Phase one of the confinement: Ezra Ortega (Le petit Ramon, Vyvian, etc) and Pau Julià (Manos de topo, Tarántula, Hijos del trueno, etc) meet in Barcelona, connect and decide to blow a soap bubble in the heart of the Raval neighbourhood. There they will settle and isolate themselves for months to compose a material that, at that time, they don’t know where it will lead them formally. After the first months of hibernation, Disco Lehmitz not only boast a repertoire of songs like the one that now sees the light of day in this album, but they also begin to offer concerts, surprising both friends and strangers with an irrefutable live performance.
Recorded by the duo themselves, with the help of Guille Caballero on keyboards (Chaqueta de chándal, Surfing Sirles), this first full-length is conceived for dancing and worse. Let’s say that, without being a typical electro-pop album, Ezra’s lyrical explicitness and the caustic post-punk that the combo boasts come to us in the form of an open-handed slap. Without guitars, but with the groove of Julià’s bass as their banner and a use of analogue electronics as grainy as it is sharp, Disco Lehmitz debut with ten tracks that follow one after the other like a rolling pin, oozing uninhibition, urgency, cheek and, above all, iconoclasm.
Like any work that stands out on the fringes of the genre and oozes personality, as the listens go by, the album gradually unveils authentic moments of lucidity, thanks to which we can glimpse a meridian honesty that will manage to change our initial perception. Indeed, the irrepressible and the explicit are perceived in the foreground, but behind them lies an incipient sensibility, which illuminates the songs from other places and allows us to enjoy the genuinely pop dimension of these songs.
