Indeed, the Irish strand to the LCD story grew stronger with Murphy’s befriending of Dublin DJ Marcus Lambkin, who had moved to the city in the noughties and would ultimately release music on DFA as Shit Robot. Thus, Holmes’ LP became an Irish music landmark for more than simply its musical quality. With both having been drafted in to work on the LP in New York, Murphy – a krautrock fanatic – was especially put out by Holmes’ attempts to sound like Can. Ironically, the two had initially bonded over their frustration with the making of David Holmes’s 1997 album, Let's Get Killed. In particular, Murphy and his DFA co-producer Tim Goldsworthy had a major falling out over the classic creative differences.
#Madi murphy elsewhere new york tv#
How the hell can you release one of the greatest rock debuts ever, only to eventually appear as if you’ve entirely forgotten how you did it? Perhaps Franz Ferdinand and the Gallagher brothers occasionally ask themselves similar questions.Įlsewhere amongst the NYC bands, it’s a similar story: once tipped as the new Radiohead, TV On The Radio gradually fizzled out in similar fashion to Julian Casablancas and the boys Interpol released two classic first albums, and a solid third, only to lose their way completely with a dour fourth the extravagantly talented The Rapture somehow contrived not to repeat LCD’s success Liars – despite moments of undoubted genius – have always been too avant-garde to remain anything other than a cult concern and on it goes…Īnother striking element of Meet Me In The Bathroom is the toll artistic endeavours often take on personal relationships. Otherwise, as is often the case in music and art, the balance sheet reveals a frustrating tale of unrealised potential and missed opportunity, with The Strokes perhaps the most confounding case. As with the two previous major alt-rock movements, grunge and Britpop, the list of noughties NYC acts who’ve survived and thrived isn’t especially long. One of my main takeaways – and something I’ve realised more and more as a I get older – is just how brutally tough it is to sustain a long and meaningful career not just in music, but in popular culture generally. Still, I was very intrigued to finally sit down and stream Meet Me In The Bathroom on Apple TV recently.
I sent the few short recordings I’d retained off to Pulse Films and unsurprisingly never heard back.
Alas, a search through my old tapes revealed that a lot of the interviews I’d done with James Murphy, Paul Banks et al had long since bitten the dust. The duo have amassed quite the CV, and I was happy to see if I had anything suitable for use in the film. Pulse’s online research had revealed that I’d done interviews with most of the dramatis personae – could I have a look and see if I’d kept any of the original recordings? I’d actually previously interviewed the co-directors of Meet Me In The Bathroom, Dylan Southern and Will Lovelace, about their Blur film No Distance Left To Run, subsequent to which they made Shut Up And Play The Hits, a brilliant account of LCD’s legendary 2011 show at Madison Square Garden.
#Madi murphy elsewhere new york archive#
The film would he based on and share its title with Lizzy Goodman’s definitive oral history of the period, Meet Me In The Bathroom, using archive footage and audio to explore an era that produced a spectacular amount of great bands, including The Strokes, LCD Soundsystem, Yeah Yeah Yeahs, Interpol, TV On The Radio, Liars and more.
A couple of years ago during lockdown, I got an email from the London-based production company Pulse Films, concerning a documentary they were making about the noughties rock scene in New York.
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