The UK has produced absolutely brilliant musical comedians. Bill Bailey, Dead Cat Bounce, Eric Idle… heck, even David O’Doherty. LXCO, I’m sorry to say, is not among them.
On a musical level, the electronica has potential – there’s definitely a base to build on there – while he’s speaking, it kind of works. When he’s singing out of tune, it really doesn’t. The notes on Bandcamp say that he paid someone to record the vocals – if I was paying someone, I’d expect them to tell me if I needed auto-tune. I was hoping it might be a weird recording fluke, but there’s a live song included that’s the same.
Technically speaking, the music and vocals need to be mixed so that the vocals don’t sound so completely different. Of course they’re recorded separately, but I shouldn’t be able to hear that quite so clearly.
The thing about musical comedy is that it needs more than this. When a song is called “Don’t Be a Cat” and it turns out to be someone saying “Don’t be a cat, mate,” …it just doesn’t go anywhere. None of the songs really won me over. “(Supposed To Be) Big Epic Ending” had a good premise, but went on too long for a song about how he didn’t have time to finish a song. Admittedly, I’m sure I have friends who’d laugh at least once for “The Inspiring Ballad of Hodor.”
The thing is, I was trying to do the whole ‘constructive criticism’ thing with this album. Then I got to the ‘accidental’ fisting in “Happy” and then another rape in “How I Won the War.” So, now? Fuck it. Rape jokes are bad enough when they’re IN tune.
I can’t even remotely recommend this album, but he’s probably got a great future playing for repressed nerds and brogrammers if he can get his hands on an auto-tuner.
Written by Leilah Thiel