MG: How does this record differ from your previous work?
LX: I feel like all of my records, including this one, deliver my narratives quite well, but this one finally has my songwriting and my vocals. There’s not there’s not much sample work on this record as well. It sounds like there is but I wanted to find a new way to have that specific texture without sampling from other records. I’ve always written poetry and things like that for myself. So with this record, I wanted to focus on song structure and lyrics, and not just weaving club tracks together.
MG: My favourite track on this record is ‘The Devil’. It has that Dance Mania, Chicago house kind of feel but also has a bit of a techno element, very 90s New York, and those sacrilegious, nay sacrilegious, lyrics? Oh my god.
LX: That was the first one that I wrote on the record! I think that’s why it feels so campy and playful. I was writing my album at the time and my writing process was way more intellectual and heavy so with this one, I was stepping out of that process to give myself some room to breathe. I named the record ‘Dedicated 2 Disrespect’ because I wanted to have this really vulgar sound that reflects who I am as an artist. It’s not just shock value, it’s who I am.
LX: Right? I mean, I come from both the African American and a Caribbean Hispanic experience. I’ve always been taught to be ashamed of parts of my identity. I’m making this record and my music in general to celebrate those parts in totality. It’s just been such a process: being a Black man and also being a gay man and finding my voice, not just as an artist but as a person too. When I began making music, I was scared to be seen. Now I’m proud to be seen and heard.
MG: So this marriage of pop, punk, techno and sex seems like a natural combination for you. Would you say you’re creating a blueprint?
LX: Not intentionally. Other artists today, they kind of had this kind of like ‘fuck you’ approach to making music, and I’m really enjoying it. People like Willow Smith or Lil Nas X are artists that don’t come from a specific genre or have just one approach. Instead the process is more explorative. My mission is about exploring genre and new ways of incorporating different influences. I’m finding a lot of joy and collaborating with other producers now. I definitely didn’t want to relinquish that much power when it comes to the production side of things because I feel like that is so important in my music. Not many people can emulate what I do as a producer. It’s a very unique thing that I do. So now, after I took some time off from producing to focus on songwriting and my vocals, I’m ready to collaborate. I hadn’t released music in almost three years before I released my last single from this record. Now I’m just flipping music. It’s just like, pouring out of me.
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LX: The most important thing for me moving forward is to not be comfortable when given a platform, but instead shake up the system a bit and open some doors for other artists that come from different upbringings and backgrounds. Building a bigger space for people like myself so that I’m not the only Black person on line-ups. That’s so boring. There’s this clear erasure of Black artistry from Black music over the decades, where all the money and visibility are given to white artists. It’s helped me to realize how important it is for me to actually be visible as an artist. I think it’s important to show people that you can do glam and camp here without diluting the importance of the craft.
MG: So it’s time to do away with all the grayscale & monochrome?
LSDXOXO’s ‘Dedicated 2 Disrespect’ EP is out now, get it here
Marco Gomez is a freelance writer and a producer/DJ as False Witness, follow him on
[Additional photography shoot credits: Casting: Mother; Production: Public Space; Producer: Monika Martinez; Lighting Director: Anton Andalus; Photography Assistant: Anasol Michael; Light Technician: Jan VonEssen; Production Assistant: Nix Franco; Health & Safety Coordinator: Solomun Batsukh; Post Production: One Hundred Berlin; Cast: Soul Suleiman, Nasi Goreng, Cem Dukkah; special thanks to Tresor]
This content was originally published here.