LXMP (duo)
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
LXMP is band consisting basically of bassist Piotr Zabrodzki and drummer Macio Moretti. But on every release they are also accompanied by a 'guest star'. On their first album "Broken Strings" they invited Japanese guitarist Kazuhisa Uchihashi, on second "Lost Tuba" - American drummer and keyboardist Chad Poppe and on third "The Posenburg Concertos" - Japanese guitarist Tabata Mitsuru.
Music of LXMP is all about the deconstruction. Deconstruction is European idea originating from analytical approach of Bacon and Descartes but in its modern form was popularized by anthropologist Claude Levi Stauss. In last century it become omnipresent being applied in philosophy, sociology, psychology and also in art: most of all in literature, painting and music. Sonorism, punctualism, dodecaphony, serialism and other similar genres can be seen as the emanation of this idea. Irrespective of all differences between them they share one common feature: they were unanimously hated by the audience which boycotted any concert hall or orchestra which dare to play it.
Eventually all this movement come down to popular music as evidenced by such projects as LXMP. But the problem with deconstruction is that it cannot stand on its own. Without some base, foundation and reference it is meaningless like bones without flesh. That is the case with first two albums by this band which I criticized thoroughly in this review. I was so discouraged by them that I passed third one but when I've seen the title of their fourth release, clearly referring to the legendary Herbie Hancock's disk from 1983, I decided to give them 'second chance'.
"The Future Shock" is one of the most famous Hancock's albums, partly due to the huge commercial success of the hit song "Rock It". The result of cooperation with Bill Laswell and bunch of other musicians it was influenced as much by pop as by funk and electronic dance music of that era. The connoisseurs of Hancock's recordings however do not value it particularly high and to be honest the time treated this album rather cruelly. But that was exactly what LXMP needed to implement their deconstruction method successfully: material was easy to transform and the language simple to distort.
The result of such a transformation turned up to be a little bit funny, perhaps odd but... fresh! Its appeal reminds me a little a charm of old Monty Python sketches. Lovely but hopelessly old school. But are we not lately kind of fascinated by old school clothes, cars, behaviors? Perhaps that is just my overstatement but is it not a respect or even love that shines through all this irony present on this album? Respect and love toward music long-forgotten, seriously outdated but in its kind perfect, composed and performed on level often unattainable in present decadent times? That's at least what I like to imagine during repeated rehearsals of this material which prove something more than pitiful waste of time as was the case with first two albums of this duo.
Finally let me add that like on previous discs Zabrodzki/Moretti invited a guest for his recordiding in person of Thymme Jones from band called Cheer-Accident who plays drums on the title track.
Tracklist:
1. Rockit
2. Future Shock
3. TFS
4. Earth Beat
5. Autodrive
6. Rough
7. Rockit (Mega Mix)*
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