LCD Soundsystem - LCD Soundsystem (2005)

the first track on each of the album's two discs references Daft Punk. of course this is a great album.



this is one of the few albums (up there with the White Album, Drukqs, etc.) that i think truly deserves to be two discs long. like the Beatles and Aphex Twin, James Murphy (he basically is LCD Soundsystem) just had too many things to do. the Beatles wanted to do surf rock, punk rock, folk rock, and even weird sound experiments. Richard D. James wanted drum & bass, eerie minimal piano pieces, ambient techno, and even a 30-second sample of his parents wishing him a happy birthday.

what does Murphy want? he wants to make you dance. there's slow stuff, fast stuff, soft stuff, hard stuff. something for everyone, as long as everyone likes to dance. an acid disco garage house pop psychedelic punk rock medley, LCD Soundsystem's debut/self-titled album is an electronic dance music masterpiece, still the best LCD five years later.

i'm not going to say anything about the music though. i'm not really going to say much anything actually. i just want to share some of this album's amazing lyrics, usually the least important factor of any music to me.

i'm really easy to please lyrics-wise. you can repeat "ooh baby the music sounds better with you, love might bring us back together" for seven minutes and i'll be in ecstasy. this doesn't mean i can't tell the difference between that kind of trite (though strangely elegant) couplet and, say, the poetry of Bob Dylan.

Murphy's lyrics fall everywhere between the two extremes. the lyrics for the song "Yeah" are pretty much just "yeah yeah yeah yeahyeahyeahyeah yeah. yeah hey hey hey hey" and "everybody keeps on talking about, no one's getting it done" (what the fuck is it?). the first track gets a little more complex. here's the first verse:

well Daft Punk is playing at my house, at my house
i'll show you the ropes, kid, show you the ropes
i got a bus and a trailer at my house, at my house
i'll show you the ropes, kid, show you the ropes

it's a song about Daft Punk playing at his house. what more would you expect? you gotta PA the house, Sarah's girlfriend is working the door, the robots descend from the bus, etc. etc. oh yeah Murphy loves singing about music, though he usually takes it a step further:

beats on repeat, beating on me
from every car in the street
there's constant repeat on repeat
of your paranoid, heartbreaking beats
on repeat

it's a five song repeat, beating on me
your favorite band helps you sleep
and here comes the new stylish creep
from every car in the street
on repeat
on repeat

.
.
.

i wish i could complain more about the rich but then
all their children would line the streets,
come to every show,
no one wants that

i wish i could complain more about the rich but then
all their children would flee the schools,
come to every show,
drugged and unwashed

i wish i could complain more about the rich but then
all their children would line the streets,
come to every show,
unwashed and drugged and
beats on repeat, beating on me
on the radio
on your radio
on your radio

music about music! "Daft Punk is Playing at My House," "On Repeat," "Disco Infiltrator," "Beat Connection," LCD Soundsystem is all about dancing yourself clean and being hyperaware of it.

the best example of Murphy's clever lyrics and super self-conscious irony comes on the first track of the second disc, "Losing My Edge." the song starts with a miminal thumping bass line backed by a couple snares and hi-hats. then comes Murphy's nasally singing. then come more hi-hats and a little flickering guitar. the vocals start whacking out, echoing like there are two James Murphys in the room. the guitar starts creaking like an electronic insect, still minimal. when we hit around 2.5 minutes, cymbals crash announcing a less restrained, more potent bassline, still playing the same old minimal phrase though. it won't stop until the song ends. the drums pick up a little more. the guitar gets a little whackier. slowly, always slowly building to a paranoid, anxiety-ridden, frustrated cry for help at the end: "look at all the good music i know!" here are the lyrics, in full:

yeah, i'm losing my edge.
i'm losing my edge.
the kids are coming up from behind.
i'm losing my edge.
i'm losing my edge to the kids from France and from London.
but i was there.

i was there in 1968.
i was there at the first Can show in Cologne.
i'm losing my edge.
i'm losing my edge to the kids whose footsteps i hear when they get on the decks.
i'm losing my edge to the Internet seekers who can tell me every member of every good group from 1962 to 1978.
i'm losing my edge.

to all the kids in Tokyo and Berlin.
i'm losing my edge to the art-school Brooklynites in little jackets and borrowed nostalgia for the unremembered eighties.

but i'm losing my edge.
i'm losing my edge, but i was there.
i was there.
but i was there.

i'm losing my edge.
i'm losing my edge.
i can hear the footsteps every night on the decks.
but i was there.
i was there in 1974 at the first Suicide practices in a loft in New York City.
i was working on the organ sounds with much patience.
i was there when Captain Beefheart started up his first band.
i told him, "don't do it that way. you'll never make a dime."
i was there.
i was the first guy playing Daft Punk to the rock kids.
i played it at CBGB's.
everybody thought i was crazy.
we all know.
i was there.
i was there.
i've never been wrong.

i used to work in the record store.
i had everything before anyone.
i was there in the Paradise Garage DJ booth with Larry Levan.
i was there in Jamaica during the great sound clashes.
i woke up naked on the beach in Ibiza in 1988.

but i'm losing my edge to better-looking people with better ideas and more talent.
and they're actually really, really nice.

i'm losing my edge.

i heard you have a compilation of every good song ever done by anybody.
every great song by the Beach Boys.
all the underground hits.
all the Modern Lovers tracks.
i heard you have a vinyl of every Niagra record on German import.
i heard that you have a white label of every seminal Detroit techno hit - 1985, '86, '87.
i heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
i hear you're buying a synthesizer and an arpeggiator and are throwing your computer out the window because you want to make something real.
you want to make a Yaz record.
i hear that you and your band have sold your guitars and bought turntables.
i hear that you and your band have sold your turntables and bought guitars.
i hear everybody that you know is more relevant than everybody that i know.

But have you seen my records? This Heat, Pere Ubu, Outsiders, Nation of Ulysses, Mars, The Trojans, The Black Dice, Todd Terry, the Germs, Section 25, Althea and Donna, Sexual Harrassment, a-ha, Pere Ubu, Dorothy Ashby, PIL, the Fania All-Stars, the Bar-Kays, the Human League, the Normal, Lou Reed, Scott Walker, Monks, Niagra, Joy Division, Lower 48, the Association, Sun Ra, Scientists, Royal Trux, 10cc, Eric B. and Rakim, Index, Basic Channel, Soulsonic Force ("just hit me"!), Juan Atkins, David Axelrod, Electric Prunes, Gil! Scott! Heron!, the Slits, Faust, Mantronix, Pharaoh Sanders and the Fire Engines, the Swans, the Soft Cell, the Sonics, the Sonics, the Sonics, the Sonics.

you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.
you don't know what you really want.

i know i want to listen to every one of those artists now.

Why - Carly Simon (1982)

maybe it's just lust, but whatever. this blog needs an update.



listen.

We Share Our Mother's Health - The Knife (2006)

please excuse the awful resolution of this awesome album art.

stereo makes anything possible!

have you ever felt like a song sucked you in? not grabbed your attention, but actually grabbed you and threw you into its purply blue world?

this is pop music, i feel it in my bones, it feels electric, but this is pop music. the vocals don't begin until the song is already a fourth over, but no matter.

it's this enchantress. wizard? daemon. amoeba. its voice, chameleon, morphs and blends from highs to lows, chickenscratch frequencies unleashed.

duets. we've heard robot duets before. robot trios. robot quartets. robot symphony!

am i supposed to dance? am i supposed to think? am i supposed to listen?
do i dance? do i think? do i listen?

fuzzy me lean spleen a bottle of air and a wisp just like that.

listen.

The Beatles

today Apple and EMI are releasing two box sets: The Beatles Stereo Box Set and The Beatles in Mono, two epic compilations of remastered stereo and mono recordings of the complete Beatles studio catalog. beautiful. to mark my renewed obsession (sparked by both the box sets and also by seeing the Cirque du Soleil show LOVE in Las Vegas with Adam), i'm making this little post, which falls back on a classic six stars strategy: speechlessness at sheer musical genius.

This Magic Moment - The Drifters (1960)

"this magic moment."

when Ben E. King rips out that first line of the song, i can't tell if he's talking about love or music. i guess it doesn't really matter.

this entirety of this song i get chills, as the Drifters belt out beautiful lyrics over swirling strings in the background, supported by a basic rhythm from the kit. i say i can't tell whether King is singing about love or the very music he's making, because i feel towards this song the way somebody might feel towards a loved one.

it's so different, so new. sounds i've never heard before, and they're hitting my ears right now. every instrument, pouring wine so sweet, intoxicating me, embracing me in a warm insulation that i feel can never end, forever until the end of time...

and, of course, like any beautiful song, its perfection is unexplainable. it's all magic.

here are the lyrics in full:

this magic moment
so different and so new
was like any other
until i kissed you

and then it happened
it took me by surprise
i knew that you felt it too
by the look in your eyes

sweeter than wine
softer than the summer night
everything i want i have
whenever i hold you tight

this magic moment
while your lips are close to mine
will last forever
forever til the end of time

magic magic magic magic

i music love.

listen.

Blue Monday - New Order (1983)

Xanthe and i were shocked today when we found out that our friend Donni didn't know what a subwoofer was. i tried punching her (on beat) to explain. when that didn't work, i played this song.



the biggest selling 12" single of all time, "Blue Monday" is the best New Order song and it's one of my favorite dance songs ever.

when i listen to it on headphones, as i am right now, it's a comfortable living room experience. i'm just sitting here, turning up the volume an increment or two every half minute, bobbing my head with that standard house beat (with the occasional machine gun twitter), letting the guitar sidewind down my face, hearing monks proclaim their love for divinity and listening to divinity (in the form of synthesized strings) puke its love for monks.

then the vocals come on. then its 5 more minutes of dance rock power pop new waves. wonderful.

then there are the times the song is blasting out of speakers. maybe i'll just play extremely loudly in my own room, like i did for Xanthe and Donni this morning, or a dj will throw it on at a club. this happened pretty much every night i went out in Athens, and pretty much every time it happened, i let go of everything to get up and dance. and if i was already "dancing," i dropped the act and actually started dancing (because you're only dancing when you ignore yourself and submit yourself to the air swirling air around you.)

everything is perfect in this song.
the bass drum is perfect.
the synths are perfect.
the bass is perfect.
the hi-hat is perfect.
the snare is perfect.
the guitar is perfect.
the synthesized string section is perfect.
the singing is perfect
the synthesized horn section is perfect.
EVERYTHING IS PERFECT.

listen.

Lily Allen

Lily Allen is serious paprazzi material (in the UK). She's popular because she's young, hot, and she sings about daily things such as boyfriends, fucking, and drugs, and because the music is slick pop with big electro beats. She made it big in 2006 thanks to MySpace, released an album and some singles, one of which, Smile, I think even US kids know, and in 2008 recorded her second album, It's Not Me, It's You, released just this February, 2009.



Anyways, I have this album, and here is what I think:

4.5 stars: 50 years from now, 4.0, but for its daring approach to pop and ridiculous popularity, a strong 4.5, resting largely on her voice and on her lyrics, the former so silky you think she was born singing like this, the latter direct and natural, a good quality in music this poppy. Play it very loudly so you hear all the nuances.

Lily Allen: smarter and more talented beyond either her popularity or her typical fans.

Shania Twain- You're Still the One (live circa 2002)

I think this song speaks for itself.

Belle and Sebastian

its summertime here in japan. the rain has for the most part stopped. the humidity is.... well slightly less than its soup-iness of months past. and its time to listen to belle and sebastian again.

i have a love hate relationship with this band. I am sorry to admit that, but i can only listen to this band when i really feel like being a bright sun-shinny individual. other times, i just find the stuart's voice annoying and it silly pop music. i know this is truly telling you more about me than the music, but I cannot describe how good it feels to walk to school, in the warm sun, and to hear this band in my ears. I just randomly started thinking about this band on the way to school. some song of 'the life pursuit' and i hadn't listened to it in about 7 months. and it felt so fresh and new and warm and happy and oh my goodness it felt so good.



me: "i really feel like listening to the life pursuit today"
tori (smirking and with great half serious disdain):" its ALWAYS the life pursuit in my car..."

what else needs to be said. its making me dream of love and beautiful girls. for some reason this music and them are one in the same in my mind. thank you summer. thank you stuart.

Stayin' Alive - Bee Gees (1977)

i know it's all about Michael Jackson right now, but here's a dance song i guarantee you haven't forgotten:



before The Field, before Daft Punk, before Michael Jackson, these guys mastered the art of repetition.

lay down a bass drum, thump it, 1. 2. 3. 4. add some hi-hat to the mix for some extra clicks. next, slurp out an irresistible bassline, sidewinding around the four-on-the-floor kicks. it's getting real dancey. then you hit the synths, caressing the keys, remembering this isn't about dominating the song, just keeping it rolling, keeping it fresh. maybe some strings here and there. finally, lay down the vocal track, smooth, funky, rocking, spiraling, spinning, dizzy, and real cool. nothing wild, just simple, to the point, sweet, and beautiful.

then the genius.

repeat. repeat. repeat. repeat. repeat. repeat. repeat. repeat.

anybody who writes a good dance song knows that the key is simplicity and repetition. listen to "Thriller." listen to "One More Time." listen to "Stayin' Alive." ah, you've heard 'em all before...


download or buy

Wuthering Heights - Kate Bush (1978)

When Kate Bush was 18 years old, she caught the last 10 minutes of the 1970 film version of Wuthering Heights, and immediately afterwords read the entire book. Then, in a fit of creative passion, wrote this song in just a few hours one night, while watching moonlight stream in through her open bedroom window.

There's something so endearingly girlish about this, that, combined with the infectiously catchy melody and Kate Bush's particularly distinctive high voice, makes this song so delicious.



Apparently, Kate was really adamant about this song being the first single off her first album, The Kick Inside, despite the fact that her record label (who signed her because David Gilmour thought she ruled) wanted to use a different song. She held her ground and, of course, she was right and "Wuthering Heights" was huge.

The way the melody lilts and soars and dips and twirls and the silly bookish drama of the lyrics just... sounds like the way it feels to be a girl caught up in the romantic fancy of a sweeping love story.



I've never read Wuthering Heights, but now I kind of want to.