Lugncancer is more of an online collective than a band. The three members met online and live in different countries and the difficulties that such a situation presents to a recording process were actually written into the album. The album was created in parts—One person recorded something, they passed it to the second person who recorded over it, and so on. It’s an interesting concept that really appeals to me as a fan of experimentation. When I spoke to member Silje Braender they had this to say,
"These recordings are the result of recordings being sent back-and-forth for about two years. The groundwork for each song was recorded in one place and then sent on to the next. As each of us had different recording preferences and abilities, each song started as one’s baby, then quickly became deformed as the next laid their hands on it.
To make a long story short, a British drummer, a Swedish noise-fanatic, and an American with a taste for electronics, all wanted to make something together with the common goal of losing control over the recordings."
And that’s the part I really find interesting—The common goal of losing control over the recordings. John Cage was a big fan of removing himself from his compositions and I think Lugncancer kind of put their own spin on that philosophy with this record. This record also serves as a testament for what the Internet can produce. Yes, it often produces horrible things but here we see three people, separated by geography, coming together digitally in order to create something truly unique. Even if you’re not a fan of noise music, you have to appreciate the story behind this album’s creation. That said, let’s get on to the music.
I really love the way the drums sound on this record (and Braender was kind enough to mail me a cassette so, I was treated to the proper audio experience!!). The drums remind me of the drum sound on Weezer’s Pinkerton, which I also love. They’re lo-fi and a little washed out but also very big and roomy. And it’s a good thing they’re big as they serve as the foundation for each track. When listening to OYDT, it’s important to remember that these are not “songs” in the traditional rock/pop sense—This album is an experiment and so there are no catchy hooks or big choruses, there aren’t even vocals. But the timbres and textures that the trio is able to accomplish is outstanding. The tracks merge repetition with spontaneous novelty, allowing a listener to zone out into a daydream or listen intensely and critically to the cacophony as it unfolds.
The six tracks that make up OYDT are all similarly structured. The drums serve as the foundation and remain relatively static as electronics and distorted guitars are layered on top. A lot of the noise sounds improvisational but I do not know for sure if this is the case with every track.
With an album that is concerned with pure sound over everything else, you have to be curious about the gear. Here’s what they used:
Sunn concert bass & HH electronics 2x15 cabinet
Laney LH50 guitar amp & custom Black 4x12 cabinet
A Tama Superstar drum kit & a ”jumble drum kit”
Arturia Drumbrute
Arturia MiniBrute 2 synthesizer
Lenovo ThinkPad P51, Mini Mac, & MacBook Pro
Home built bass, Fender SQ P-bass
1960 Teisco Mosrite guitar
Various drum parts, a fuel tank, a stop sign and a lot of samples
Fans of experimental music and of noise music will absolutely love Ono Yoko Dos Tres. It’s brutal, raw, powerful, and imaginative. It also proves that there are always interesting new ways to create and record music.
Checkout the track "Tom Collins" below and purchase the album here.