Lazer Sword Lazer SwordLazer Sword
Put the dancefloor adrenaline of Justice and Boyz Noise on the grill, then the digital psychedelia of Grasscut, the electro-magnetic discharges of Dimlite, the Venusian hip-hop of Diplo, the greasy wonkism of Rustie and the gamma ray storms of Robot Koch. Sprinkle some Detroit pepper and a bit of Sheffield barbecue sauce over the steaks and put on your Obi Wan Kenobi suit while you stoke up the fire with J Dilla oil. That’s what Lando Kal and Low Limit do on Sunday afternoons, and guests usually leave nothing but clean bones on their plates. And the best thing is that this isn’t a brand new recipe, hell, I bet that right now we could find some of those beat steaks in the most sordid markets of Tegucigalpa as we speak! Ah, my friends, but these two guys from San Francisco know very well how to use the ingredients and the measures to find the best point of taste, juiciness and texture. It’s not only me saying this. Mary Anne Hobbs, Modeselektor and the lucky few who have been lucky enough to feast on the duo’s dishes have done so earlier. So who am I to argue? In spite of their small discography, the two have been able to win the critics over with “The Golden Handshake” (Numbers), an EP released earlier this year to unanimous acclaim from the glitchers and bleepers. They left us hungry for more, and that’s why they have prepared this perfect bacchanal of futurist sausages, hamburgers, sweetbreads, ribs and entrecotes, so that our veins can enjoy a sweet and warm sea of electronic cholesterol.
Lando Kal and Low Limit know how to find the exact point between what we can call dancefloor, hip-hop, new beat and wonky. They use this four-dimensional universe to make a bubbling, modern and hedonist brew. The know how to combine the elements of the periodic table with a special skill in a way that nobody has to get bored. One of their strong points is that they transit different states of mind without being untrue to their stylistic credo. So the record advances meandering, ascending, descending and balancing between euphoric passages and artificial plateaus of outsider electronica, as if we were placidly surfing the herz waves. Without messing up their discourse with impossible postures, “Lazer Sword” unfolds for the listener as a sonic extravagance that works as a funkoid plunger in IDM format with polygonal chants –what a great tune “Tar” is, by God–, as a dada (and wonky) tribute to the beats of Flying Lotus – “Surf News”–, as a lesson in modern hip-hop that would make Pharrell Williams sweat – “I’m Gone”–, as a particular deconstruction of the Daft Punk sound (the sensational “Agrokrag”). It’s all perfectly assembled: the hinges of the tracks don’t screech, the pieces follow a perfectly lubricated rotation on our iPod. Lando Kal and Low Limit can take house and electro-pop and fabricate an elaborate carpet of breaks, vocal melodies and superposition of rhythms (in “Machine”); they can put their hands on the wonky bible and transform into genre purists (see “Web Swag”); and they can turn disco music into a fairytale dream with coke-addict elves and paedophile cyborgs, “Def Work”for example. They can invoke the spirit of the beats of Justice, and then add some chunks of rap to the digital gazpacho, with “Topflites”. Stakes were extremely high and the San Francisco twosome haven’t disappointed those who were waiting with their serviettes ready. “Lazer Sword” has plenty shock value and good stuff, it traps you and converts you into a devout in a matter of two bleeps. Yours truly has already surrendered and is ready to clean their laser sword whenever they want. Óscar Broc