently labelled as a musical icon in a genre he in no-way pioneered, and yet, while creating his primary body of work, was mostly considered an underground artist, barely receiving any sort of acknowledgement or recognition.

The duality of Murphy’s music has always been a point of divisiveness.  Some have to come to cherish the music as a defining part of their life experience, playing the soundtrack to their lives (especially New Yorkers, or should I clarify more astutely, transplant New Yorkers).  Others have written the music off as utter garbage, lacking creativity or talent.  Whether you love it or hate it, it still stands as a calling card for a generation of music-creators in a genre that has seen an explosion in popularity since its inception.  It beckons us to enjoy life; all its ups and down, its challenges and setbacks, as well as its victories and surprises.  It takes us out of our lives and can also bring us back home.

 

 

-Akwitz

Now Playing: LCD Soundsystem – Someone Great

Audiophile Concert Series – MS MR w/ The Preatures @ 9:30 Club

Musicheads,

 

Tuesday night is usually a night that I spend in front of the computer drafting up my weekly New Music Tuesday post, however this past week was slightly different.  Instead of writing for you my weekly segment, I was in attendance at the 9:30 Club performance of MS MR and The Preatures dancing my pants off.  Whether you are familiar with one, both, or neither of the groups, if you were at this show, you had a good time.

Australian act The Preatures went on at precisely 8:15 and right off the bat, kicked the night off on a good foot.  If you showed up late and slept on the opener to this show, you truly missed a solid opening performance.  The band played for just under an hour and went thoroughly through their repertoire.   Little known here (but hopefully, not for long) they played tracks where you could distinctly pick out their influences to their music.  Late 80’s and early 90’s musical influences tend to run rampant throughout their sound, however one could also hear Kenny Loggins,  Creedence Clearwater Revival and other 70’s rockers  who had paved the way to the band recreating their music with their own personal style.  The group also made sure to play their more popular buzz track singles Better Than It Ever Could Be and Is This How You Feel? with a great response by the crowd.  I was actually surprised at how well these guys played and their show as a whole was truly enjoyable and got the juices flowing among everyone.  They were jamming along so well that Max and Lizzy (aka MS MR) came out, enjoyed, and danced along to their show from their private band balcony for a majority of the show.  When the band you are touring with (for multiple dates, mind you) watches your performance, you are certainly doing something right.  I have talked about these guys before on here, but seeing them live was a truly awakening experience and even I undervalued them and their capabilities.  If given the chance, be sure to check these Aussies out!

 

Now, as for the headliners…

 

Well, what can be said about MS MR that hasn’t already been said?  These two utterly rock and put on a fun live show.  They get you dancing immediately, singing along and having a good time.  They are both quirky and fun on stage and they sport flamboyant outfits to match (Max was wearing Zebra leggings with giant disco platforms while Lizzy’s hair is never the same color for very long).  The New York duo, which tours as a quartet came on at the normal start time, 9:30 (hence the club’s name).  This was their sixth time playing 9:30 Club, but the first time as a headliner, so they were incredibly excited, humbled and appreciative to play for the sold out crowd who came out to see them.  The band blazed through track after track from their début album Secondhand Rapture as well as performed both of their more well-known covers, the Arctic Monkeys’ Do I Wanna Know? as well as LCD Soundsystem’s Dance Yrself Clean, with excellent audience response.

All-in-all, it was a fabulous night for music and I thoroughly enjoyed both band’s performances.  I had seen MS MR before at the HFSmas Nutcracker this past December so I knew what to expect from them, but The Preatures really surprised me and I greatly enjoyed their musical contribution to the night.  Be sure to check out the photos on Instagram and in the link below for more shots from the concert.

Instagram: @AudiophileAkwitz

More of my photos from the night: MS MR w/ The Preatures @ 9:30 Club

–Akwitz

Now Playing: 

 

‘New Music Tuesdays’ – 12.17.13 Edition

Musicheads, It seems like this year’s December release schedule has been slower than usual, and so there is really nothing of note to talk about coming out this week.  The only thing that is of note this week is the soundtrack to the upcoming film The Secret Life Of Walter Mitty, which is bolstered by some very strong artist support from the likes of Jose Gonzalez (of  Junip), Of Monsters & Men, Rogue Wave, Jack Johnson, David Bowie and Junip.  The soundtrack itself is comprised mostly of covers, but there are a few original tracks that were written specifically for the movie as well. Judging by the artist lineup, you can tell it is a very introspective and somber soundtrack, but it does have its moments of soaring positivity and incredibly motivating.  This is especially true with the track that is featured in the trailer, Step Out. Oh yeah, and then there was that “surprise” self-titled release by Beyoncé which took the internet by storm over this past weekend.   While the album is far from top notch, it still broke a record in terms of first week international sales (moving over 800,00 units) primarily due to two factors: the shock and awe factor of the “unexpected” release that caused a frenzy of press and publicity, and second, because she is one half of the music world’s “hottest” power couple and there are sooo many blind followers of anything that comes from that duo that they will by whatever shill is spit out by them.  I am not saying that Beyoncé’s album isn’t worth mentioning, but it is far from her best music or worth the publicity it has so far received. So besides these two articles of new music, very little of note released this week.  That being said, I used this week to catch up on a few older albums that I wanted to add to my collection.  I will leave you with two new pieces of music released by Tears For Fears this week.  The first is another cover done by the group, this time of Baltimore’s own Animal Collective. The second is a cover of Tears For Fears by Matthew Dear with the help of Tegan & Sara.  Both can be found on Spotify as well. And now, as always, here was everything acquired on this New Release Tuesday:

• LCD Soundsystem – Sound Of Silver
• Duologue – Song & Dance

and be sure to follow on Facebook and on Twitter @AudiofileAkwitz at to get even more music updates that don’t make the posts.

-Akwitz

Now Playing:  Tears For Fears – My Girls (Animal Collective Cover)

Matthew Dear feat. Tegan and Sara – Pale Shelter (Tears For Fears Cover)