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12.04.2019 | Words by: Emma van Meyeren

January 2017 Princess Nokia filled up the small room of the Melkweg for one of her iconic performances. She brought New York DJ LSDXOXO with her, who had at that time 2 EPs (softcore and whorecore) and an album (SACANEGEM) out. If Princess Nokia knows how to get a crowd going with her straight-up lyrics and don’t give a fuck attitude, LSDXOXO was probably the best possible warm-up to that. Combining club sounds with rap and R&B, you could find a wavy remix of Cassie’s A Long Way To Go as well as the most banging vogue sounds vxxdxxpvssy on their soundcloud. With the 2018 release of his EP Body Mods you could hear an LSDXOXO cut almost everywhere, but it’s probably still played the most by DJs who like their music fast (none of the tracks fall below 130 bpm). Last week he’s played Berghain and did a Boiler Room that went all places pop, rave and club.

To DJMag he said that “I wouldn’t say that I’m consciously confrontational with my music. It just happens that way. The fact that I’m a gay black man in a field typically inhabited by straight white men is confrontational enough at most times. I can’t help but spill a bit of my narrative into my productions — that narrative just happens to be a very sex positive, and socially radical one.” That narrative is also portrayed beautifully on his Twitter, and so I sent him over a few questions that have to do with his most faved Tweets.

Q: You do a radio show on Rinse every month that you once tweeted about filling up with all Baltimore and Philly club music, have you gotten around to doing this yet?

A: Haven't done this yet, but will likely make it happen before my time as a resident there is done. Baltimore and Philly club music are certainly some of my main influences as a producer, so I like to shine a light on those that I've listened to over the years whenever I have the chance. My favorite is probably DJ Sega from Philadelphia. He's got really aggressive tunes,
and some really great edits to pop and rock records that you would never expect to hear. He's got a really good remix to the original mortal kombat theme that I play in almost every set, an equally insane remix to Papa Roach's "Last Resort", and even a baltimore club cut for Nirvana's "Teen Spirit". He's definitely mastered the art of musical trolling, in my opinion.

Q: Last month we lost Prodigy frontman Keith Flint, in a tweet you mentioned him as one of your biggest influences. In what ways did he influence you?

A: My earliest recollection of the Prodigy is probably one that's shared with most of their fans. The "Firestarter" video has been seared into my brain since I first saw it at six or seven years old. Everything about that track and visual was so fantastical to me as a child, and honestly that feeling has only intensified as I've grown. There's something quite mystical to me about their music, and Keith's aesthetic in particular. They're another band that I've admired over the years for stepping outside the bounds of genre, and were also my introduction to breakbeat.

Q: You had a strong and correct opinion with regards to this blasphemous tweet saying Madonna doesn’t have any bangers. What’s do you think is her biggest banger? (I’d like to put ‘Don’t Tell Me’ forward as a nomination for this)

A: Don't Tell Me is definitely in my top five! Yeah, Madonna has quite a "colorful" career and personality as of late, but we can't take her legacy away from her—she's been dropping gems for decades. Most of my favorites from her come from Confessions on a Dancefloor, but that's probably just because that album's so dance-driven. I can still vividly remember what hearing that ABBA sample on "Hung Up" did to my prepubescent gay heart. "Ray of Light” is another one that was super formative in my musical taste. I could honestly name songs for hours, but not quite sure that I can pick just one track as my favorite. The magic in Madonna's music for me mainly derives from the fact that she's just never bound herself to one genre. I feel that I use the same philosophy when it comes to making music. Who said a country song and a poppy techno record can't exist on the same project?

Q:  Preparing for your last Boiler Room you were asking for an acapella of Yves Tumor’s Licking an Orchid, did you end up finding it?

A: Apparently, isolated Yves Tumor vocals are hard to come by! I haven’t found one yet—I’ll eventually try my hand at re-recording the vocals myself. I wouldn’t call myself a singer, but I’ve been doing quite a bit of work with my own vocals lately. I’ve also been learning to process and engineer the living hell out of said vocals.

The most recent edit I’ve made is a Baltimore club dub of Moloko’s “Sing It Back.” I really wanted to play that track in a boiler room session I recently did in Paris, and felt the edit made it blend a bit better with my sound.

Q: With rapper Megan Thee Stallion going viral on social media these past weeks you tweeted “Megan is a better rapper than most of these male chodes out right now and this discourse about her body is repulsive lol” — where did this thought come from?

A: Haha was a bit ramped up with that one. It's just frustrating to me that there's so much room for male mediocrity within the music industry, while any woman aiming to succeed as a musician
has to hit every mark on a check list that's (unsurprisingly) created by men. Megan Thee Stallion can probably rap circles around any male rapper that's debuted within the last few years,
yet the biggest discussion in mainstream media is about how she presents physically. She's got this one track called "Big Ole Freak" that I listen to with its' accompanying video every morning ritualistically. The track's basically celebrating the freedom she has in expressing her sexuality, and also a direct shot at the guys that might be intimidated by that.

Q: What about the following tweet: “Where’s the conversation about meek mills’ booty? Drake’s titties?”

A: Was definitely trolling when I followed with that, but in a nutshell was harping on the reality that male rappers generally have the luxury of gaining notoriety within their field without being physically dissected and/or judged by the public. The day I see a headline about Drake’s ample bosom, or a think piece on whether or not Meek Mill has a fake ass, I’ll shut up!

Q: You referred to your upcoming album as Fantasea 2, the never released follow-up to Azealia Banks’ Fantasea, does this mean your album is not coming? :(

A: Azealia Banks has been making plans to release the ‘Fantasea 2’ record since I was still in college, and It’s sort of a running joke on twitter at this point. Being a fellow Gemini, I feel I’ve now also taken on the never-ending project curse. I’m guessing it has something to do with applying too many expectations to a single piece of work.

Q: Lastly, you Twitter to shame you into finishing your album so my closing question is, of course, have you been shamed enough? When can we expect the album? :)

A: I’ve actually gotten quite a bit of intense encouragement from my followers since sending that tweet out, and it’s appreciated! It’s quite easy to get into your head when releasing new music, especially when taking your sound in a new direction. At this point, I’m honestly quite pleased with what I’ve created for this project, so I’ve become a bit more confident in wrapping it up. A lack of deadlines is definitely one of the hang ups that comes along with self-releasing. That being said, I’m aiming to have my debut album out by the end of the summer. Hold me to that!


Picture by: Hendrik Schneider

LSDXOXO will be playing tonight from 1:00 until 3:00 after Panda Lassow. Before Laurel Halo plays from 3:00, and LYZZA closes the night after 5:00. Tickets are still available here and at the door.
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