“d/evolution” is the first full length album by the brilliant Spanish duo LCC (previously known as LasCasiCasiotone) on Editions Mego (to be released on May 26th). Formed by Ana Quiroga and Uge Paneda, LCC is a sonic reflection about the paradox of evolution and the stridency between technological advancement and the disfiguration of natural environment. In  spite of its topicality, such a theme might sound somewhat hackneyed, but the form, playing with this ambiguity by way of simultaneous evocation of images from urban and natural environments and  reciprocal transformations of synthetic sounds into organic ones, is quite an intriguing one. Let’s dig deeper.


Chain D.L.K.: Hi there! How are you?

LCC:  Hi! Very good, thanks! Really excited about the release of the new album on eMEGO.


Chain D.L.K.: You shortened your initial moniker from LasCasiCasiotone to LCC… was it just to save some ink?

LCC: Yes! Saving some ink is a good reason, above all for the trees! Aside from that we like the acronym and we like to make some changes. The main reason however is that most people don’t know how to pronounce the name. During these 4 years, we have been addressed in several freaky ways.


Chain D.L.K.: Could you introduce yourself in your own words? How did you get close to electronics?

LCC:  We met in 2007. First, we started DJing together. Uge had been producing electronic music since before and Ana had played the bass a little bit. We started to make music together at the end of 2009, and in early 2010 we formed LCC (acronym of Las CasiCasiotone). Since then, we have made and have been involved in different audiovisual projects all the way to now.

We have different ages and we have been influenced by different styles. However, both of us started to listen – involuntarily – to electronica at home since we were children. Thanks dads!
Then, Ana, got closer to electronics, mostly through industrial-rock bands such as Nine Inch Nails and also through the Big Beat and Break Beat of the 90’s.
And Uge, got closer to electronics mainly through Neubaten, German electronica of the 70es and onward, Kraut and Brian Eno among others. Then, while in Iceland she started to produce music motivated by her musicians friends.


LCCChain D.L.K.: I really liked your first album on the legendary Austrian label/laboratory editions Mego… before speaking about that, I’d like to know how you got into their roster…

LCC: We can’t explain it to ourselves either. Only Peter Rehberg knows! We just love eMEGO and we decided to send some songs and say hello. Well, we also sent him a lot of presents and the head of a decapitated horse, but we don’t think this was decisive, do you?


Chain D.L.K.: I appreciated the way you rendered the concept of d/evolution by means of the universal language of sound. Such as those reversed pulse sounds which mirror the dark side of human progress… could you tell us something about the birth of this album?

LCC:  We have been thinking a lot about the concept of the album. Thoughts that our minds have been feeling for years.

We noticed the necessity to express our reflections about all of these issues and that’s how “d/evolution” was born.

The album reflects on the paradigm that is evolution, and examines the extent to which our development and technological advancement, which is inevitably bound to the extraction and processing of minerals from the earth, has broken and deformed our natural environment. Depleting our resources in an unsustainable way turns what had previously been a symbiotic relationship between humans and the Earth into a parasitic one.


Chain D.L.K.: Have you showcased it on stage? What were people’s reactions?

LCC: Not yet! We’re going to present the new album at L.E.V. Festival (May 3th) in the Church of Laboral. We have prepared a special show. We’re very excited!


Chain D.L.K.: Both concept and some sonorities of yours remind me of the atmospheres of the Qatsi trilogy by Reggio, which was made famous by Philip Glass’ score as well… what would your response to that score be?

LCC:  It’s an honor that our work has reminded you of Philip Glass. We know how important his work is. Oddly enough we haven’t watched the trilogy yet.
Remaking “Qatsi” would be a hard work because it is a very recognized work for critics. And one of the objectives of Reggio was to create an indivisible work between image and sound. That’s why maybe our choice would be represented through sound, our personal emotional travel after seeing “Qatsi”.


Chain D.L.K.: A propos of intersection with the seventh art, I’ve read you scored an interesting documentary called “Ciutat Morta”… what can you tell us about that score and the movie?

LCC: “Ciutat Morta” is a great documentary. A horrible story, one of many that occur in our country and cities all over the world. We really recommend that you see it. Everybody has to know the truth. The soundtrack is actually a few tracks that we offered to the director. He kept in touch with us but we were very busy at that time and so we could not write a score from scratch.


Chain D.L.K.: You encompassed social criticism as well… do you think that the so-called “politically functional” label could be applied to electronic music as well?

LCC:  Why not? Art and music aren’t only aesthetic, they are also emotion and thought. Just like Reggio needed works that gave way to images like a language for change, in the same way we use the sound as the best language to express ourselves and translate our inquisitiveness, reflections and emotions.
Specifically, in “d/evolution” there’s a “politically functional” way, but not one to indoctrinate. We just want to pass on our thoughts and worries and give the opportunity to reflect through sound.


Chain D.L.K.: There are many tracks of the album which can titillate imagination… what’s the most visionary dream which was aroused while re-listening to your own music?

LCC: It’s really exciting to listen your own music and letting go with the flow. Ana feels an aerial travel, over the Earth, focused on the Earth’s crust and also on the different landscapes, feeling the strength of nature. However, Uge travels to the center of the Earth, feeling the power of the rocks, cratons, and lava. Curiously both of us don’t feel the Human presence, just only at the end of the album, in the latest track (“Silex”) when melancholy appears more strongly.


Chain D.L.K.: What’s the connection between your past releases and “d/evolution”?

LCC:  There’s not really a connection. The sounds of “d/evolution” started to emerge in live shows that we made at L.E.V. in 2012. We created all the sounds for this event and it was the start for our travel until “d/evolution” came about.


LCCChain D.L.K.: That sad piano melody on “Adámas” reminds me of something… is it a musical citation?

LCC: Not in a conscious way, but we’re sure that a lot of times we create sounds and melodies that are the consequence of our unconscious musical background. We are convinced that there’re lots of small musical pieces that already exist hidden in our minds.


Chain D.L.K.: Are there any artists/musicians you’d like to work with?

LCC: Oh! great question! We really would love to work with our mate Robert Lippok (Robert, this is a public insinuation, email us!). Also with Eliane Radigue, Arvo Pärt, PJ Harvey, Trent Reznor… And one of our dreams, would be to someday make a soundtrack for Michael Haneke, Gus Van Sant or David Lynch. Yeah, our imagination is very diverse!


Chain D.L.K.: What can you tell us about the cover artwork?

LCC: The cover artwork was designed by us and our dear friend Alberto Santomé has collaborated too. He’s a great designer. The picture of the cover is from Carlos Soleir, a photographer and also a friend from Gijón.
We were working on the concept of the album and during this period we saw the photo by Soleir and it was perfect. The juxtaposed picture of the crow suggests the paradox that the title encloses. Also reflecting and transmitting travel, in two directions or two ways to live.


Chain D.L.K.: You’re Asturian, but you recently moved to Gjion… how come? Is Gjión more culturally alive than the Asturian region?

LCC:  Actually Uge is from Gijón and Ana is from Mieres (a small town in Asturias too). Uge lived out of Gijón for a lot of years, the last 3 years in Iceland, and then she came back to Gijón by the chances of life. Ana moved to Gijón a few years ago, principally, yes, because Gijón is probably the more culturally or musically active city of the region, and also because it has the sea, a powerful tool for the mind.


Chain D.L.K.: Some notorious Spanish old cats of the electronic scene, Esplendor Geometrico, said that music cannot be anarchic at all, as it’s always organized chaos… do you agree with such a perspective?

LCC: Well, maybe “at all” is too categorical for us. But, basically, we think the same. Paco de Lucía always said that one of his biggest challenges was playing with jazz musicians. Improvisation seems chaotic but it isn’t. It’s fluent but at the same time there’s order in their own chaos.


Chain D.L.K.: Speaking of Spain, is there any unknown electronic musician who would be deserving of more visibility in your opinion?

LCC: There are a lot! Spain has a great number of unknown music producers or with less visibility than foreign musicians. For example all the musicians who have been a part of CasiMiniFest, a little event that we organize to share the work of different non conventional audiovisual productions.


Chain D.L.K.: Any forthcoming gigs this Spring or Summer?

LCC: For the moment we’re going to present the new album at L.E.V. and then we will wait for the release! After that, we hope to play a lot, because we really love the energy of stages and live concerts. So, festival organizers, here we are! 😉


visit LCC on the web at:


Please enter your comment!
Please enter your name here