has always been of an elder-statesman of the disco/dance/punk music scene, but now, aged 40, he’s decided to bring LCD Soundsystem to an end. With ‘This Is Happening’ he’s ended the band on a high, showing courage to jump ship before the ship has even started sinking.
Staring middle-age in the face, he must be starting to realisethat he can’t go on being the oldest person at his own DJ sets for much longer: in album opener ‘Dance Yrself Clean’ the singer laments, “everybody’s getting younger/ it’s the end of an era- it’s true”. Despite this, Murphy is not shrinking away quietly, as the song erupts into a glorious battle between a drumbeat and a pulsating keyboard riff. Guitar driven and unashamedly stupid in the same way that ‘Daft Punk Is Playing At My House’ was, the raucous ‘Drunk Girls’ sustains the momentum. The song is Murphy’s soundtrack to the kinds of parties he’s too old to go to nowadays, where food isn’t safe in cupboards and boys and girls wake up in bed together. If this is to be LCD Soundsystem’s last album, these two songs show that the band have left some of the best till last.
A self-confessed music dweeb, Murphy is the first to admit that LCD aren’t the most original of bands, more the sum of their influences, often making a song with the sole purpose of sounding like someone else. This can backfire, as in third song ‘One Touch’, which owes too much to its obscure electro-punk influences. Sometimes though, when they’ve channeled bands like Joy Division (‘All My Friends’) and The Beatles (‘Never As Tired As When I’m Waking Up’), the results can be inspired. In ‘All I Want’, Murphy turns to Bowie, borrowing the elongated guitar note that runs through ‘Heroes’ and creating something altogether new. The music brims with confidence and style, contrasting with Murphy’s lyrics which invert ‘Heroes’’ optimism, revealing his insecurities: “now all I want is your pity / or all I want is your bitter tears”. The song ends with Murphy wailing to be taken home, a morose feeling of homesickness that different songs on the album that isn’t lifted until final song ‘Home’.
The self-deprecating ‘I Can Change’ sees Murphy mix his love of the best of 80s-synth-pop with his ability to write surprisingly earnest and emotive lyrics, in this case about unrequited love: “tell me a line, make it easy for me / open your arms, dance with me until I feel alright”. He’s America’s equivalent to Guy Garvey from Elbow, except he lives in New York, listens to Suicide and thinks a ancunian is something you get done to clean your nails. ‘You Wanted A Hit’, a self-reflexive account of songwriting, which at 9 minutes long sums up Murphy’s position on the subject of writing ‘hits’: “You wanted a hit- but maybe we don’t do hits/ I try and try… it ends up feeling kind of wrong”. The song is satisfying in its simplicity, a conversation between Murphy and the listener set to a steady drumbeat and a weaving keyboard line, with a brash, Gang Of Four-esque guitar solo in the middle.
But not all the songs come up to the standard set on ‘Sound Of Silver’, with ‘Pow Pow’ erring annoying and ‘Somebody’s Calling Me’, written in a haze of anti-anxiety medicine, structured around the queasy-drone of a synthesizer and a single piano note, is baffling in all the wrong ways. ‘Home’, on the other hand, rescues the album, the closest the band will come to writing a perfect feel-good (albeit 8 minute) pop song, an amalgamation of keyboards, guitars, drums, harmonies and lyrics like “if you’re afraid of what you need look around you, you’re surrounded, it won’t get any better so good night”. All this combines to close an album that, despite its slight inconsistencies, if it is to be LCD Soundsystem’s last, should be cherished.