After a much ado disbanding, James Murphy and co. returned with another disco-punk album that didn't stray the course and bucked notions of irrelevancy in a tumultuous year that feels like the start of another decade. The album wears much on its sleeve, including its sleeve itself--a sunburst set in blue sky (the painting is by Rob Reynolds--a cover that happened to spark divisiveness among consumers).
When you get down to the music, it crackles with those slap-down synths and Murphy's slippery vocals. Politics and the social times drive much of the lyrics and mood of record like the big-sky, anthemic "call the police"--which teasingly (?) hints at U2 through warbly electro. There's also nods to the late David Bowie in lyrics (the winsome "black screen") and sound. Songs like "tonite" vibe on attempting to unite pessimistic ("the future is a nightmare), fragmented pop audiences ("what's left of the airwaves") to the dance-floor.
"I was like, 'I don’t know if people are gonna like this, it’s a much darker record.” And Michael, who’s been the art director at DFA forever, was like, “With the bands I like, I’ve always waited for the dark record…' But I don’t know if we’re the best target market, late forties music nerds… I was a goth band in the ’80s, and it’s a big part of my youth. In some ways, it was just letting myself have the questionable taste of my ’80s, not just the quite obviously approved tastes of my childhood, but the dubious stuff too, which still means a lot to me. Letting that out a bit, without reserve, was a big part of it. It’s also kind of a weird time... It’s a weird time to be a human. It’s always a weird time to be a human, but particularly, for me, now." -James Murphy
LCD Soundsystem at Webster Hall last night was electrifying. There were J-Lo "Waiting for Tonight" video lazer beams and cowbells. Nancy Whang was amazing on the keyboards and synths and Pat Mahoney on drums. There were also four new and very skilled members: Tyler Pope (bass), Gavin Russom (keyboards), David Scott Stone (guitar) and Matt Thornley (percussion). And then of course there's the tireless James Murphy with a big voice wearing a tight white Oxford and navy pants, and for the encore, a YSL t-shirt (they debuted a song at a fashion show).
We have to wait until May 17th for the new album (Murphy pleaded not to leak the record early). It will be difficult to live up to the first two but I was a fan of the new track "Pow Pow," of which they opened, a fun Giorgio Moroder-punk song reminiscent of their debut. They also played their single "Drunk Girls" and another new track, the mid-tempo, and very 80s electro popped "Change." Everyone was feeling the older stuff and it played well in a small venue, especially the epic "All My Friends." For "Tribulations," it was if long player disco music had been revived for a bit. And the slow build of "Someone's Great" sounded gorgeous. The band appropriately closed with the plaintive "New York, I Love You But You Bringing Me Down." Murphy joked that he was covering a Jay-Z song (a la "Empire State of Mind").
Playlist: Pow Pow Yr City's A Sucker Us vs Them Drunk Girls Losing My Edge All My Friends Change Tribulations Movement Yeah Someone Great Daft Punk Is Playing At My House New York, I Love You But You're Bringing Me Down
