Search Results for: lcd soundsystem
LCD Soundsystem – Brooklyn Steel – December 19, 2017
James Murphy and his LCD Soundsystem lot are all too aware of the hype that surrounds their live performances. The collective that has reemerged from their “breakup” in 2011 in much the same arrangement, and with the addition of some new blood, recognizes the buildup prior to when everyone takes their positions onstage in their stacked pyramid instrumental setup that surrounds the spotlit Murphy, the master of ceremonies. They recognize the level of great expectation and with the poise of players in long-run theater, unflinchingly rise to the occasion. Murphy has essentially admitted that he was fooling himself to think that he could walk away from the life of making music and performing it with LCD Soundsystem. As evidenced at Brooklyn Steel last night throughout the seventh show in a run of 10, he needs that outlet. It’s too much of what he is. As you find yourself moved by the power and grace of his singing voice over primal dance grooves that don’t feel as if they have a discernible beginning or ending, it becomes clear that he was too much of a comet to hide for too long and the crew of old friends are the players that form around him like a solar system.
Putting on a good show is about reps. Any performer would tell you that. To go along with this year’s new album, American Dream, LCD Soundsystem have been getting plenty of them, having put on strings of consecutive shows that have become residencies at their new Brooklyn home. What’s so rewarding is that they have risen to that rarified place of performance where you know what songs are coming and yet when they’re played with that special mix of timepiece precision and instinctive improvisational flair sprung from the raw energy of the moment, you feel like you’re experiencing a favorite song for the first time, like what it felt like to walk through the woods stoned for the first time. Therein lies the unique magic of an LCD Soundsystem show, and why it never loses its vitality even after the second, fifth or seventh time you’ve seen it. The second-nature orchestration of playing parts all churning in sync is well oiled at this point and just takes off. It’s hard to imagine a better tone-setter to begin a night with than “Yr City’s a Sucker.” It holds that raw NYC cold-steel break-loop groove, priming everyone for the party that’s about to ensue.
The sequence of hits that followed was kind of mind boggling: “I Can Change,” absolutely resplendent live, “Get Innocuous,” “Tribulations,” “You Wanted a Hit” all unravel and ascend to their own euphoric peaks, and you’re so wrapped up that you don’t even realize songs like “Someone Great,” “Dance Yrself Clean” and the dizzying rapture of “All My Friends” are still ahead. Tracks from the new album are sprinkled in almost inconspicuously as the ’80s synth romanticism of “Oh Baby” drops the energy down into a beautiful lull. It was one of those shows that still makes you feel cool that you could get into and no matter how big the group’s become, they still extend meaty-jam grooves like basement bands that don’t know how to stop. They are a unique combination of musicians who understand how and when to give the crowd exactly what they’ve come for, a release into the frenzy of their extended plays. Almost right away, you see what all the fuss is about. LCD Soundsystem are the kind of band that snaps you out of the conversation you’re having with the person you invited to get to know, and suddenly you’re both dancing irresistibly with broad smiles. And when you walk away with that buzz that rolls on like one of their live songs, you know it’s an experience you’ll go back for as many times as you can. —Charles Steinberg | @Challyolly
Photos courtesy of Gregg Greenwood | gregggreenwood.com
Photos courtesy of Gregg Greenwood | www.gregggreenwood.com
Photos courtesy of Gregg Greenwood | www.gregggreenwood.com
LCD Soundsystem has three sold-out shows at Terminal 5 this week (although you can still get in to Sunday’s show), so it’s clearly a tough ticket. Fortunately for you, The House List is giving away two of them to Saturday’s show. Want to Grow a Pair? All you’ve got to do is try. Just fill out the form below, including your name, e-mail address, which show you’re trying to win tickets for (LCD Soundsystem, 5/22) and a brief message explaining why James Murphy does it for you. Eddie Bruiser, who loves the roof deck at Terminal 5, will notify the winner by Friday.
LCD Soundsystem – Music Hall of Williamsburg – April 8, 2010
News traveled quickly that LCD Soundsystem planned to play a surprise gig at Music Hall of Williamsburg. And as soon as the tickets went on sale early Wednesday morning, the greater Internet community swarmed, swiftly selling out the impromptu show. Such is the demand for the music of James Murphy—the DFA Records’ pioneer with a reputation for creating, managing and producing internationally renowned dance music. With a third and potentially final LP, This Is Happening, slated for release next month, Murphy and the rest of LCD Soundsystem, chose to warm up before a long summer of touring begins.
Ambling upon the stage as the band set up their instruments, Murphy fumbled with his microphone before patiently explaining, “I have good news and band news.” The crowd, audibly distraught at the prospect of some limiting factor ruining the performance, braced for the worst. “The good news is we’re here,” he stated. “But the bad news is I’m wasted.” If this insight was intended to disappoint the eager crowd, it utterly failed. For the next 80 minutes, a rapturous audience hung on every slurred lyric.
Repeatedly, Murphy informed those in attendance that this performance was the first since the group’s longest break. This fact hardly affected a tremendous set, consisting of a couple of new songs and established staples. “Drunk Girls” and “Change,” both debated for the upcoming album’s first single, seemed to elicit as impassioned of a response as choice selections from the last album, Sound of Silver. However, during the masterful piano anthem “All My Friends,” a mosh pit formed in the front of the crowd, which made the song necessarily stand out. Further, for an encore, the band closed with “New York, I Love You but You’re Bringing Me Down.” Regardless of whether LCD Soundsystem considered themselves prepared, the crowd would not dare remember it as less than a triumphant return. —Jared Levy
(LCD Soundsystem plays Webster Hall on Monday.)
What began as a solo project for DJ-producer Dan Whitford blossomed into a trio with guitarist Tom Hoey and drummer Mitchell Scott onboard for the 2004 release of debut full-length Bright Like Neon Love (stream it below) and then turned into a four-piece with bassist Ben Browning joining Cut Copy (above, performing “Future” live in studio for KCRW FM) for their third LP, 2011’s Zonoscope (stream it below). And by then the band’s deft mix of classic disco and electronic pop had people making comparisons to LCD Soundsystem and Daft Punk. The Melbourne, Australia, dance outfit’s fifth long-player, Haiku from Zero (stream it below), came out two months ago. “Cut Copy always seem to discover new ways to fine-tune their inclusive dance music and keep it sounding fresh and vibrant,” said Exclaim. “Cut Copy are a band that know how to make distinctive, original electronica that—crucially—sounds like them,” added the Line of Best Fit. “It’s pretty and smooth; the shimmers and reverb of their earlier records have been compressed into a concentrated essence of what made them great in the first place.” Dance off any lingering Thanksgiving excess and catch Cut Copy live at Terminal 5 on Friday night.
The Bowery Presents’ newest venue, Brooklyn Steel—which is now the largest general-admission venue in Kings County—opens tonight with the first of five sold-out LCD Soundsystem shows. “With every venue we open, we aim to create a space where both fans and bands can fully enjoy the experience,” say Bowery Presents partners John Moore and Jim Glancy. “From easy access to bars and restrooms to unobstructed sight lines and state-of-the-art sound and acoustics, we’re confident that Brooklyn Steel delivers on our commitment to keep the music first.”
Located at 319 Frost Street, the 20,000-square foot Brooklyn Steel features raised platforms and a mezzanine allowing for terrific sight lines across the space, in addition to three bars and 40 total restrooms. Keeping with the industrial look of its legacy, the venue is filled with hundreds of tons of steel and repurposed materials, and the bar in the main lobby was created from scrap metal and incorporates an installation of three original fans.
Of course, it’s not just about how the place looks, it’s also about how it sounds. And to that end, The Bowery Presents retained L-Acoustics, pioneers in their field, along with help from acoustical consultants at Arup Engineering, to ensure unrivaled audio inside the building and audio containment within the property. Additionally, Brooklyn Steel is topped with a 10,000 square-foot green roof that will help rein in sound. This LCD Soundsystem run is just the beginning, though, and a stellar, packed lineup of shows continues with Floating Points (live), the Decemberists, PJ Harvey and many more.
Los Angeles electronic producer and singer-songwriter Josh Legg began making music under the name Goldroom (above, his video for “Lying to You”) five years ago, influenced by the likes of Daft Punk, Bob Dylan, LCD Soundsystem and Nirvana. And following the release of three EPs, his acclaimed debut studio album, West of the West (stream it below), came out just a couple of weeks ago, providing “a romantic and ambitious soundtrack to end your summer on a high note,” according to Vanity Fair. “No matter the listener’s age, the world could use a little more magic—and Goldroom just may be the man to bring it.” He’s currently out on the road in support of the new music with Chicago house trio Autograf (below, doing a live remix of Odesza’s “All We Need”)—Jake Carpenter, Louis Kha and Mikul Win—who pair “glitched vocals, lurking bass lines and live instrumentation from custom-built instruments” and put as much emphasis on the visuals as they do on getting people to have a good time. And if you’re one of those people looking for a good time, don’t miss Goldroom and Autograf at Terminal 5 on Friday night.
Ween – Terminal 5 – April 14, 2016
It was clear even before these Terminal 5 shows sold out immediately that Ween’s return to New York City would be a capital-E Event. The band’s recent years were messy, with a full-blown breakup in 2012 and then a range of interesting commitments for each member until the rumor mill began to churn and whispers of a reunion turned into possibilities, then confirmations, then hard tickets and, finally, actual shows played, in the form of a three-night run in Colorado back in February. Now it’s NYC’s turn, and the first show of another three-night run, this time at a sold-out Terminal 5, was a raging party. In this season of can’t-believe-it reunions, from LCD Soundsystem to Guns N’ Roses, Ween’s might be the tastiest of all, at least to those who know every iota of songs like “Roses Are Free,” “Bananas and Blow,” “You Fucked Up” and “Help Me Scrape the Mucus Off My Brain.”
You don’t so much embrace Ween’s diabolically diverse catalog as reckon with it. Their repertoire culls from some nine different studio albums, covers, obscurities and new songs, too, and they do a remarkable job during their live show of splaying it all out there, multifaceted as it is, without losing energy or muddling the pace. Opening night at Terminal 5 moved—pinballed, really—from the giddy grooves of “Roses” and smart-alecky island maneuvers of “Bananas and Blow” to the sludgy, stomping rock of “The Grobe,” the curled-lip honky-tonk of “Japanese Cowboy” and the cheeky whimsy of “Boys Club.” The song count topped 30, as it often does at Ween shows that, like this one, stretched to two-and-a-half hours. One moment we were in the twisted-Beatles pop of “Little Birdy,” another we were singing along to the rage-burnt folk of “Baby Bitch.” Another still we entered the Floyd-ian psychedelic muck of “Mushroom Festival in Hell,” which flirted with a full devolution into noise rock in a hail of guitar fire.
The hard-partying crowd went wild for almost every song, and the band—throwing knowing smiles and shit-eating grins at the audience like the smart kids in the back of the class they’ve always been—seemed genuinely touched by the hero’s welcome. Ween are part of a rock lineage that’s brutally hard to define but you know it when you see it. Whatever that thread is that connects Frank Zappa and the Aquarium Rescue Unit to Phish and Gogol Bordello—dazzling musicality, technical prowess and songwriting depth beneath a sense of humor, heaps of personality and a few high jinks here and there—it’s in Ween’s stitching, too. A Ween-less world is a less exciting place, and what a happy thing that the band remembers that, too. —Chad Berndtson | @cberndtson
Back in the mid-’90s, three post-hardcore Sacramento, Calif., bands had so much fun touring together they decided to form a new group oriented toward dance music. The band’s name, !!!, comes from subtitles of The Gods Must Be Crazy, and their dance-punk sound comes from their punk roots and desire to get crowds moving. They mainly played house parties for a few years before their self-titled debut album (stream it below) came out in 2001. Since then, they’ve toured the world with the likes of LCD Soundsystem and Hot Chip, and the lineup has gone through some changes. But the current iteration—Nic Offer (vocals), Mario Andreoni (guitar), Rafael Cohen (bass and vocals), Dan Gorman (trumpet), Paul Quattrone (drums) and Allan Wilson (sax and keys)—is still bringing their psychedelic-influenced house music to the masses. In fact, !!! (above, doing “Slyd” for Baeblemusic) just released their sixth studio album, As If (stream it below), last month. Drowned in Sound called it “a career high,” noting that it’s “a heady mix of punk funk indie disco, but with an added layer of poppy sheen.” And AllMusic proclaimed, “The funky, post-punky, always danceable !!! show no signs of slowing down on their sixth album.” Their newly launched tour in support of the album brings them to Music Hall of Williamsburg tomorrow and to The Bowery Ballroom on Wednesday.
Electronic musician and producer John Maclean already knew James Murphy from the Providence, R.I., band Six Finger Satellite. When the group broke up, Maclean drifted out of music but remained friends with Murphy. Several years later, having already founded DFA Records, the LCD System founder prompted Maclean to return to music—and his label provided a home for Maclean’s danceable mash-up of post-punk and experimental compositions under the name the Juan Maclean. Somewhere along the way LCD Soundsystem keyboardist and vocalist Nancy Whang came aboard, and over the course of nearly a decade and a half, there have been a slew of remixes, singles, EPs and LPs. The most recent of which, the ’80s-influenced In a Dream (stream it below), came out last year. AllMusic calls it “the Juan Maclean’s best record yet. It puts together all the elements they’ve worked with in the past and added a few more, and the result is an emotionally powerful work that sounds easy to dance, dream or get bummed along to.” And the Juan Maclean (above, their video for “A Place Called Space”) play a pair of hometown shows this week, tonight at The Bowery Ballroom and tomorrow at Music Hall of Williamsburg.
While studying graphic design, Tom Vek also spent years writing and recording in his parents’ London basement, but his hobby paid off and became his profession. Vek’s debut album, We Have Sound (stream it below), came out in 2005. Critics mentioned Beck and LCD Soundsystem, and AllMusic called it a “brash mix of indie rock and dance,” further proclaiming that the singer-songwriter “manages to make this fusion of styles sound organic instead of opportunistic.” His follow-up didn’t arrive until 2011, but Leisure Seizure (stream it below) turned out to be well worth the wait. NME rang in with a rousing review: “Vek truly exploits the benefits of being in a one-man band: all instruments and ideas can be used as often or as sparingly as he likes…. Vek may be out of time but he’s also out of this world.” Fortunately, Vek (above, performing “Sherman (Animals in the Jungle)” in studio for KCRW FM) didn’t disappear nearly as long before his third album, Luck (stream it below), came out last year. Per the Guardian, “A six-year gap divided his debut and 2011’s Leisure Seizure, and though his third arrives comparatively promptly, every lurching guitar line and electronic squiggle sounds like it was planned with meticulous care. That could be a problem, leaching Vek’s offbeat pop of energy and life, but the more he works dissonant elements into these songs, the more thrillingly unbalanced they feel.” See him tomorrow night at Rough Trade NYC, when he will feature the more electronic side of his repertoire and reimagined versions of songs, accompanied with synchronized visuals showcasing the strong graphic design that accompanies his releases.
Back in the mid-’90s, three post-hardcore Sacramento, Calif., bands had so much fun touring together they decided to form a new group oriented toward dance music. The band’s name, !!!, comes from subtitles of The Gods Must Be Crazy, and their dance-punk sound comes from their punk roots and desire to get crowds moving. They mainly played house parties for a few years before their self-titled debut album came out in 2001. Since then, they’ve toured the world with the likes of LCD Soundsystem and Hot Chip, and the lineup has gone through some changes. But the current iteration—Nic Offer (vocals), Mario Andreoni (guitar), Rafael Cohen (bass and vocals), Dan Gorman (trumpet), Paul Quattrone (drums) and Allan Wilson (sax and keys)—is still bringing their psychedelic-influenced house music to the masses. Earlier this year !!! (above, doing “Slyd” for Baeblemusic) released their fifth full-length Thr!!!er (stream it below), which PopMatters calls a “wall-to-wall fun dance album.” So get your weekend started with a dance party tonight at Webster Hall.