Fuck Marry Kill


Genre: Electronic

Style: Ballroom, Baltimore Club

Label: ghe20g0th1k

Review snippits taken from Rafael Lubner’s revier over at TinyMixtapes

If we’re talking about transforming centers and margins, the influence of the internet looms large: its effect on the production and transmission of music is hard to overstate. Localized scenes are increasingly able to gain international attention, resulting in cross-pollination and collaboration. “LOVE TAPS” is a case in point. It begins with stabbing, rave-y chords, the type that might be heard on a Crazylegs release1, before bringing in some ballroom thump, Ha crashes, and chopped percussion. This is the sound of post-geographic music, capacious in its connections to tight-knit communities the world over. LSDXOXO synthesizes these distributed sounds, using them to add texture and weight to their productions. It’s an open-hearted and exploratory approach, using ballroom to explore variations in melody and rhythm. Make no mistake though, this is music to move people: always attuned to club spaces, whether in New York City or Cape Town.

Bodies are central to FUCK MARRY KILL. It’s an album-length narration of how they move through space. These bodies, so often the target for violence and precarity, instead become platforms for affirmation, knowledge, and connection. Discussing what makes a track “ballroom”, Divoli S’vere refers to “the vibe it gives ballroom culture. When making ballroom tracks, I try to keep in mind the essence and feel that a regular person would get if they walked in to a ball during a vogue battle or runway battle.” As a politics, ballroom works through the body. It’s a way of being in the world and a way of bringing a world into being: a somatic politics that uses the tools at its disposal to fight back against heteropatriarchal oppression. The body is the site from which new forms of being and belonging are birthed.