#lxmp

[slawomir-ksiezniak]

#lxmp #lublin #ddkwęglin #peryferia #próba #bartekżurawski #maciomoretti #piotrzabrodzki

[reinventingthecuil]

LXMP

[trackertower]

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Tatsuya Yoshjda (Japão) e LMXP (Polônia) no Festival Música Estranha #tatsuyayoshida #lxmp #festivalmusicaestranha #trackertower (em Trackers)

[subiektywne]

LXMP - Żony w pracy

Żony w pracy by LXMP

[witchhousepoland]

LXMP + Tabata Mitsuru - The Posenburg Concertos (2013)

[reallivesound]

I went to Deerhoof (with Solo's and LXMP)

This blogger was incredibly excited and also 3 hours early to see Deerhoof. I was there just in time to hear Deerhoof rehearse through a blaring rendition of Twin Killers that was great super-great, and of course my lone applause echoed after the sound-check. 

I briefly spoke to John Dieterich, one of the most creative "indie" rock guitarists around, about the street we were on. I also introduced myself, trying to hold back fanboy tears, to Ed Rodriguez, Greg Saunier, and their "tech" Derrick (or Darren?? sorRRY). This is my in, enter the world of Deerhoof. Doors open at 8:30, my friend is already in tow with alcohol. I do not imbibe.

The show opened with a performance by Solo's, who's partly a super-group of some-sort featuring Spencer Seim from Hella who style themselves as "Power-Psych".

Bottom of the Hill features little reverb so pack your own, buds.

The sad fact is that I felt little about Solo's. It was simply competent, not very expressive or unique in any regard. The drumming was the high-mark, with the rest of the instruments unaffectedly gliding on top. They were just there. Solo's will certainly feature at a mall near you some time soon.

We were then treated to the Polish group LXMP, who arrived with a minimal keyboard setup and featured the drummer playing a keyboard while whacking away on Greg's drumset. 

Nightmare on Beep Street, it's a Squarepusher reference.

The music itself was spastic and seemed to transport me to some kind of chiptune hell. It took a while to realise that I was actually listening to this duo perform a twitchy version of Rock-It by Herbie Hancock. It was ridiculous, sometimes painful, and really really fun. LXMP's bleep-bloop's might not be the deepest or most profound form of sawtooth noise-making around, but I was entertained.

Ah yes then Deerhoof, with their last record I was worried that its electro-skonk wouldn't translate well to Deerhoof's splattering and clattering live-show. I was mistaken. We Do Parties opened with a fuzzed out bass riff and gave the song a fierceness that was sorely lacking on the record. Satomi Matsuzaki, the band's secret weapon, sang her lyrics in between organized dance moves that inspired the audience to dance along, even if the beat they were following came from drummer Greg's time-warping bangs and trashes. 

Greg exchanges a very long story about Deerhoof's history. Deerhoof's brevity requires personal sacrifice!!! ^_^

Telling of the band's attitude is the fact that all four members were lined up in front of the stage, moving back and forth in rhythm with each-other. The guitar duo seemed perfectly in sync though they never exchanged even a glance, not batting even an eye when the drums furiously tore up the song and its groove.

Like a Nico but even more out-of-space-y, Satomi led the band through a poignant cover of VU's "All Tomorrow's Parties". Check out Ed's display of sexual ferocity, expressed through matching blue floral print.

But the rather short set was over before it began, and not even the fantastic "Come See The Duck" stopped me from feeling disappointed that I didn't get to hear some of Deerhoof's more obscure but dope traxx. Deerhoof is at their best when they challenge their audience, but with their new record that they're touring it seems like they're taking a breather from that. Even so, Deerhoof is a live powerhouse and always worth it, so I didn't regret the trip.

After the show I exchanged some jokes with Mr. Greg (he's soooo sweet) and he signed the 7" I bought with the dollars I collected from my friends. Apparently he does love the drums, even when they take him to the brink of exhaustion, force well-spent.

- smogcat

[yinyangpizzas]

Saw Deerhoof last night in San Francisco and this band opened. They were from Warsaw and had no idea what I was saying when I excitedly approached them post-performance to tell them how cool I thought they were. But they were cuuuuute. (Wish I could find a better, less muted, more recent video because they were mind blowing.)

[burlveneer-music]

LXMP - Rockit - tell me if this is not the wackiest Herbie Hancock cover you've ever heard.

Precisely 30 years after the original album's release, LXMP offers its take on Hancock's 'Future Shock' - the record from which everybody knows, and loves, the piece 'Rock It' and nothing else. The record which was supposed to be the dawn of the 21st century and so on and so forth. To answer the commission of Unsound festival, whose theme for 2011 was "Future Shock" (a reference, naturally, to Alvin Toffler's book), Piotrek and Maciek decided to take the easy path and delve into the world of synthesizers, the back-then-ominous MIDI sound, digital reverbs, horrific longueurs and Bill Laswell. In their interpretation, they did all they could to cross out everything from that list, except the synthesizers. And the drums. And the broad use of the vocoder. And Thymme Jones of Cheer-Accident who laid down the drums on the title track. 

Before the release, the band managed to showcase the material at a few live gigs in Poland, Europe and the cradle of futureshockism - the US, where their rendition met with deep understanding and respect from the MIDI people. 

'Back To The Future Shock' is published in two formats: CD and LP. To honor historical truth, the CD features a bonus track - a remix of 'Rockit', created by Brazilian artist Mauricio Takara.

credits

released 19 June 2013 

Piotr Zabrodzki – Korg Mono/Poly, Korg Delta, Korg MS-20, Alesis QS6, Akai VX-73, Minimoog, Talkbox, Programming 

Macio Moretti – drums, Korg MS-20, MicroKorg, Vocoder, Dutch Hardcore 

guest starring: Thymme Jones - drums (track 2)