James Murphy and ex-man from UNKLE Tim Goldsworthy are the sonic wizards behind The Rapture. Radio 4 and LCD Soundsystem, DFA's Ze/No Wave sensibility has made them achingly in-demand?or at least they were last year in Brooklyn's fast-moving club culture. Rock's Neptunes, with an auteurist compulsion to intervene, the DFA aesthetic is still in flux. And so Juan MacLean get the shiny 1981-style Casiotone disco/synth noir treatment, contrasting with the urgent, scuzzy punk-funk of LCD Soundsystem's "Give It Up". The Rapture's "House Of Jealous Lovers" sounds like Robert Smith yelping over The Pop Group's "She Is Beyond Good And Evil", while Black Dice's "Endless Happiness" comes from a distant cosmos where pan pipes and glitch techno co-exist. But DFA Compilation #1 is worth buying just for 2002 highpoint, Murphy's "Losing My Edge", a coruscatingly witty deconstruction of cool that you can dance to.
James Murphy and ex-man from UNKLE Tim Goldsworthy are the sonic wizards behind The Rapture. Radio 4 and LCD Soundsystem, DFA’s Ze/No Wave sensibility has made them achingly in-demand?or at least they were last year in Brooklyn’s fast-moving club culture. Rock’s Neptunes, with an auteurist compulsion to intervene, the DFA aesthetic is still in flux. And so Juan MacLean get the shiny 1981-style Casiotone disco/synth noir treatment, contrasting with the urgent, scuzzy punk-funk of LCD Soundsystem’s “Give It Up”. The Rapture’s “House Of Jealous Lovers” sounds like Robert Smith yelping over The Pop Group’s “She Is Beyond Good And Evil”, while Black Dice’s “Endless Happiness” comes from a distant cosmos where pan pipes and glitch techno co-exist. But DFA Compilation #1 is worth buying just for 2002 highpoint, Murphy’s “Losing My Edge”, a coruscatingly witty deconstruction of cool that you can dance to.
