The delayed debut of LCD Soundsystem, a.k.a. James Murphy, may have been a blessing in disguise. Murphy sat back and watched the next big thing, dance-punk, quickly rise and fall; many of the leading bands of the movement either moved in a different direction, like The Liars, or failed to release a consistent album after successful EPs, like !!!. The dream of dancing to rock music faded and indie kids returned from the dance floor and resumed crossing their arms. The cynicism that has recently surrounded this dubious genre did not affect Murphy one bit.
Although Murphy's singles were already a pervasive influence in the underground scene, the lack of a full-length album allowed Murphy to detach himself from any unifying statement of his style. With a larger venue to show off his music collection, Murphy decides to trim up his lengthy running times, which frees his talents to focus on more proficient and more varied song craft.
The new material, however, does not have a cohesive feel. The album often sounds like a collection of singles that are shorter, more intense versions of the climactic earlier singles. The opener, \Daft Punk is Playing at My House,"" uses the familiar dance techniques full of fuzzy synth lines, throbbing bass and the incorrigible cow bell. Murphy's strong sense of rhythm propels this song and similar up-tempo tracks like and ""Tribulations"" and ""Disco Infiltrater,"" with less success. These two tracks are still energetic and danceable, but they feel slightly predictable and generic. Elsewhere on the album, Murphy heavily recalls Mark E. Smith's delivery and a dead-on Fall impression with the single ""Movement."" Murphy's half-sung lyrics lead the relentless handclaps and dirty bass line to the explosive, noisy chorus. On a similar attempt to derive the no wave genre, ""On Repeat,"" Murphy doesn't build the sound quickly enough, which makes the song repetitive.
Ultimately the new album never surpasses the second disc that compiles all previously released LCD Soundsystem material. Murphy recognizes the difficulty in matching the wit of ""Losing My Edge"" or the catchiness of ""Yeah (Crass Version)"" and he never earnestly attempts to produce updated versions of his older work. Fortunately, Murphy's unconcern with topping himself allows him to take a few chances on the album.
The lazy psychedelica of ""Never as Tired as When I'm Waking Up,"" which openly jacks the chord sequence of ""Dear Prudence"" by the Beatles, slows down the frenetic pace of the album to a peaceful lull. The other highlight-the closer ""Great Release""-summons pop-era Brian Eno, complete with an odd rhythm backing a hammering piano laid over distant vocals. The track makes you feel like the club is closing just as you tire of dancing.
The LCD Soundsystem album will not keep your body moving for the full length of the new disc, but the fierce moments are enough to make you bob your head long enough to forget the occasional missteps.
