For fans of experimental beat music, Stuart Howard AKA Lapalux represents a constantly rising bar. Since his production techniques are so huge and his style and artistic choices so personal and unpredictable, he’s the kind of producer people just have to watch to see what he does next, rather than judge in reference to a fleeting trend. An early and enduring fascination with analog tape manipulation is a large factor in the fresh but rooted sound he has harnessed. In his new EP, Some Other Time, Lapalux further expands and saturates (literally and figuratively) his world of sound and takes it in a refreshing direction. A lot of this new work feels even more inspired by the intersection of R&B with both the past and future of electronic music.
I’ll save your valuable time by listing here all the onomatopoeia and sonic descriptors I would have used in the rest of this article if it was much longer: “Buzz, pop, crackle, skitter, skip, lush, collisions, collapse, jittery, measured, fluid, swirling, whirling, winding, spindly, windy, vivid, brittle, jagged.”
So now that that’s out of the way I can talk about some of my favorite moments.
Unlike many Lapalux jams, the opening song, “Quartz”, remains innocent and free without descending into madness. Instead, meandering vocals and airy resonances create a pensive, soothing atmosphere, suggesting a place that would be nice to get lost in.
Throughout the EP, many will recognize the quality of certain sounds. Maybe a bass we’ve heard in dubstep, out-of-context foley sounds like those we’ve heard on other Brainfeeder releases , noise and rummaging textures we’ve heard in computer music for years, strings we’ve heard in symphonies, but they’ve never been used to make us cringe the way that I did at the 1 minute mark of “Strangling You With the Cord”. It’s a song that is as homicidal as its name suggests. Whatever/ whoever is being strangled here is to be permanently scarred and will probably never again make the mistake that provoked this song. It’s that cringe of distress or terror or torment that activated the neurons that awaken memories of when I’ve cringed like that before, thus transferring directly to me the emotion that created the song in the first place, without lyrics as a vehicle. I’d argue that Lapalux is at his best at these moments.
One similarity to his past releases is that sounds seem to brace themselves in anticipation for their turn to dive in on our ears in one crushing blow after another. We hear this same tendency epitomized in “Time Spike Jamz” of of Many Faces Out Of Focus, but really all across his catalogue. To avoid completely losing track of all these sounds, Lapalux has always masterfully woven some sort of hook into every track, whether through vocals or chord progressions. What has progressed about his style on Some Other Time is the level of control and attention to detail which allows the tracks to be even more transportive and immersive.
“Forgetting and Learning Again” with Kerry Leatham is the standout track and the one I want to hear again and again. It is larger than life, and has a staggering amount of soul. It has the most pleasurable sounds on this EP, going effortlessly between between decadent bass and keys, and sounds that various creatures from Alice and Wonderland might make if you stepped on them or they were scurrying away from you in a magical forest. The towering force of the beat combined with the emotion of the vocal really penetrates. In the final minute of the song, we’re treated to a distant anticipation, and an absolutely arresting final statement by Lapalux and Leatham, the latter of which is on track to “have another” and is probably “having another” right now as I write this. Much like whatever Leatham is having another of, this EP is intoxicating from beginning to end.