James Murphy wants it both ways. A walking encyclopedia of the underground scene, he loathes the narcissism and one-upmanship common among record-shop insiders. His NYC label, DFA, produced some of the most infectious dance singles of the decade thus far, yet Murphy turns down remixing work from Duran Duran and Janet Jackson (who called him personally), and ended a collaboration with Britney Spears shortly after it started.
He had better things to do, like pack dance floors with uber-chic indie kids who once considered themselves too cool to get down. DFA’s spidery hooks and funk-splattered bass lines are pure dance-punk, but the addition of rubbery dub and a lot of cowbells transformed them into club anthems.
Read the full preview at The Japan Times Online.