LCD ROCKS Terminal 5

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” We’re used to playing to much smaller crowds…this is amazing” was James Murphy’s sincere and seemingly stunned response to the 40,000 who showed up to see the dance music/low-fi electronica cum 70s/80s/ disco/new wave influenced act at Coachella. Like the hidden “tricks” to Worlds of Warcraft geeekily spread among gamers, so is the fire of LCD Soundsystem spreading FINALLY among American music fans (they have been hugely popular across the pond for some time). This evidenced in the 4 sold-out shows at the cavernous Terminal 5 in New York. Online and scalped tickets were going for $100s of dollars and everyone seems to be riding train driven by 40 year-old Murphy’s partial tale of mid-life crisis thru song. Quite simply this shit just grooves and HARD…you can’t not move to it. But this in your face pulse is created not by the industry’s latest technology but by a stage full of archaic synths and instruments the likes of which have been gathered since Rudy’s Music opened in New York. Moog and Wurlizter were the visible names and the constant reworking of a spaghetti string like mass of 1/4 inch patch cords spoke to the throwback sound. Yes, there were drum machines but obviously old ones MEANT to sound old. At times channeling David Byrne sometimes New Order and even The B-52s this show took us on a dance music ride without ANY of that pesky “oontz, oontz, oontz” that producers seem to think is a requirement to get people movin’. The crowd at Terminal certainly didn’t need any that sound to get their asses wigglin’. A GREAT show that I cannot wait to catch again at Bonnaroo.

If you do not have the new disc released within the last 2 weeks…WTF are you waiting on. It’s got all the stuff we love from these guys while still continuing to explore new sonic and compositional ground with Murphy, all the while giving us his middle-aged take on life, love and livin’ in the city.

Buzz is that Murphy will bring the LCD moniker to an end after this disc (only their 3rd) and it’s current supporting tour. Here’s hoping thousands of moving (not matter how awkwardly) white folks will give him pause to consider giving it another go.

Your Man in the Field


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Clem emerged from the underbelly of NashVegas where he began his love of ALL things musical. College found him in the commercial music program at the University of Miami where he actually learned what the hell he was doing. New York was next and whether he “made it there” is still up for debate. From playing in the honky-tonks of Nashville and the dance clubs of Miami to Broadway and theatrical stages around the country, to Carnegie Hall (while practicing one day somebody told him how to get there) and the recording studios of New York and L.A., Clem’s variety of musical experience has transcended the boundaries of genre. He owns a production company, lectures on music in colleges across the country and is on the visiting faculty of Elon Univ. He has a port-o-johns named after him at Bonnaroo, Coachella and Lollapalooza.

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