In the ten years since his debut album as LCD Soundsystem arrived, plenty has been written about James Murphy.

An online search for LCD Soundsystem, their three studio albums or the film of the band's swan song Shut Up And Play The Hits turns up hours of lengthy soundbites on the influential musical project, along with pages upon pages of photos of the sole founding member and songwriter in his trademark white office shirt, suit jacket and unkempt hair - a figure of note in New York's rebirth as a global hub for leading edge music and culture during the 2000s.

At their peak, Murphy and a crack team of touring musicians delivered an electrifying experience live; a clutter of strobes, beats, layers of synths and innovative percussion. On record, LCD captured the essence of the flourishing NYC dance-rock scene that thousands of artists and bands between Brooklyn and Brighton looked to emulate and be part of.

"I hear that you and your band have sold your guitars and bought turntables. I hear that you and your band have sold your turntables and bought guitars. I hear everybody that you know is more relevant than everybody that I know."

Elbowing their way to a successful position at the forefront of another creative exploration, like that which had helped to define New York City in the late '70s and early '80s as rock rubbed shoulders with hip-hop and punk fell in with disco, LCD Soundsystem's bold new sound typified a new and confident DJ-meets-guitar approach to producing and playing music.

Murphy and LCD are just one part of this particular moment in the complex and ever-evolving story of contemporary music.

Output by artists signed to NYC-based DFA Records - co-founded by James Murphy and Tim Goldsworthy - shared many connections to LCD's music, and the collective might of the roster propelled the label into the international market, winning fans via a DIY-style ethos to branding and artwork, punk and block party sensibilities and focus on releases from dance-rock crossover acts.

Common threads between artists on the DFA roster include a reverence for the music of acts like Joy Division, Talking Heads, TV On The Radio, Tom Tom Club, David Bowie and Happy Mondays, as well as the diverse electronica of UNKLE, Liquid Liquid, DJ Shadow, Kraftwerk, Brian Eno, Can and Daft Punk.

The Juan MacLean, aka musician John MacLean, one of the sonically closest of the DFA labelmates to LCD Soundsystem, also counts vocalist Nancy Whang as a de facto member. And whilst MacLean's cosmic disco is warmer than Murphy's early edgier alt-dance, both artists have worked in longform to allow the integration of repetitive motoric rhythms, arpeggios and drawn-out synth lines into their songs.

LCD's creative and business tendrils can be traced further to DFA stawarts The Rapture from the early Noughties through to more recent signing Sinkane via Holy Ghost, Yacht, Shit Robot and Hercules And Love Affair, visiting radio-friendly techno, house, electroclash, synthpop and funk along the way.

Murphy's musical influence also extended well beyond the label, the boundaries of NYC and outside the US. At the time LCD Soundsystem's debut landed, three and a half thousand miles away in the UK, a London act called Hot Chip were making similar waves with their intelligent hybrid of indie and dance.

The band's 2006 album The Warning was a darker take on their debut Coming on Strong; parallels between songs like 'Over And Over' and 'No Fit State', and LCD's 'On Repeat' and 'Yr City's A Sucker' are unmistakeable.

Links between the two acts developed further: Hot Chip band member Al Doyle went on to play live with LCD, taking up bass, guitar, percussion and synth duties, both acts toured together in 2010, and the Londoners eventually signed to DFA exclusively for North American releases along with Joe Goddard and his side project The 2 Bears.

Tracks from LCD's 2005 debut such as 'Tribulations', 'Disco Infiltrator', and 'Beat Connection' throw up resemblances to releases by Arcade Fire (whose last album Reflektor was produced by Murphy), St. Vincent, Friendly Fires, Metronomy, CSS or Yeasayer.

Even a track on Daft Punk's global smash hit Random Access Memories - 'Contact' - feels like it has the Murphy touch; a fitting coda to the LCD story given the title of the first track on their debut album, released ten years ago today.

Similarities go beyond the mere structure of a song, a tempo or arrangement; this is music that shares abstract and left of field ambitions, producing music that makes a statement whilst simultaneously shaking the dancefloor.

The impact of that first record by LCD Soundsystem, and its support of and influence on the coming together of electronic production and live guitar-orientated sounds should be regarded in the same way as the work of new wave pioneers like Depeche Mode or Gary Numan, and British crossover dance-rock acts such as The Prodigy or Chemical Brothers.

This critically important record still sounds innovative a decade later; more is yet to be written on the legacy of Murphy and LCD.

"Everybody keeps on talking about it, nobody's getting it done. Everybody keeps on pushing and shoving, nobody's got the goods." - Yeah.