Tag Archives: LCD Soundsystem

LCD Soundsystem – Home

An unofficial video, but very nicely done nonetheless.

MP3: LCD Soundsystem – Home


Car Crash Set – Fall From Grace

Sorry for the silence over the past few days, have been moving and unpacking. Whilst I try and collect myself and try and find all my wires, I’ll treat you to a lazy, mostly recycled post and one of those songs that feels more relevant to my life that it has any right to.

I should be back on regular form soon.

MP3: Car Crash Set – Fall From Grace
MP3: Antonello Paliotti – In The Cave
MP3: LCD Soundsystem – Home

Best of 2010.5

Part One

1. California Gurls – Katy Perry feat. Snoop Dogg
2. CMYK – James Blake
3. Odessa – Caribou
4. Thieves In the Night – Hot Chip
5. Empire Ants – Gorillaz
6. I’m Not Going Anywhere – Nika & Rory
7. Dancing On My Own – Robyn
8. Acapella – Kelis
9. Computer Face: Pure Being – Flying Lotus
10. Come With Me – Ceo
11. Lemonworld – The National
12. Treats – Sleigh Bells

Part Two

1. It Is Not Meant To Be – Tame Impala
2. Night – Zola Jesus
3. Zebra – Beach House
4. Dance Or Die – Janelle Monae feat. Saul Williams
5. Drunk Girls – LCD Soundsystem
6. Window Seat – Erykah Badu
7. Soft As Chalk – Joanna Newsom
8. California English – Vampire Weekend
9. Post Acid – Wavves
10. Shutterbugg – Big Boi
11. Rome – Yeasayer
12. Kowboyz&Indians – Gonjasufi
13. New York Is Killing Me – Gil Scott-Heron

ZIP: Best of 2010.5

Spotify: http://open.spotify.com/user/littlejoe/playlist/49zs3u8ZcCNDk9bzYMBFWV

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LCD Soundsystem @ Brixton Academy 23.04.10

As much as I love LCD Soundsystem, I’ve been to the Brixton Academy quite a few times, so feel qualified to declare that its sound quality sucks. Animal Collective, Yeah Yeah Yeahs, Hot Chip, lord knows you all tried your best to make it work, but Brixton wasn’t co-operating. You all put on great shows; they just could have been that much better somewhere else. I was cautiously optimistic.

‘It’s been so long since we’ve been in London’. If they hadn’t just played opener, ‘Us v Them’, twice due to the keys being broken on the first take – a fact largely unnoticed, apart from those close enough to see keyboardist Nancy Whang remonstrating– such a statement would interpreted as standard crowd banter, making nice with the audience, but in this instance, coming from the heavy figure of James Murphy, it’s closer to an apology, a hint that the band might not be up to taking on the cavernous acoustics of Brixton Academy.

As a frontman, he cuts an awkward shape: his lyrics are conflicted, self-aware, analytical; his physical build is very Fred Flintstone and when he’s not obsessively moving about stage, tweaking sounds emitting from the band’s vast arsenal of machinery, he’s gesturing to the wings to turn it up, turn it down – all whilst spewing out world-weary melancholia through that vintage mic that is forever glued to his lips. Oh, and he occasionally makes time to dance in the most understated fashion, but totally unself-conscious way, too.

Usually such an obsession with perfection is damaging, but he’s always right. No one noticed the keys missing on the first take of ‘Us v Them’ but everyone preferred the second take. There’s a moment, around three minutes in, on new track, ‘Pow Pow’, where a simple bass groove suddenly cuts into the mix – you never noticed it wasn’t there on the studio version and certainly most of the crowd won’t realise that something so initially innocuous is missing on a yet to be released track in a live setting, nonetheless he marches across stage and turns up the bassist’s amp when another one of the venue’s gremlins appears. He cuts a vaguely heroic figure. I mean, this is the guy who coined the line, ‘borrowed nostalgia for the unremembered eighties’ rendered more prophetic than ever in a scene of twenty-somethings, endlessly toiling to create music that sounds pre-aged, recovered off dusty VHS tapes. A world pre-Chillwave, before Harrison Ford agreed to the Indiana Jones remake, before Ashes to Ashes, before Rickrolling. The guy’s already pretty heroic.

The success of this herculean struggle is appreciated; people’s impression of the show is mixed and even from a cosy, central position the vocals are murky – not that it matters when everyone is determined to list every band in that bit of ’Losing My Edge’ – but the effort is more than welcome.

The rest of the gig lurches between disco workouts, rowdy – but considered – moshing and sombre, head-nodding reflection in the way that perhaps only a LCD Soundsystem gig can: after hipster posturing (Losing My Edge) and frat boy chant (Drunk Girls, greeted like an old favourite) we’re suddenly down in the teary deliberation of All My Friends. It’s a meticulously planned exercise, just when things threaten to descent into a sweaty mindless rave; you’re grounded again with an elegiac ‘Someone Great’. The respectful applause to James’ tribute to loved ones lost juxtaposed with an excited crush in reception to a messy ‘Daft Punk’ is intense stuff, and all entirely respectful and earnest; a welcome reminder that it’s possible to engage the heart without being smaltzy and move feet without being inane. Testaments to a band’s ability to not only meld together genres and influences, but moods too, don’t come much more convincing. The band are at the height of their powers and, as omniscient as James Murphy’s judgement is , it seems a shame to call it a day.

MP3: LCD Soundsystem – Pow Pow

MP3: LCD Soundsystem – Drunk Girls

Selling your guitars for turntables


A few months ago, I had a discussion with a friend at what would replace the current ‘Indie’ revival that was swamping every media outlet with its plaid shirts, messy hair and regional accents. I usually engage in such debates because I loathe the genre, or, more specifically the appropriation of the term ‘Indie’ itself.

That particular Summer it was all looking rather bloated and derivative. ‘New’ bands seemed faintly familiar, ‘New’ songs sounded like you’d heard them before, ‘New’ bands were referring other ‘Old’ Indie bands as an inspiration – which is always a band sign for the vitality of a genre – and even Glastonbury, the bastion of British Rock music, was weary of the promise of yet another white guitar band headlining and attempted to eschew the trend by allowing an – admittedly out of touch – black Rap star to do it. Whilst, the band headlining the stage the night before, Kings of Leon, seemed like an apt metaphor for the overblown and derivative mess that the genre has become.

Despite this loathing, I couldn’t really see anything replacing it for a while. But looking back on 2008, Indie may just have reached its critical mass.

If you follow the word of Indie’s Holy Book – the NME, then it’s had a good seven year run. Since its Genesis with The Strokes‘Is This It’ – crowned, prophetically, as the magazines album of the year – we’ve had the Arctic Monkeys, Bloc Party and Arcade Fire; unfortunately we’ve also had The Enemy, The Wombats and The Dirty Pretty Things

Part of the problem with the genre that I’ve always had and perhaps part of the reason why it appears to be stagnating, is the over zealousness of it’s follows to use the label ‘Indie’. Open any issue of the NME and you’ll be confronted by a multitude of different sounding bands – but somehow, they are all sub-headed under the inescapable brand of ‘Indie’. The ‘classical’ usage of this apparently flexible noun would merely suggest music made on independent record labels that was, as a result of being there, outside of the mainstream, leftfield, avant garde even.

Clearly modern Indie is anything but. A handful of dearly loved ‘Indie’ bands are on major record labels, the music largely adheres to the classic ‘Verse/Chorus/Verse/Chorus/Bridge/Chorus’ structure and the higher strata of bands can sell out arenas, stadiums even.

Part of the problem is that there’s a paradox, a hypocrisy inherent in the use of ‘Indie’ when it’s used to describe a band that can sell out arenas, get no.1 singles from a top 5 album. Especially when its ‘Indieness’ is part of the appeal, it’s ‘real’ music, for the people by the people. In response to the ill-informed mocking of a band’s popularity or success, a Indie fan could cry out: ‘They’re not sell-outs, man! They’re creating ART!’

Sure, now the fashionable thing is to like bands with as few fans as possible, but the genre is nonetheless becoming what it seemed to originally aspire to be apart from – it’s getting stale, derivative, boring even. Twee songwriters and Soul singers have got in on the act, all clinching at the same aesthetic, the same market, the same credibility. Much like the brief Punk explosion of the late 70s, Indie is fated to self destruct when it becomes too popular, it’s just a contradiction in terms to have it another way.

So is the end of the Indie revival?

Obviously we won’t see the genre, the bands or even the fans disappear overnight – as seems to be the case with the current financial crisis, the strongest, most innovative and the most popular with survive; the Arctic Monkeys and The Arcade Fires who have simultaneously profited from the Indie revival but also transcend it by challenging its boundaries, will continue to hang around and produce more great music.

The derivative hanger ons, the bottom feeders and the posers will not.

So, a gradual shift towards something new and shiny seems in the offing in 2009. To what exactly? The Ian Young’s BBC article puts forward a decent argument for a genre that has been bubbling away in the background for a few years now. Afterall, MGMT‘s Oracular Spectacular was recently named the NME’s album of 2008, like Is This It was in 2001, perhaps it will be seen as the prelude to the inevitable Electro revival of 2009?

MP3: The Strokes – Last Night

[Audio http://jorichards77.googlepages.com/LastNight.mp3%5D

MP3: Arcade Fire – The Woodland National Anthem

[Audio http://jorichards77.googlepages.com/04TheWoodlandNationalAnthem.mp3%5D

MP3: LCD Soundsystem – Losing My Edge

Hold On – Holy Ghost

Having recently signed to DFA records these guys will probably be making it quite big quite soon. Like most of the output from the prestigious New York ‘Dance-Punk’ label it’s quite brilliant, it’s same sort of Funky Electropop/Disco you come to expect from them. Not quite as funky or disco influenced as fellow label mates Hercules and Love Affair, probably closer to LCD Soundsystem and Cut Copy on the dance spectrum but still great nonetheless.

Before I use ‘quite’ again I’ll shut up and leave you with the track. Hopefully I’ll be getting back on the regular updates bandwagon again soon, A levels end on Tuesday and after that I’ll be able to devote my full attention to wonderful music and this blog.

Happy Listening!

MP3: Holy Ghost – Hold On