Lapalux
Ruinism
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
View more
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
Deluxe Edition: 2LP 180g heavyweight blue vinyl with embossed and spot gloss sleeve and printed inners.
Out of Stock
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
Standard Edition: 2LP 180g heavyweight black vinyl.
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Brainfeeder’s British attache switches to an all-hardware setup with richly textured and soul-infused results, particularly in the Fever Ray-like “Flickering” and coruscant ache of Rotted Arp
“Lapalux releases his third album, “Ruinism”, on Flying Lotus’ Brainfeeder imprint. His previous LP, “Lustmore” was partially inspired by the concept of hypnagogia, a suspension of consciousness occurring between wakefulness and sleep. Throughout “Ruinism” the British producer takes this exploration further, journeying onward to the more ominous limbo space between life and death. In this liminal space where the finite and infinite intermingle, Lapalux sounds more at home than ever.
Much of “Ruinism”’s inspiration was born out of a theatrical score Lapalux (aka Stuart Howard) wrote for the performance art piece “Depart” which was performed in an East London cemetery. The aptly named project served as genesis for a direction wrought with doom and melancholia. “Ruinism” is all sonic wreckage and rubble created using only hardware and real instruments. The sound simultaneously destroys and redeems itself across a tight and formidable forty-eight minutes.
“‘Ruinism’ is a made-up term I use to describe the way in which blended sound palettes and inspirations interact with one another to form this album,” Howard explains. “I would record synths and drum hits and re-sample, re-pitch, twist and blend the sound until it was ‘ruined’ and then salvage it again in an attempt to make something coherent.”
Amidst the brutal landscape that Lapalux (de)constructs, he makes room for softness and slivers of beauty that, as with most things subtle and delicate, inevitably cut through even the harshest of environments and juxtapose the rigid exterior that characterizes most of the record. For example, ‘Rotted Arp (feat. Louisahhh)’, the first single to be lifted from the album, begins with a spoken word poem written and performed by Louisahhh over a decaying arpeggiated riff that churns and builds until it splits apart just as easily as it begins. The ethereal ‘Falling Down (feat. JFDR)’ communicates a near angelic sense of hope and possibility despite the inaudible nature of granulated vocals performed by Icelandic singer Jófríður Ákadóttir (JFDR) of the bands Gangly, Pascal Pinon and Samaris.
Similarly, ‘4EVA (feat. Talvi)’, winds through a cloudy haze reminiscent of the space between life and death and remains there like a slowly dying pendulum. There’s a warm elevation across the female-driven tracks that, as it unfolds, stand in stark contrast to the industrial and often discordant beginning of the record, most noticeable on cuts like the menacing ‘Data Demon’ and chilling opener ‘Reverence’, which was inspired by French Dada artist Frances Picabia’s 1915 painting of the same name.”
More from Lapalux:
-
FREE MP3 WITH VINYLLapalux The End Of Industry Brainfeeder Electronic- MP3
- FLAC
- WAV
-
Lapalux Holding On Brainfeeder Electronic
- MP3
- FLAC
- WAV
-
Lapalux Rotted Arp (feat Louisahhh) Brainfeeder Electronic
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLLapalux Lustmore Brainfeeder Beats / Hip Hop
- MP3
- FLAC
- 2LP
- CD
-
Lapalux Make Money Brainfeeder Beats / Hip Hop
- MP3
- FLAC
More from Brainfeeder:
-
Ross From Friends Aphelion Brainfeeder Electronic
- MP3
- FLAC
- WAV
- 12"
-
FREE MP3 WITH VINYLTHUNDERCAT Drank Brainfeeder Beats / Hip Hop
- MP3
- FLAC
- WAV
- Colour 2LP
- CD
-
Ross From Friends John Cage Brainfeeder Techno / House
- MP3
- FLAC
- WAV
-
Locust Toybox Drownscapes Brainfeeder Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLLapalux The End Of Industry Brainfeeder Electronic
- MP3
- FLAC
- WAV
People who bought this also bought:
-
FREE MP3 WITH VINYLANDY STOTT Faith In Strangers Modern Love Electronic
- MP3
- FLAC
- CD
-
FIS Speech Spirits (With Kassem Mosse / Oren Ambarchi Remixes) Loopy Electronic
- MP3
- FLAC
- 12"
-
FIS Preparations Tri Angle Records Electronic
- MP3
- FLAC
- WAV
- 12"
-
FREE MP3 WITH VINYLLorenzo Senni Superimpositions Boomkat Editions Electronic
- MP3
- FLAC
- LP
-
Oneohtrix Point Never Garden of Delete Warp Records Electronic
- MP3
- FLAC
- WAV
- 2LP
- CD
-
Floating Points Elaenia Pluto Electronic
- MP3
- FLAC
- WAV
- LP
- CD
- Cassette
-
FREE MP3 WITH VINYLANDY STOTT Too Many Voices Modern Love Electronic
- MP3
- FLAC
- WAV
- 2LP
- CD
-
ZOMBY X BURIAL Sweetz Hyperdub Electronic
- 10"
-
FREE MP3 WITH VINYLDemdike Stare Wonderland Modern Love Electronic
- MP3
- FLAC
- WAV
- CD
-
FREE MP3 WITH VINYLKara-Lis Coverdale Grafts Boomkat Editions Electronic
- MP3
- FLAC
- WAV
- LP