James Murphy on LCD Soundsystem’s Return. When LCD Soundsystem called it quits in 2. Madison Square Garden, it seemed as if the band’s mastermind James Murphy had achieved that rarest of music- world maneuvers — the graceful bow- out.
But just underneath the meticulous dance grooves and hyper- self- aware lyrics of LCD’s music was always a deep vein of punkish restlessness. Thus, perfect endings be damned, the band’s forthcoming reunion album, American Dream. I shed any ambivalence about coming back a while ago,” says Murphy, squinting against the sun pouring in through the window of a Williamsburg hotel room. Whether or not other people have, I can’t say.”How much of stopping LCD Soundsystem back in 2. It wasn’t so much that.
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One of the big things that broke the band up for me, which I’ve become much clearer on over the years, was that I had no desire to be famous. I’d met a decent amount of famous people and thought, This is not a life that I want to live. The life I wanted was what I imagined the life of a respected scientist was like. I wanted to be able to get on a plane and have no one give a shit unless they were also a scientist: “That’s so- and- so. He invented a particular molecule.
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How awesome.”Is that the life you have? The life I live in this band is the best possible life of all the options for being a musician.
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Everyone in the band likes each other. We all like our crew. We’re fortunate enough to play where we want, within reason. We have great agents who are also our friends. Even in just an emotional- perks kind of way, how much did you miss being in LCD Soundsystem?
I didn’t. I had a great fucking time in the years between the Madison Square Garden show and now. I got married, had a baby, made a film, worked with David Bowie, co- produced an Arcade Fire record. There’s a lot of stuff I got to do that I really enjoyed that would’ve been absolutely impossible if I’d been in LCD. I only missed it when I would go see another band, but that’s a competitive thing. I’d be like, Oh, they’re just playing a fucking track from a laptop. There’s nostalgia in the air for the early 2.
New York music scene that LCD came up in. Does the city still carry any of the sense of creative possibility that it did for you back then? Not really. How come? It’s just how I feel. The city doesn’t feel interesting. It’s too expensive. There’s a lot of really normal people here which is fine, but when I moved here [from New Jersey] in the late ‘8.
You’re fucking crazy.” Nobody thinks you’re crazy for moving here now. Like, zero people.
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Instead they’re like, “Oh, that’s interesting. Why are you moving?” “Well, I got a job with Schwab.”So where would the 2. I don’t know. The internet means it doesn’t matter if you fucking live in New York.
Why would you live someplace you can’t afford? Also, locality doesn’t seem to matter as much anymore. A scene is not a scene of people who know each other and borrow each other’s van. A scene is a style. You can be from the suburbs somewhere and be like, “I make dubstep.” Okay, great. That just means you’re working in a genre, not a scene. It’s a different kind of thing.
But if I had to, I guess I’d tell a kid to move to Berlin. That’s where everyone seems to be going. Isn’t there something good about being able to feel a part of a scene or a genre or whatever you want to call it even if you live in a suburb in the middle of nowhere? There is, and I think it’s a phenomenon that started to happen in the ‘9. That’s when you started to get people in Vermont or wherever identifying as a “D. C. band” because they wanted to make music that sounded like it was on Dischord. That was the beginning of the end of locality — the end being you share things on Bandcamp and it doesn’t matter where you live at all.
I always wonder about the relationship dynamics after a band breaks up. Was there ever any interpersonal pressure to get back together?
You hear stories about the Grateful Dead going on for years longer than they wanted to just because they felt responsible for everyone’s livelihood. I don’t like the Grateful Dead but that feeling is a real fucking thing.
You have people on the crew whose jobs are working with you, and you know that those jobs are good ones; but I wouldn’t tour endlessly and kill myself with a drug habit just because I wanted to make the people that worked for me happy. As far as the people actually in the band, [keyboardist] Nancy [Whang] would laugh and say, “You just one day said we weren’t doing it anymore so I thought, Okay, I have to figure something else out.” But everybody did things. Bassist] Tyler Pope DJs and has his own label. Drummer] Pat Mahoney has his own band and DJs. Nancy plays in the Juan Mac.
Lean. [Guitarist] Al Doyle is in Hot Chip and has his own band. Synthesizer player] Gavin Russom has a totally other career as an artist. Multi- instrumentalist] Matt Thornley became a coffee roaster.
People were psyched to get back together, but I don’t think it was like, “Save me from economic doom.”This is probably a naïve question: So why go to the trouble of breaking up the band at all? Why not use those magical words “going on hiatus”? You’d get all time off you needed without any of the second- guessing. For the rest of my life, now matter what happens in this band, we’ll never “break up” again.
One day we’ll just stop making music, but no one is going to say a fucking word about it ahead of time. Going back to the subject of nostalgia, though —2. In 1. 97. 7, you could by all means have thought 1. It’s just as valid of a thing to, today, be interested in 2. I’m sure in 1. 97. Is anything getting missed or distorted in how people remember the years in New York when LCD and DFA Records were getting started? I was just talking to Nick Zinner about this, about how everybody thinks their time was important because it was their time.
Most of the time people are wrong — because they can’t separate themselves from their time — but I don’t think we were wrong. New York at that time was special. There was something going on. It’s as valid a cultural era as the late ‘7. Don’t you think that it remains to be seen whether the records and bands that came out of that period will feel important over time in the way that, say, the Ramones or Parallel Lines still do? Karen O was talking to me once about how she’d read an old article in Creem or something about Blondie and Johnny Thunders and all the New York stuff, and the gist of it was, “Is this real?
Isn’t this just hype?”I’m sure if you asked that same journalist today, he’d say, “Yep, it was real. That was the time.” But people had the same skepticism about the early 2. Strokes. Well, fuck that.
No. What happened was real. There was special shit going on. I don’t doubt it but how does someone ever know that they’re not just idealizing their past? There’s always a good way to tell how much special shit was really going on at a given time, and that’s by how many bands self- destructed. Because if there’s nothing special going on, bands don’t self- destruct, they just break up and everyone goes and gets a day job. Lots of ‘9. 0s bands didn’t self- destruct; guys in indie bands just stopped being guys in indie bands because what they were doing didn’t matter — they didn’t freak out and ruin themselves.
Instead after awhile they just were like, “You know, I don’t want to do this.” But a lot of the early- 2. The Liars completely changed direction. The Strokes kind of self- destructed. The Rapture kind of self- destructed. Watch The Pianist Online Full Movie.
That’s a good sign to me that something interesting was going on. How much of that had to do with particular personalities and how much had to do with outside pressure? Okay, when people say “hype,” that’s a part of it. There’s only so much that can happen when no one is paying attention unless you’re a weird outsider artist who dies and then someone finds your chicken coop full of amazing, weird paintings of naked babies that live in a fantasy world — but that’s not how music happens.