About Me
www.myspaceeditor.itPerhaps the quintessential independent musicians of the 2000s, the Larsen Lombriki performed in android costumes and never revealed their identities.
The earlier nucleus of Larsen Lombriki was shaped 15 years ago in the italian no-art open-group: DisOrdinazioni, a bunch of individuals into public art, tardy fluxus, neoism and prank art. They get involved in the musical area because of the idea of making a false documentary about the underground musical scene of Rome, with a variety of fake genres such as: sleep music, incredible car rave music and Rome society of cacophony. At the end of the process, instead of the movie, they produced Music for tourists a CD compilation with ten different bands, Larsen Lombriki was one of them and they were real like the others though!
Their isolation from the music scene remained absolute until they debuted in 1997, during the dark age that followed the demise of the rave movement and the collapse of grunge-rock, with a contradictory performance: a playback concert in a Rome club.
After three years of lazy underground musical life an indie label produced Larsen Lombriki debut CD Glad to be here(Rotor audio club/Snowdonia 2000). The music of this album consist of fragments and debris of junk culture (easy-listening, drunk ballads, psychedelic soundtracks, pop muzak, rock & roll-fanfares) and proceeded to sculpt a sonic montage that was deliberately amateurish but also provided a chilling documentary of the decline of western music, albeit disguised as a grotesque parody of its consumerism. that merged chamber and atonal pretenses with puerile rhythms and clumsy melodies. They waited 5 years to realise the second CD Free from deceit or cunnings (Rotor audio club/Snowdonia 2005), the Larsen Lombriki most complex work. Its sounds virtually coined a new form of retro-avant music out of symphonic primitivism and cacophonous dance-music. Despite the gargantuan display of sounds, they offered a bleak and terrifying vision of humankind, glacial, distorted, monotonous voices soared over instruments. That vision is expressed in a more programmatic format with the futuristic mini suite: Poliplastic; and reached its poetic apex with the track: Cane nero del congo, which is basically an experiment of "African-musique concrete" This time the Larsen Lombriki looked to expressionism, and to theatre, for crafting a work that was less chaotic than their early collages as well as more "punk-flower power" in the italian’s vein. One of the most thrilling post-modernist experiments on the human voice of the time.
