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DID YOU READ

Tim Grierson on the LCD Soundsystem Documentary “Shut Up and Play the Hits”

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One of the best things about James Murphy, the leader of the dance-rock group LCD Soundsystem, is that he never looked the part of a rock star. A musician and DJ, he’s a burly guy in his 40s with plenty of gray hair and a kind, doughy face. If you didn’t know who he was, you’d assume he was a journalist or a writer of fan fiction — he just looked too nerdy and, frankly, normal to lead a band.

Watching (and loving) “Shut Up and Play the Hits,” the documentary about LCD Soundsystem’s final concert, I realized it was Murphy’s deceptive normalness that helped make his group’s music so special. A man with an acerbic wit and a deep love of music history, Murphy probably understood on some level that LCD Soundsystem (which started up around the turn of the century) really didn’t fit in the current landscape, no matter how beloved and critically acclaimed they were. When he decided to retire the band with some shows in New York City — culminating in a three-and-a-half-hour finale April 2, 2011 at Madison Square Garden — he was ending LCD Soundsystem’s run prematurely by choice. He wanted to go out on top, which is a laudable decision at a time when so many artists of all different stripes want to milk their notoriety for as long as they can. But as “Shut Up and Play the Hits” demonstrates, that doesn’t mean it was an easy decision — or even necessarily the right one.

The movie, which comes out on DVD on Tuesday, is structured somewhat like “The Last Waltz,” the seminal 1978 concert film that chronicled the final show of the Band. Like in that documentary, “Shut Up and Play the Hits” cuts back and forth between performances from the final concert and interviews with the artist as he muses about his own legacy. But “Shut Up and Play the Hits” in some ways cuts deeper because of the close proximity between Murphy’s offstage moments and the show itself. They include an interview with music writer Chuck Klosterman that happened a week before the final show — which, in fact, was a sort of reenactment/refinement of an interview the two men had done a year earlier but which plays out quite naturally — and footage of Murphy’s life the day after the final show. As a consequence, this is a documentary in which the highs of a concert are intertwined with the mundane uncertainty of regular life. One moment, Murphy is playing to a sold-out Madison Square Garden. The next, he’s just a normal dude walking his dog and tying up some loose ends. For a guy who only wanted to be, in his words, “New York famous” — known and respected in the music world but not someone beset by paparazzi everywhere he goes — Murphy looks like he got what he wanted out of LCD Soundsystem, returning to being Clark Kent after his stint as indie-rock’s Superman. Still, after being Superman, it must be rather odd to just be Clark Kent.

There are plenty of concert films that are little more than fan keepsakes. Peddling a polished form of “insider access,” they show snippets of the band behind the scenes, but their real purpose is to ensure one and all that the group being featured is totally awesome and that they have the best fans in the world. In other words, they’re just big advertisements that stay on message. There’s no question “Shut Up and Play the Hits” follows this formula to some extent — although Murphy didn’t direct the film, it appears that he had a certain level of creative control — but filmmakers Dylan Southern and Will Lovelace dig deeper to ponder what it means to quit something you love while at the same time exploring precisely what made LCD Soundsystem a distinctive group. Combining New Wave synthesizers, dance-floor rhythms, occasional punk-rock energy, and self-deprecating, sarcastic lyrics, Murphy’s music dared to be brainier and funnier than his hipster contemporaries. But, crucially, it was also more joyous, which comes through loud and clear in “Shut Up and Play the Hits” and its superb live versions of “Dance Yrself Clean,” “All My Friends” and “North American Scum.” (If you only saw the film in the theater during its limited run, you’ll be happy to know that the DVD includes the complete final show.)

There are several cuts to audience reactions during the film — and, in a sign of the band’s hip appeal, we even see comedian/actor Aziz Ansari crowd-surfing — but for music that was often self-consciously cool, the crowd loves LCD Soundsystem without apology or irony. At the screening I attended months ago, some people in the theater laughed at the emotionally overwhelmed fans in the movie, perhaps assuming that the film was mocking them. I didn’t read it that way. Underneath Murphy’s smarts, which are also quite apparent in the offstage segments, there’s a sensitive soul — someone we’d usually expect to see behind some turntables or working in a record store who willed himself into becoming a front man, albeit an unconventional one. (Indeed, even when we see him at Madison Square Garden, you can’t quite believe that he’s the one largely responsible for all that music.) Rock music has been filled with superstars we could relate to because they seemed like regular guys — Bruce Springsteen, John Mellencamp, Dave Grohl — and “Shut Up and Play the Hits” makes it clear that Murphy had the same sort of connection with his audience. In his modest, Bowie-worshiping, literature-loving way, he’s just like his fans, albeit immensely talented.

“Shut Up and Play the Hits” is a celebration of that legacy, but it’s also a meditation on how nothing lasts — not success, not fame, not youth. However broadly you want to define it, rock ‘n’ roll has spent its existence trying to deny (or at least delay) that eternal truth, but Murphy’s decision to pull the plug on LCD Soundsystem acknowledges that reality head-on. Murphy will one day make music in some other form. (And, as it should be noted, there have been plenty of other bands who swore they were quitting that returned for myriad reasons, some less noble than others.) But this moment in music history is now gone.

That’s why the movie’s final emotional wallop is so richly rewarding. The title “Shut Up and Play the Hits,” which is said by Arcade Fire singer Win Butler sarcastically while on stage with LCD Soundsystem, is a nod to the fact that casual fans pay to see a show so that they can enjoy the songs they know — they don’t want to be bothered with chitchat or anything else that gets in the way. But that title is doubly ironic for James Murphy’s band. For one, they weren’t a group that had a lot of big hits. (Murphy even wrote a song about this in his typically sardonic way.) For another, as strong as the movie’s musical performances are, in the end this documentary is about those moments when Murphy isn’t focusing on “the hits” but, rather, himself. The film’s heart comes from Klosterman asking him what he thinks his group’s greatest failure is. It’s in that sense that Murphy still can’t comprehend what ending his most indelible artistic endeavor will mean to him. Even when “Shut Up and Play the Hits” concludes, the question lingers in the air, but when he finally allows himself to shut up and take it all in, it’s overpowering. Rock ‘n’ roll is often about burning out or fading away. With “Shut Up and Play the Hits,” Murphy found a third option: quitting on your own terms. The uncertainty of what happens next for him is as thrilling as any song LCD Soundsystem ever gave us.

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.