LSZ’S FULL-LENGTH INSTRUMENTAL LP ‘HYBRIDE ÉLECTRIQUE’ SAYS A LOT WITHOUT SAYING ANYTHING AT ALL

A world fueled by the promise of instant gratification often falls flat, but not for instrumental progressive rock artist LSZ. His transcendent takes on rock music are a breath of fresh air. So much can be said without saying anything at all. People often forget the skill, effort, and creativity that carefully composed instrumentals require to be successful. LSZ truly is progressive; their compositions predominantly feature shredding guitar leads, but they occasionally throw in the element of surprise by utilizing digital instruments. His latest full-length LP, ‘Hybride Électrique’, stunningly articulates emotional depth and creative prowess. Though vastly underappreciated, this music is essential in today’s musical climate.

From the start, a steady 4/4 beat takes the lead. However, it increasingly grows more complex as the track continues—a staple trait of LSZ. He mirrors the likes of Yngwie Malmsteen in this way, perhaps more so than prog metalists Dream Theater. Stylistically, LSZ is nothing like the two, but his resilience and articulate guitar playing easily hold a candle to Malmsteen, especially in the LP’s opening track. It is like the ‘hook’ in a college thesis paper. You only have a few moments to gather an audience’s attention for an otherwise long-form statement, except with gliding guitars instead of flowery words (hi). Please don’t knock it till you try it with LZS. Once you finish “Révélation,” the rest is easy listening.

The most impressive part about ‘Hybride Électrique’ is its emotional intelligence. “Nostalgie” perfectly encapsulates this phenomenon. Though there are no lyrics, I am instantly reminded of fond childhood memories. It’s like looking at a sonic photograph; each guitar lead weaves in and out of itself, mimicking the passage of time perfectly. Electronic drums add so much gritty texture to the song, and this technique is leveraged nicely throughout the rest of the LP, too. Embracing these contrasts curates an unmistakable signature sound, especially as the drum beats incorporate heavier 808s later. The record most easily falls into the progressive rock category, but it also traverses into new-wave occasionally, dipping its toes into gothic elements, unafraid to experiment.

A technical music nerd, I am often fixated on the elements nobody gives a sh*t about. I’m like, “wow, the use of this major pentatonic scale with this 12/8 time signature is so cool, man,” making me the perfect victim for prog rock. However, LSZ does something incredible; he allows me to feel the music instead of thinking about it. Yes, his technical prowess deserves praise. That’s some crystal clear shredding for nearly an hour straight. Still, I’m left in awe-inspired wonder as each note evokes a new feeling or memory, some long forgotten. For example, I’m reminded of a world where time moved much slower and the sunsets were pinker, but this time, I am not faced with existential dread, but cautious optimism for the future. No wonder he named a track “Eurêka.”

LSZ’s grasp of dynamics is equally impressive, especially as he interweaves a push-and-pull with himself. He must establish a pseudo-chemistry, one forged out of pure creative drive. His ability to articulate his ideas sonically without saying anything deserves copious praise. Throughout my first listen, I found it difficult to construct any criticism. One could argue that he occasionally falls into the modern “overplaying” guitar trap that artists often do. Sadly for critics, though, he doesn’t! Instead, his fingers glide across his fretboard, letting the action in the strings do the talking. Each phrase feels intentional, not like he’s showing off for the sake of it. Consequently, that is why many are put off from prog rock—it has a pretentious reputation, but LSZ overcomes that gracefully.

“Ensemble” and “Dopamine” are the standout tracks of the LP. There are plenty of things that ‘Hybride Électrique” does well, but there are sparkles of greatness scattered throughout, and these songs are two examples. They feel the way a sunrise sounds, a fresh morning full of possibilities, perhaps after an extraordinarily rough night, made possible by effortlessly executed guitar playing.

Production efforts remain consistent throughout ‘Hybrid Électrique,’ adding to the listening experience rather than distracting from it. Each sonic vision is clear and calculated, making the storyline easy to follow. Of course, one doesn’t follow an excellent plotline when listening to an instrumental album. However, the best instrumental records have some story to tell, and LSZ did a fantastic job of making his name known via his production choices. Again, I was awestruck by using 808s over such stunning electric guitar tones.

Moreover, LSZ has a simple rig: his guitar, a pedalboard, and a groovebox. These days, musicians (myself included) get caught up in our gear. We want the latest and greatest, fixating on having the shiniest pedalboard in the lineup, and, consequently, the most racked up Guitar Center debt… As a result, we lose sight of what matters, which is, in this case, making music. LZS shreds regardless of his setup compared to that guy he saw on TikTok or YouTube, and he sounds amazing every time.

May ‘Hybrid Électrique’ remind us all that we are playing music. It’s meant to be felt, experienced, and enjoyed as humanely as possible. You don’t need complex lyricism or a big-time record label to be successful as a musician. Instead, LSZ serves as a fantastic case study: the most successful musicians are playing music, not just “playing music.”