James Murphy has spoken of the kind of projects he hopes to be undertake once LCD Soundsystem is disbanded.

“I want to do some more production,” he tells Pitchfork. “I want to make some more music but not worry about making an album on album schedule – doing an album release, press, and videos and tour – and I want to do some weird stuff. I want to get some bad ideas and follow them through. You never get to now. I want to do music for the subway – I want to make music so that when you go through the turnstile it doesn’t just go ‘eeeh!’. Make them all separate tones that are in key. So like during rush hour in big subway stations it would make this kind of harmonic music. Just bad ideas. The only reason to get semi-successful is so you can do that shit.”

While most interviews published to coincide with the release of LCD Soundsystem’s third and reportedly final album, This Is Happening, have been facetious and barely surface-scratching, Pitchfork‘s Joe Colly really puts Murphy through of his paces, resulting in a conversation that’s genuinely rangy and revealing.

Asked about how music and concept of rebellion have changed since he was a teenager, Murphy opines: “[Now] kids buy shit. They really buy shit. Kids buy designer stuff. So you’re being constantly pounded by marketing. And if you want to be a rebel, well, there’s rebel clothing companies. There’s rebel stick-on tattoos. You can get a rebel skateboard. You just pick your rebel mode and there’s a whole online shopping network that you can be a part of.

“So kids may look punk or feel punk, but what they’re kind of doing is the same as like, being really swept up in high school sports or something. But when I was a kid, you didn’t know. I was like, ‘I guess Kraftwerk is punk?” I remember I got Sex Pistols, Kraftwerk’s Computer World and Venom on the same day. And I thought it was all punk. It was just everything that was weird.”

Much of the interview concerns itself with the fact that Murphy is an unusually old frontman, especially for a band as popular with “the kids” as LCD.

“You know, novelists are older now,” says Murphy. “Things are happening later in people’s lives. They’re kind of living lives and then creating things about the lives they’ve lived. Rather than being an artiste at an early age and coming out with a ball of fire. That energy has been co-opted because you haven’t immunized yourself yet against media. It’s easier to get swept up things then take a couple of years to get over your, like, indie rock hangover. I’m scraping the fucking Quarterstick Records crust out of my eyes when I’m like, 27. You know, ‘Why am I playing in 5/7? How is that fun?'”

“[You’re part of a] machine that’s set up to really whip your teenage ego into a frenzy,” he says of live performance, intensive touring and the attendant lifestyle. “On the one hand, that’s awesome, because you’re kind of immune to it. But on the other hand it’s not as much fun. It’s like being an adult at an amusement park designed for kids. I’m like, ‘I can’t fit on any of these rides.’

Murphy has lately been criticised for a perceived lack of originality, and for his barely disguised co-opting of musical ideas from the likes of Lou Reed, Brian Eno and David Bowie. From the sounds of it, he’s neither surprised at the criticism, nor at all fazed.

“There’s all this anxiety that people are going to ‘catch’ you. No one wants to get called out for being derivative or something. It’s like, we’re all making rock. No one’s reinventing the wheel over here. If anything, the balance is struck by not worrying too much about it. So I’m spending my energy trying to make a good song rather than spending my energy trying to cover my tracks.”

Read the full interview here.