From making running on the treadmill bearable with the Nike-commissioned “45:33,” to the infectious hits “Daft Punk is Playing at My House” and “Yeah,” James Murphy’s LCD Soundsystem attempts to offer more than a ridiculously catchy hook. Though his 2005 debut album was revered for its instantaneous dance jams, “Sound of Silver” displays Murphy’s ability to craft a consistently impressive pop album, with each song furthering his reputation as a master of many trades.
The opening track, “Get Innocuous,” is a minimalist song which channels Brian Eno, while the next song, “Time to Get Away,” reminds audiences of Murphy’s quaking falsetto and special ability to deliver lines such as “I can’t believe I talked to you” over dance grooves, creating endless possibilities for dance-offs for the Morphine Generation (think “Zoolander,” but if David Bowie was actually competing, rather than refereeing).
The album then jumps into arguably its catchiest song, the first single, “North American Scum.” In addition to slightly touching upon the negative perception of Americans abroad, Murphy mourns America’s inability to have parties “like in Spain where they go all night … or like Berlin where they go another night.” A concoction of yelps, harmonizing, inane lyrics, bouncing bass, real drums and hand claps, the song is a shout-out to all those who are only familiar with Murphy’s previous hits or those who want another treadmill jam.
The title track captures Murphy delivering the song’s only lines over the album’s most conniving bass line, giving listeners a hint about his feelings toward his youth. However, as most of his songs suggest, he tends to want to end things on a good note.
The album’s most distinct song, the piano ballad “New York I Love You, But You’re Bringing Me Down” finds Murphy at his most vulnerable. Relaying his love-hate relationship with New York, Murphy vents about the city in the type of honest, love-soaked frustration typical of couples therapy. Finally, his cathartic release leads him to confess that, despite all the filth, cops and other grievances, New York is “still the one pool / where I’d happily drown.”
With each song serving as a testament to Murphy’s love of delicately-placed detail, this album is probably not going to be embraced by soccer moms desiring successive quick-paced hits, but by legions of hipsters who prefer dancing to an intricate electronic song at Bang! over a top-40 hit at the sleaziest fraternity party.
““ Mindy Poder
E-mail Poder at mpoder@media.ucla.edu.