L Soundsystem

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The music they make both together and separately is entirely their own, with its own rules of what instruments come and go; when a song begins and ends or swells like a marshmallow. And yet! It’s also referencing all the records we love and know - Young Marble Giants, Postcard Records, early Cabaret Voltaire, and even contemporary local peers like Mathaverskan. Matrix / Runout (Side D): [DFA Logo]DFA-2362LP-DISC 2-D [sideways Ⓨ]121013 DR. ORANGE BE39269-02 D1 LOVE Synthesizer, Vocals, Piano, Organ, Sampler [Samples], Electric Piano [Wurlitzer Electric Piano] – Nancy Whang Naming their duo in ode to Daniel Johnston’s song of the same name, Mahoney divulges, “I had always loved the song, and had been thinking of what such an edifice would contain when we were trying to name the project.” McNany continues, “Pat’s a sculptor, I’m a painter, we make music and museums are sacred spaces and love is an elusive thing.” They are definitely the kind of band where those who listen beyond the albums will be rewarded greatly for minimal effort.

But more to the point suddenly they were showcasing a bit of pop/indie nous by having the kind of shout along chorus that was perhaps more suited to festivals, college radio and student discos than cool punk funk clubs and hipster parties. ‘Never As Tired As When I’m Waking Up’ and ‘Great Release’ revealed a heartfelt love for the weirder peripheries of AOR and post-Roxy, ‘pop’ Brian Eno, signifying, among other things, that there was a lot more to this band than just a cool post punk record collection and a working knowledge of ESG. You’ve heard Stuart Bogie before because he’s played saxophone, clarinet, and flute on a lot of records. TV On The Radio, Foals, Sharon Van Etten, Beth Orton, Run the Jewels, Antibalas, the list goes on and on and on. The Juan Maclean return to DFA with a stand-alone single, bursting with deep house elastic bounce and electronic pop flourishes, married to the deadpan earnestness of Nancy Whang’s vocal delivery.What this record really is, and why it’s called Disco has to do with the layering of time and life energy present in the spaces where we have traditionally danced to music which are sometimes called Discos. From the pounding urgency of “Muscle Machine” through the unbridled night vision romp that is “Fluid Feline Forms” and the shimmering investigations of “Whispers Between Worlds” to the extended lazer pointer focus of “I’m Unmelting” this record lays out a broad slab of practice-based research into the ghosts we connect with on the dance floor. Whether it be through partying in former industrial buildings, contested spaces of labor built on lands violently appropriated from indigenous people, uncomfortably inhabiting vacuums in queerness left by the AIDS epidemic, lifting lineages through sampling, or the relentless cycle of whitening that accompanies dance music’s march into the market, our experiences in the Disco have been permeated by the spectral and the haunted. Through rhythm and frequency, organized over time, this music blurs the veil between the living and the dead inviting those who move to it to connect with experiences beyond that false binary. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Morningside” treated piano recorded at DFA Recording, Manhattan, 2009 originally for an installation at Palais De Tokyo, Paris, in October 2009. Engineered by Matt Thornley and James Murphy. We connected with Stuart during the early clutches of COVID through Korey Richey, DFA Studios engineer and LCD Soundsystem band member.

Matrix / Runout (Side B): [DFA Logo]DFA-2362LP-DISC 2-B [sideways Ⓨ]121013 DR. ORANGE BE43108-01 B1 YORKIt’s a fool’s errand trying to define the greatest act of any given decade but I’m going to foolishly declare LCD Soundsystem the quintessential noughties dance band regardless. Matrix / Runout (Side E): [DFA Logo]DFA-2362LP-DISC 3-E [sideways Ⓨ]121013 DR. ORANGE BE39269-03 E1 YOU JJULIUS is Gotebörg’s Julius Pierstorff, who, with his partner Elin Engström aka Loopsel, also records as Monokultur and runs the tiny label Mamma’s Mysterious Jukebox. Matrix / Runout (Side H): [DFA Logo]DFA-2362LP-DISC 3-H [sideways Ⓨ]121013 DR. ORANGE BE43116-04 H1 BRINGING

The cautious observations and honest reveals that follow are literally and figuratively quieter moments than that initial blare. On "All I Want," against a wall of whirling guitar, Murphy recognizes a relationship that can't be saved, and instead asks for "your pity" and "your bitter tears." "Get Along" shuffles over pulsing keys and bubbling percussion as Murphy tries to bridge physical and emotional distance, singing, "You might forget, forget the sound of a voice / Still, you shouldn't forget the things we laughed about." Conversely, the sparsely decorated, sauntering "Somebody's Calling Me" is almost hopeful in comparison: "Somebody's calling me" Murphy half whispers, "to be my girl." Vocals – Janine Rostron, Jeremy Gara, Lizzy Yoder, Reggie Watts, Régine Chassagne, Shannon Funchess, Tiffany Roth, Will Butler*, Win ButlerLongtime friends in New York, McNany and Mahoney found a similar sensibility and a shared vocabulary for interpreting surroundings, something that began with their remix of Battles’ “My Machines feat. Gary Numan” and extended into their creation of a full length record together. Matrix / Runout (Side G): [DFA Logo]DFA-2362LP-DISC 5-G [sideways Ⓨ]121013 DR. ORANGE BE43129-04 G1 YOU’RE

Matrix / Runout (Side A): [DFA Logo]DFA-2362LP-DISC 1-A [sideways Ⓨ]121013 DR. ORANGE BE39269-01 A1 NEW That LIGHT ASYLUM found a sort of rarefied status makes sense. It’s the kind of record cherished by Those Who Know: perfectly crafted, spiritually commanding synth-pop with a voice that sounds like some kind of goth oracle from beyond. It’s simply too good to remain out of print. Korey asked James if he had anything lying around that might fit. Uncharacteristically, James said yes. There was this long, plaintive drone of treated piano made sometime in the 90s that he’d just found. And another similarly droning but slightly darker organ piece made for an installation in the mid-2000s. Stuart played over both in separate sessions, improvising these beautiful, delicate clarinet runs for the sheltered, live-streaming few. The remix is courtesy of LA-4A, aka Ambivalent and legally known as American born producer Kevin McHugh. Stripping out the house music and replacing it with a grinding electro-acid template, LA-4A creates a lovely buzzing new bed of music for Nancy Whang’s vocals to rest on top of it. This is a remix with wildly successful results and a perfect companion to the original.

Recommendations

Synthesizer, Percussion, Piano, Electric Piano [Wurlitzer], Clavinet, Vocals, Vocoder – Gavin Russom*