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The label's initial batch of vinyl-only singles in 2002most famously "House of Jealous Lovers" by the Raptureresurrected the idea of dance music spiked with punk attitude. Before long, everybody was clamoring for a dose of DFA cool. Murphy and his English-born partner, Tim Goldsworthy, were touted as superproducers, indieland's equivalent to the Neptunes. Janet Jackson phoned them and suggested collaborating (amazingly, DFA kinda sorta forgot to follow up the call.) Most surreally, they spent an afternoon in the studio with Britney Spears. "That was weird," says Goldsworthy. "Won't do that again. No offense to hershe's lovely. Got a foul mouth, though!" The brief session came to nothing, through lack of common musical ground. "When we work with people, we hang out, listen to records, share stuff," says Murphy. "But with Britney we had absolutely no way of communicating. She didn't know anything that we knew."
After this lost encounter with "the big time," DFA consciously backed away from the opportunities being thrust its way. "You stop returning phone calls, people get bored of you real quick!" laughs Murphy. Instead they concentrated on building up their own operation. The stance is bearing fruit in the last months of 2004, with a freshly inked global-minus-America distribution deal with EMI and an impressive three-CD collection of DFA works so far, Compilation #2, out this week. Early next year the second release under this new arrangement will be the debut album from Murphy's own group LCD Soundsystem.
Murphy and Goldsworthy originally met in inauspicious circumstances, as hired help for DJ-producer David Holmes, who was making one of his "soundtrack for a nonexistent movie"-type albums in Manhattan. Murphy did the engineering, Goldsworthy did the programming. The location was Murphy's West 13th Street recording studio (now DFA's sound lab). It didn't take long for the two technicians to suspect they were making most of the creative decisions. "Tim and I were forced to create a dialogue about how to make sounds, because there was just this vague cloud of ideas coming from Holmes," says Murphy, gesturing to the back of the studio.
Taking breaks from the recording grind, the two sound boys bonded further during Saturday-night missions of full-on clubbing. Which is when Murphy, hitherto a typical indie-rock discophobe, had his dance music E-piphany. "Yeah, it's an unheard of story, isn't it?" he laughs. "A person who only listens to rock goes off, does a mountain of E, and gets converted to dance music." Revealingly, though, it was hearing the Beatles' "Tomorrow Never Knows" at exactly the point "when the drug was peaking" that gave Murphy the idea of "throwing parties and playing better musiclike 'Loose' by the Stoogesthan what dance culture was offering at that time."
At the close of the '90s, technique-obsessed and genre-purist DJs were squeezing all the vibe out of club culture, in the process driving the next generation of hipster kids back to rock bands with stage moves and charismatic hair. Murphy and Goldsworthy decided to rescue dance music from "McDepththat McDonald's version of 'deep,' where there's nothing there," Murphy explains, citing everything from glitchy laptop musicians to Tortoise-style post-rock as culpable. Taking the name DFAshort for Death From Above, and originally the tag under which Murphy did infamously loud sound mixing for bands like Six Finger Satellitethey started throwing irregular parties based around the notion of bridging the considerable gap between Donna Summer and the Stooges. Soon, tired of endlessly playing their staple fare like Can and Liquid Liquid, the duo decided to make their own "dance-punk" tracks to spin.
"House of Jealous Lovers" was their first real stab. Dance distributors picked up the single purely for the house remix by Morgan Geist (from cognoscenti-approved outfit Metro Area). But it was DFA's original disco-punk version that eventually took off, timed perfectly for the dancefloor taste shift toward edgy angularity (not just the rediscovery of '80s groups like ESG and A Certain Ratio, but the emergence of neo-post-punk bands like !!! and Radio 4). But while the Rapture's slashing guitar and slightly constipated, white-boys-getting-down funk bass flash you back to Gang of Four and Delta 5, Murphy and Goldsworthy's production supplied a pumping, monolithic regularity that made the track fully contemporary. "There were indie bands already coming through doing that kind of rickety punk-funk, but we wanted to make records that house DJs would actually play," says Murphy. "So we filtered the bass a lot, did a couple of layers of hi-hats and reversed them, took the drummer's playing and chopped it up."