LCD Soundsystem - "Sound of Silver"

This new LCD Soundsystem album makes me happy happy happy!

I find that there are often two categories of awesome, mind-melting album openers. There are the monumental explosions that burst out of the speakers, like the adrenaline rush of "Race for the Prize" or the instant "Aaah!" of "Born Under Punches (The Heat Goes On)". Even that ugly guitar-snarl at the beginning of "Down on the Street" hits the mark. Then, there's the opposite: the slow-burning, opening tracks, almost suggesting that they're building a picture for the listener. For example, the ringing hum of "Where the Streets Have No Name", or those moaning keyboards at the start of "Everyday" by Yo La Tengo, or the growing dissonance of "Pinion" by Nine Inch Nails.

"Get Innocous!", "Sound of Silver"'s opener, falls into the latter category. It begins with what sounds like a fairly regular electro-beat, as a thumping drone builds up to dominate the sound. Bustling percussion and one simple keyboard chord all vie for volume control, making this one of the most memorable opening-build ups I've heard in a long time.

37-year-old dance musician (there is such a thing!) James Murphy finally encountered some success on his self-titled 2005 debut, a masterful, funky collection of groovy dance tracks filtered through a rock `n roll vibe. There was the instant classic "Dance Punk is Playing at My House", worn-out Lennon tribute "Never as Tired as When I'm Waking Up" and the irresistable "Disco Infiltrator". It even came with a second-disc of remixes and extended work-outs. Murphy even stated in interviews that he refused to write out his lyrics prior to going in the vocal booth, to allow a sense of candidness. Last month's "Sound of Silver" seems to condense this unique brand of awesomerockingfreakness into much more of an album of sorts, rather than just a collection of, well, awesomerockingfreakness.

But, this James Murphy fella seems to have come out of nowhere with one of the first T-R-U-L-Y- G-R-E-A-T- records of the year, filled with joyful songs, joyful sounds, joyful lyrics and joyful moments. It's a joy to listen to, bursting with joyful things. Joyful joyful joyful. I had a babysitter named Joy when I was a kid.

Because it's "intelligent dance music", just like all them hipsters like to say, but so far removed from the Prefuse 73's and Boards of Canada's who seem to believe that "intelligent dance music" equates dance music that ya just can't dance to! "Sound of Silver" is at once a catchy and accessible encapsulation of decades worth of influences and sounds, live from New York, it's Saturday Morning Music News, Views & Reviews!

Now, listen here sonny, I don't usually do this sort of thing since it's a pretty lazy way to discuss an album, but I'm just gonna talk about this track-by-track, since there are just so many moments and sounds and pieces that I anticipate and love, and each song is killer! Except for that one. The one that the guy sings on. If you're bored easily by pointless song descriptions, feel free to skip this. I just feel like doin` some old-fashioned, self-indulgent rambling about how great all these songs are. Happy April fourteenth.

1. "Get Innocuous!": Now, what I didn't mention in the unbelievable pointless introduction to this blog entry is that the opening drone eventually flows into a groovy-monster with uncharacteristically moaning vocals that sound straight out of Eno's first solo album. Favorite moment: the woman's voice at 4:13.

2. "Time to Get Away": It sounds like a Prince outtake produced by Daft Punk. His voice cracks on "time". Following the formula of many LCD Soundsystem songs (see! Sometimes formulas are a-okay!), it begins with just a drum-n-bass rhythm track, gradually accumulated elements until we achieve funk moksha. Favorite moment: That little, cheap-sounding synth riff that adds sooo much at 1:01. Great chorus, too.

3. "North American Scum": It's the first single for a reason, you know - it's packed with more awesome than a polar bear loose at a porno theatre. A really rolicking tribute to my (and your) home continent with a great chorus of "Aaaah! Aah! Hahaha!". Favorite moment: "For those of you who think that we're from England. We're not...no."

4. "Someone Great": More like some great song! Gublbug! Musically, there's a downbeat, retro feel to the wishy-washy synth melody, with a subtle xylophone. Lyrically, it's by far Murphy's most personal territory yet, all about *gasp!* failed relationships! Few could craft such a solemn pop song around such unlikely elements. Best moment: "The worst is all the lovely weather, I'm stunned it's not raining. The coffee isn't even bitter because, what's the difference?"

5. "All My Friends": Piano, this time. A whole lot of it. The bass elevates it from pointless drone to melodic drone. Almost eight minutes of melodic repition, yet it never gets dull. Best moment: The very beginning.

6. "Us V Them": if "North American Scum" is the "Daft Punk is Playing At My House" of the album, then this is quite clearly the "Disco Infiltrator". It's another irresistable beast of rhythmic perfection and chanting, and everything in between. I love all 8 minutes, 29 seconds. Again, it's genius through simplicity. A simple synth-riff repeated over and over, same lines chanted over and over... Best moment: Either at 49 seconds, when he mumbles "bells" and, alas, God made bells! Or it's the incredible climax at the ending, with the "Us V Them!" chant and the monstrous percussion swirls. Perfect song.

7. "Watch the Tapes": Read all the pamphlets (and watch the tapes)! Read all the pamphlets (and watch the tapes)! Read all the pamphlets (and watch the tapes)! I get all confused when you mix up the dates...best moment: 3:10. Lalalalalalal!

8. "Sound of Silver": Probably one of the stranger, less-popular moments on the album. It starts off with a barely-musical chant, and continues with a 7-minute journey through just about every synth effect on Murphy's keyboard. Bets moment: the aforementioned opening chant: "Sound of silver, talk to me. Makes you want to feel like a teenager. Until you remember the feelings of a real live emotional teenager. Then you think again."

9. "New York, I Love You, But You're Bringing Me Down": Such a great note to end the album on, a awkwardly pefect tribute to da hometown! Sounds like someone wrote out some lyrics before he went into the vocal booth! Sample verse: "New York, you're perfect, oh please, don't change a thing. Your mild billionaire mayor's now convinced he's a king. And so the boring collect. I mean all disrespect. And the neighborhood bars I once dreamt I would drink. New York, I love you, but you're freaking me out. There's a ton of the twist, but we're fresh out of shout." Eventually, we end up at a "Wrong! Right! Woof!" Queen-like breakdown of sorts, and back again. Best moment: The. Whole. Damn. Song!

Happy happy happy.