It’s time to stop comparing LCD Soundsystem's James Murphy to rock’s icons before him. While yes, like David Byrne and Bowie, Jimi Hendrix, and Mick Jagger hold giddy, chest-thumping revolutions of song, dance and whimsy blended with the cultural introspection du jour, James is a beast of his own. And he’s our beast. One we get to claim. Our generation deserves it’s own icon, and one that’s actually not quite like the rest. We won’t be your babies anymore.
James Murphy, LCD Soundsystem, DFA Records, The DFA, et. al., and all it represents, is a revolution by the quiet intellectuals. A revolution of thought, thinking and doing, and maybe some punk rock while we’re at it. Keep it going.
All was incredibly well at several added West Coast spring tour dates on LCD Soundsystem’s run of shows for American Dream. There was something special brewing between the group and Hollywood Bowl. Their fourth ever string of shows there—a recent New York revivalist weekend—were sold out to as much West Coast nonchalance as NY grit and excitement.
Co-headliners Yeah Yeah Yeahs were peak excellence, to boot. Murphy put it best when he proudly proclaimed lead-singer Karen O “the greatest frontwoman of our era,” just after her band’s amazing second-night set, readying a significantly sun-drenched audience for the next hour and forty five minutes of LCD under moonlight. It was a product of the singularity to see these bands finally share a bill after nearly two decades of divergently trumpeting the sound of New York’s new-millenia musical avant-garde across the earth.
And while we’ve heard James’ name against the many musical icons before him—Murphy’s even done it himself— none have sired something as kick ass as DFA Records.
We know what we want. More James Murphy.