LCD Soundsystem -- Sound of Silver

Pardon the alliteration (and cliché, for that matter), but music makes memories. More commonly, songs in particular have the unprecedented ability to cause one to wax ecstatic those glorious halcyon days of yesteryear - good or bad. For instance, I’ll always remember when and where I was when first hearing The Verve’s epic “Bittersweet Symphony.” Or furthermore the fact that “In The Meantime,” the Moog-laden hit by forgotten and forgettable Brit act Spacehog, reminds me of my entire booze-fueled freshman year of college. Sure, this by no means is a revolutionary theory and most – if not all – of us can relate to such.

That said, an entire album of comparable significance is less frequent an occurrence, but unsurprisingly has more staying power. I find myself revisiting many LPs from the last decade much more than just specific songs, the mood and texture of each track transporting me to a time and place I at times still long for. And while it may be premature for me to say, Sound Of Silver – the brilliant second LP from New York disco-punk group LCD Soundsystem – will forever remind me of 2007, the twilight and closing chapter of my 20’s.

“The truth is, I was shocked,” sings LCD Soundsystem mastermind James Murphy on “Time To Get Away” and I couldn’t agree with him more. The group’s eponymous debut was inconsistent, though its bright spots (“Daft Punk Is Playing At My House”, “Losing My Edge”) were certainly shimmering and full of promise. That promise was better reflected in last year’s Nike-sponsored workout jam entitled 45:33, a high-energy adrenaline rush that would make even the laziest man get off his ass and run a 5K in record time. In fact, the most genius bits of 45:33 appear throughout Sounds Of Silver, most notably the album’s centerpiece, the hypnotic “Someone Great.” But the genius does not start, nor stop there.

Album opener “Get Innocuous!” has a thumping backbeat that seems destined for repetition if not for Murphy’s best David Bowie impression. The song sets the tone for the entire record; Murphy unabashedly wears his influences firmly on both sleeves – strictly as homage, not thievery. “All My Friends” is the musical equivalent to a runaway train (or endless party, perhaps?) chugging along until crash or climax. It feels as though the ride may never end, nor do you want it to. The title track borrows from the same formula as “Get Innocuous!” and “All My Friends” by using a continuous rhythmic assault, only to add layers of ear candy until reaching an intense zenith that borrows from early Depeche Mode. Closer “New I Love You…” is a confessional Lou Reed poem, and while it may be the album’s only downtempo moment, it acts as a perfect post-script to a joyous adventure; a come-down of sorts.

Not since Moby’s Play or Fatboy Slim’s You’ve Come A Long Way, Baby has a dance record sounded so marketable. It seemed as though every song from those aforementioned LPs appeared in some sort of advertisement, film or television program, and Sound Of Silver has that same appeal. This was what The Chemical Brothers were attempting to accomplish with Push The Button (and they did, but only to an extent).

Admittedly, I have been an offender of deeming something as masterful far too early. I’d be lying if I said that I first heard Sound Of Silver upon its release date of March 20th. However that was not the case: I received a copy last December and would’ve named it my ‘2006 Album of the Year’ if not for technicality’s sake¹. What I have learned throughout years of music appreciation is that the best albums are always the ones you go back to. It has seemed like a lifetime since first hearing Sound Of Silver, and it still sounds like silver with every listen.

Memories indeed does music make. James Murphy has etched his way into mine for years to come.

Rating: 5/5

BOW!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

-Peabs

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