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- Me, Myself, and I
- L.C.D. Soundsystem are punk funk duo of James Murphy and Tim Goldsworthy in the studio.
Live, they are joined by Pat Mahoney (drums); Nancy Whang (keyboards, vocals); Tyler Pope (bass); and Phil Mossman (guitar, percussion, keys, bass)
James Murphy and Tim Goldsworthy also release remixes under the name, D.F.A (Death From Above). Artists and groups remixed by them include, The Rapture, Metro Area, Justin Timberlake, Fischerspooner, Le Tigre, N.E.R.D, Goldfrapp, Gorillaz, Nine Inch Nails, Hot Chip, Chemical Brothers, Tiga and Soulwax.
Their Soulwax Remix, ("Another Excuse") features on soulwax's album, Nite Versions. Murphys girlfriend and L.C.D. Soundsystem's keyboard player, Nancy Whang also features on the Album, providing vocals on the Track "Ny Excuse"
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An unofficial remix album has been released, and is available here: http://www.lcdremixed.com Its pretty good, and for anyone with braodband, well worth a download.
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Even though the lineup hasnt been officially released yet, LCD Soundsystem have announced that they will be playing the electric picnic this year on their myspace page.
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'I Don't Think There's Anything Wrong With Being A Tit.'
For someone who hails from the very epitome of small-town America, James Murphy is extremely
partial to a very English insult. Particularly when it's a self-deprecating one. Despite
being labeled as a tragically hip super-producer - 'the Pharrell Williams of punk-funk' -
the wiseass sarcasm that comes out of his own songs is generally aimed, first and foremost,
at himself. The 'tit' reference is provoked by a conversation about Losing My Edge, the 2002
single that launched LCD Soundsystem's recording career, skewered the vanity, insecurity and
one-upmanship of the ageing hipster with hilarious accuracy, and remains, thus far, his
signature tune. 'It still kinda weighs on me a bit', confesses James, 'because we keep
getting better and better at playing it live. It's surprising how long Losing My Edge
lingers around, for a dance song. But everyone's silly and shallow and insipid and vain and
the more they accept it the less boring records we'll have. This year I made 'Yeah', which
pretty much consists of me saying yeah over and over, to try and erase the expectation that
it was gonna be another clever diatribe of lyrics. Etched into the vinyl of Yeah is, "Not as
good as Losing My Edge". I always try and help people write the reviews.'
Like I said, no-one gets dissed in an LCD song - or a Murphy interview - more than Murphy
himself. So, when grabbing a first listen to LCD Soundsystem's first, self-titled album, and
clocking Murphy's wry sense of humour, don't be fooled into thinking James Murphy is a jaded
cynic. After all, after almost two decades of making music, he's finally in the place where
he wants to be: In New York, teamed up with a contrasting but complimentary
partner-in-musical-crime in England's Tim Goldsworthy as part of the Death From Above aka
DFA label and production team, and touring with his very own rock 'n' roll dance band.
Because, in the studio, LCD Soundsystem is just James and his multifarious musical, vocal
and production skills. But, onstage, LCD Soundsystem is a quintet of similarly funk, punk
and art-obsessed friends - featuring Pat Mahoney (drums); Nancy Whang (keyboards, vocals);
Tyler Pope (bass - also of !!! And Outhud); and Phil Mossman (guitar, percussion, keys, bass
- ex-Sabres Of Paradise) - all striving to make you dance while challenging the tired rules
and predictable poses of live rock. As James explains, 'LCD is like a laboratory for
experiments on what a band should be. There are issues of ego and presentation that I don't
like about touring bands. But I love the power and the potential. I once saw some footage of
Black Sabbath setting up to play on French television in 1972. They're not really that
professional at it, but then they play and they're just unbelievable. Then you figure that
Black Sabbath now would be sixteen trucks, fourteen buses, a crew of 200 and some guy tuning
up thirty guitars. It's all very false, and safe and protected and corporate and vapid. This
system is imposed on bands when they're young and it kills creativity. There's no magic.'
James should know, having spent most of the '90s doing live sound engineering for US punk
bands. Indeed, James is quite the musical Renaissance man, what with being able to navigate
pretty much everything needed to make modern noise. Not that he'll describe himself as such.
Perhaps Murphy's suspicion of ego is a product of his upbringing.
James was born in 1970, and raised in Princeton Junction, New Jersey, an overspill suburb
that exists in the shadow of the famous Princeton Ivy League College, literally and
otherwise. 'There's a movie called Over The Edge (seminal teen alienation cult movie from
1979, directed by Jonathan Kaplan and starring a very young Matt Dillon.) That's my town, if
you removed the recreation
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