Modern Classic Review: This Is Happening - LCD Soundsystem
9.8/10
Background: LCD Soundsystem is an American dance/post punk/disco/electronic band that "broke up" in 2011, but have recently made my year by declaring a few reunion shows, and even A NEW ALBUM. LCD Soundsystem is a band that I discovered relatively recently in my music career but have since been a band with which I have developed many memories. Whether it is driving home on Halloween night listening to "All My Friends," attempting to sleep on the grimy tile floor of an NYU dorm room with "New York, I Love You But You're Bringing Me Down" playing in my headphones, or sitting alone in a New Jersey airport terminal during a six hour inclement weather delay while listening to "You Wanted A Hit" on repeat, LCD Soundsystem makes the kind of music to which memories naturally attach themselves. Their blend of post punk and electronic dance music, mixed with frontman/leader James Murphy's emotive vocals and incredibly ambitious (read: epic) songwriting lends itself to soundtracking the most memorable moments of life. LCD Soundsystem jumped onto the scene in 2005 with their self titled debut album, which was very techno/EDM influenced and gained considerable critical acclaim. They followed that up with a few small projects and experiments until they released the album Sound of Sliver. This album (which could merit a modern classic review itself) featured a sound more similar to what LCD Soundsystem is known for, more dance punk and alternative disco than EDM/house. This album received absolutely astounding critical acclaim, with Pitchfork even naming "All My Friends" the second best song of the 2000s decade. Heart-breakingly clever lyrics, get-on-your-feet-and-start-dancing (that truly is the worst music video of all time) instrumentals, and a sense of melody that ranks with the top 40 hits, Sound of Silver really cemented LCD Soundsystem's position as a leader in the field of indie music. After that, LCD Soundsystem released this album, which shall be discussed, and broke up with a huge bang. If this article was written a few months ago this section would have ended there, BUT THIS IS NOT THEN AND LCD SOUNDSYSTEM IS REUNITING. If you cannot tell, this news has me very excited.
Review: Let's start this review with one caveat. This record requires a sniper-like patience. These songs are long, and they do not vary much, as they are meant for "dancing." I say that in quotations, because this is obviously a record made for casual listening and consumption, or the lyrics would not be so masterfully constructed or the melodies so brilliant. Still, these tracks are meant for dancing, which means if the tempos keep switching up and things get too varied, dancing becomes difficult. So if you plan to listen to this record (which you should), you need to keep in mind that there are only two songs here under six minutes, and only one that is "pop length." Yet, this is not a difficult album as long as one is patient. There are no moments in here where a sound plays and the listener will say "Wow. My life and well being would be considerably better if I had never heard that sound" like sometimes people will do when listening to difficult music (caution clicking that link, it is pretty loud and grating). Everything on here is fairly conventional, save maybe a few parts "One Touch," but it is just stretched out.
The album begins, well, curiously. "Dance Yrself Clean" opens with a weird little intro that sounds great tapped onto a desk during class but is not quite what should be expected to kick off this album. Quiet, restrained, and sparse is not the LCD Soundsystem formula. Murphy's lyrics are reserved and quiet, sung in a deadpan delivery. This weird little intro continues for about three minutes until the song's harmonies begin to get noticeably more tense. The listener is given the sense that something is about to go down and then BAM. A loud, fuzzy synthesizer kicks the club doors in and brings the drums with it. The song then swoops into the dancy and loud LCD that we all know and love. Murphy's vocals jump from boring to wild to hysterical at the flick of a switch (STRONG LANGUAGE ON THAT LINK), and he begins singing in a weird falsetto/scream/yelp for the rest of the track while the rest of the band play their hearts out. As far as introductions go in modern music, this is about as good as it gets.
The next song is the album's only conventional, short track. Titled "Drunk Girls," this one was the main single, and for good reason. This song rocks hard and fast.. Murphy's lyrics border on hysterical while he sings about the stereotypes of drunk teenagers. The band really rocks hard here, and Murphy gives it his all on the vocals, with all the passion and fire that he is known for. If you were wondering if you can dance to this track, I think you already know the answer to that stupid question. Of course you can, this track is excellent for dancing and singing (shouting) along to.
The album then rolls into "One Touch." This song is highly repetitive, and slightly abrasive. It definitely has an industrial music flair to it, but if industrial music was made for an 80s dance club and didn't suck. Murphy sings in a much lower register, almost like he is doing his best Depeche Mode impression. A loud, repetitive synth line smothers the song at first, but eventually seems to fade into the background, due to some excellent mixing by the band and the sheer repetition of the sound. About four minutes in you'll have heard just about all there is to hear here, so the next three and a half minutes exists mostly if you're still having fun dancing to it or want to hear that catchy little line "ONE TOUCH. IS NEVER ENOUGH." repeated about a thousand more times.
The next song is one of my personal highlights, titled "All I Want" and clocking in at a relatively short 6:41. The song opens with a burst of feedback, one of the few somewhat harsh sounds on the album, and then some punchy drums kick in, guitars start building, and the track is underway. The drums turn into a surf-rock inspired beat, complete with double handclaps, and a short guitar solo is played. Murhpy's lyrics are bitter and self loathing, yet touching and downright beautiful, although a bit blunt. It builds up to an explosive, noisy ending that almost sneaks up due to the masterful way the crescendo is designed. Now I am fully aware that Pitchfork made this call back in 2010, but I have to make it too because it is so spot on. This song is strongly reminiscent of "Heroes" by David Bowie. For those that are unaware, that is a compliment of the highest order. "Heroes" is one of the most skilled fusions of art and pure pop to have ever been laid to record. Bowie (RIP) comparisons aside, this is a truly remarkable song, and arguably the best on the album (it really isn't though).
After "All I Want" comes "I Can Change" which is another contender for the best song on this album, meaning it is a contender for the best song in modern music (I kid, but I also am not kidding). This song, along with "Drunk Girls," is shorter (if 5:55 is short) and easier to listen to than the rest here. The melody here is stronger than any other track, and it would make a killer ballad if it were slowed down and some of the happier synthesizers were taken out of the mix. The lyrics are heartbreaking and especially potent with Murphy's delivery. Murphy's repetition of the line "I can change, I can change..." immediately followed by "if it helps you fall in love" is crushing, but beautiful.
The next two songs cap off this album's hot streak with a bang, and despite taking over seventeen minutes between the both of them, it feels much quicker than it truly is. "You Wanted A Hit" is yet another candidate for best song on the album, and features a steady, tense guitar line that runs constantly through the album. It opens with some building drumming and synth chords, stays that way for about two and a half minutes, and then breaks into the actual song when a chugging guitar line makes itself heard. This section is masterfully paced, allowing for enough time to build tension before the song really kicks into gear. From there, Murphy addresses fan expectations for a big song that would really put LCD Soundsystem in mainstream conscious, and succinctly tells them to shut up and enjoy what they are being given. Ironically, Murphy writes a song that actually could have been a hit were it not nine minutes long. After "You Wanted A Hit" comes "Pow Pow." "Pow Pow" does not quite make a run for best song on the album, but it certainly could qualify for best lyrics. Murphy is clever, quick, and eccentric all over this lengthy track. Oh yeah and the dance instrumental behind it isn't half bad either.
Now I'm not gonna lie to you, the reason for the .2 deducted from the score comes from this next track. It isn't a bad song by any means, but it is definitely is not necessary to the track listing. "Somebody's Calling Me" is not a dance track by any means, and is really just a downbeat, somber affair from start to finish. There is not much to say except that about the song.
The final actual track on the album is titled "Home" and is a stellar way to end the album. The song is quite Sound of Silver-esque, although nearly twice as long as some of the songs on that album. The song opens with some scratchy guitar and clicking before a strong, groovy dance bassline comes in and takes control of the track. Cowbell is also featured here, which is always a plus. The bass is really the star of this track, along with Murphy's catchy melody. Towards the end the drums start to vary it up a little, sounding more cacophonous and messy compared to the tight hi hats that appeared earlier in the song and with that LCD Soundsystem's career was over (for the time being).
LCD Soundsystem as a band, rather than just this album, had a fairly sizable hand in reviving dance punk and disco as an artform in modern indie music. Band like Hot Chip, Chromeo, !!!, The Juan MacLean, and even the gods known as Daft Punk have taken some cues from what LCD Soundsystem did for dance music. This album was also surprisingly successful from a commercial standpoint, peaking at number 10 on the Billboard 200. Hard to believe that an hour long dance music odyssey could make it to that kind of fame, but somehow it did. There is also talk circulating that Murphy might try for his first number 1 album with the upcoming LCD Soundsystem album, which would almost be too much for me. No matter how it charts, LCD Soundsystem has left an impression that will certainly be remembered for years to come, and hopefully will continue to add to that flawless legacy.
HIGHPOINTS: Everything except "Somebody's Calling Me"
LOWPOINTS: By process of elimination, "Somebody's Calling Me"
Recommended: The rest of LCD Soundsystem's discography, Why Make Sense - Hot Chip, Discovery - Daft Punk, Echoes - The Rapture, any of David Bowie's work in the 1980s.
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