Lolina
Unrecognisable
Boomkat Product Review:
The third chapter in an ongoing story, 'Unrecognisable' is Lolina's most bonkers and brilliant statement yet, a surreal, DIY concept album that unfolds in a flutter of pitch-bent voices and tinny Casio SK-200 beats. Next level, honestly - RIYL Mica Levi, Elysia Crampton, Smerz, Voice Actor.
Okay, so there's a bit of background to this one. The album is part of a narrative that focuses on two characters: Paris Hell and Geneva Heat, both of whom are voiced by Lolina. Paris and Geneva are members of a resistance group called Unrecognisable, dedicated to bringing down weaponised buildings that are under corrupt governmental control. The first chapter of the story was published as a web-only graphic novel (with interactive soundtrack), and drops us down in South London, where Geneva and Paris disclose a plan to destroy the shard, leaving only the metal structure standing - the Eiffel Shard. But Paris is convinced the plan would result in too many civilian casualties, so it's abandoned. In the second chapter, called 'Paris' Dream' and improvised live by Lolina in front of a video, Paris sneaks into The Shard, fantasizing about being caught by another Unrecognizable who accuses her of betrayal.
This album picks up here, and London is a decaying husk of its former self - clubs have been shuttered and friends are hard to trust. "From the ashes of Lolina and Inga Copeland," a syrupy voice states over plasticky plucked bass slaps, "rising like your heartbeat, meet Geneva Heat and Paris Hell." Lolina's clattery, dub-mangled Casio beat tumbles into the frame, and a higher-pitched voice begins to fill in a few of the gaps. "A disaster is never really that far," she assures us. 'Rules of the Game' is more mercurial: "meet me in the night time under the city lights, behind the bus stop," says Lolina, warning whoever's listening that any potential meeting is dangerous - and you can't trust anyone. Dusty, evocative stabs hang in the background like thick cigarette smoke and Lolina pieces together a slow grind sparingly, never letting the hollow thumps interrupt the narrative.
Her soundscape is a smart antidote to the DAW era's relative hypercomplexity. Composing everything on her trusty SK-200, a 1987 sampling keyboard that has a modest 1.62 seconds of sampling time and just 20 preset rhythms, Lolina uses the limitations to her advantage, chopping and looping her downsampled beats and evoking an out-of-time haze that perfectly fits the dystopian setting. There's never too much going on, just stuttering, jerky slaps and faint, fleeting melodies that lend the music its unique atmosphere - somewhere between the b-boy rasp of Push Button Objects or early Gescom and Mica Levi's freestyle CDR gauziness. She gets more elaborate with the vocals, alternating between voices and cadences, rapping and singing as she widens her mythology. The eccentric 'Meet the Devil' provides a clear zenith, matching a faded, slow-mo bump with erratic contextual clues that Lolina delivers in weightless echoes and casual, Quasimoto-like rhymes.
'Dejavu' meanwhile captures the halcyon days of a long-gone club scene with skippy, squashed bossa slices and brassy melodies. "Boys in the club hanging out, girls by the door making out," she moans through the somnolence. And on the title track, she sings curtly over rattling, abstract distortions and hypnotizing synth spirals: "sometimes it's easier to say things you don't believe, so lie to me." It's not all fantasy - Lolina's ambitious illbient prog concept feels chewable and real, and its possible future painfully close.
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Boomkat Product Review:
The third chapter in an ongoing story, 'Unrecognisable' is Lolina's most bonkers and brilliant statement yet, a surreal, DIY concept album that unfolds in a flutter of pitch-bent voices and tinny Casio SK-200 beats. Next level, honestly - RIYL Mica Levi, Elysia Crampton, Smerz, Voice Actor.
Okay, so there's a bit of background to this one. The album is part of a narrative that focuses on two characters: Paris Hell and Geneva Heat, both of whom are voiced by Lolina. Paris and Geneva are members of a resistance group called Unrecognisable, dedicated to bringing down weaponised buildings that are under corrupt governmental control. The first chapter of the story was published as a web-only graphic novel (with interactive soundtrack), and drops us down in South London, where Geneva and Paris disclose a plan to destroy the shard, leaving only the metal structure standing - the Eiffel Shard. But Paris is convinced the plan would result in too many civilian casualties, so it's abandoned. In the second chapter, called 'Paris' Dream' and improvised live by Lolina in front of a video, Paris sneaks into The Shard, fantasizing about being caught by another Unrecognizable who accuses her of betrayal.
This album picks up here, and London is a decaying husk of its former self - clubs have been shuttered and friends are hard to trust. "From the ashes of Lolina and Inga Copeland," a syrupy voice states over plasticky plucked bass slaps, "rising like your heartbeat, meet Geneva Heat and Paris Hell." Lolina's clattery, dub-mangled Casio beat tumbles into the frame, and a higher-pitched voice begins to fill in a few of the gaps. "A disaster is never really that far," she assures us. 'Rules of the Game' is more mercurial: "meet me in the night time under the city lights, behind the bus stop," says Lolina, warning whoever's listening that any potential meeting is dangerous - and you can't trust anyone. Dusty, evocative stabs hang in the background like thick cigarette smoke and Lolina pieces together a slow grind sparingly, never letting the hollow thumps interrupt the narrative.
Her soundscape is a smart antidote to the DAW era's relative hypercomplexity. Composing everything on her trusty SK-200, a 1987 sampling keyboard that has a modest 1.62 seconds of sampling time and just 20 preset rhythms, Lolina uses the limitations to her advantage, chopping and looping her downsampled beats and evoking an out-of-time haze that perfectly fits the dystopian setting. There's never too much going on, just stuttering, jerky slaps and faint, fleeting melodies that lend the music its unique atmosphere - somewhere between the b-boy rasp of Push Button Objects or early Gescom and Mica Levi's freestyle CDR gauziness. She gets more elaborate with the vocals, alternating between voices and cadences, rapping and singing as she widens her mythology. The eccentric 'Meet the Devil' provides a clear zenith, matching a faded, slow-mo bump with erratic contextual clues that Lolina delivers in weightless echoes and casual, Quasimoto-like rhymes.
'Dejavu' meanwhile captures the halcyon days of a long-gone club scene with skippy, squashed bossa slices and brassy melodies. "Boys in the club hanging out, girls by the door making out," she moans through the somnolence. And on the title track, she sings curtly over rattling, abstract distortions and hypnotizing synth spirals: "sometimes it's easier to say things you don't believe, so lie to me." It's not all fantasy - Lolina's ambitious illbient prog concept feels chewable and real, and its possible future painfully close.
Boomkat Product Review:
The third chapter in an ongoing story, 'Unrecognisable' is Lolina's most bonkers and brilliant statement yet, a surreal, DIY concept album that unfolds in a flutter of pitch-bent voices and tinny Casio SK-200 beats. Next level, honestly - RIYL Mica Levi, Elysia Crampton, Smerz, Voice Actor.
Okay, so there's a bit of background to this one. The album is part of a narrative that focuses on two characters: Paris Hell and Geneva Heat, both of whom are voiced by Lolina. Paris and Geneva are members of a resistance group called Unrecognisable, dedicated to bringing down weaponised buildings that are under corrupt governmental control. The first chapter of the story was published as a web-only graphic novel (with interactive soundtrack), and drops us down in South London, where Geneva and Paris disclose a plan to destroy the shard, leaving only the metal structure standing - the Eiffel Shard. But Paris is convinced the plan would result in too many civilian casualties, so it's abandoned. In the second chapter, called 'Paris' Dream' and improvised live by Lolina in front of a video, Paris sneaks into The Shard, fantasizing about being caught by another Unrecognizable who accuses her of betrayal.
This album picks up here, and London is a decaying husk of its former self - clubs have been shuttered and friends are hard to trust. "From the ashes of Lolina and Inga Copeland," a syrupy voice states over plasticky plucked bass slaps, "rising like your heartbeat, meet Geneva Heat and Paris Hell." Lolina's clattery, dub-mangled Casio beat tumbles into the frame, and a higher-pitched voice begins to fill in a few of the gaps. "A disaster is never really that far," she assures us. 'Rules of the Game' is more mercurial: "meet me in the night time under the city lights, behind the bus stop," says Lolina, warning whoever's listening that any potential meeting is dangerous - and you can't trust anyone. Dusty, evocative stabs hang in the background like thick cigarette smoke and Lolina pieces together a slow grind sparingly, never letting the hollow thumps interrupt the narrative.
Her soundscape is a smart antidote to the DAW era's relative hypercomplexity. Composing everything on her trusty SK-200, a 1987 sampling keyboard that has a modest 1.62 seconds of sampling time and just 20 preset rhythms, Lolina uses the limitations to her advantage, chopping and looping her downsampled beats and evoking an out-of-time haze that perfectly fits the dystopian setting. There's never too much going on, just stuttering, jerky slaps and faint, fleeting melodies that lend the music its unique atmosphere - somewhere between the b-boy rasp of Push Button Objects or early Gescom and Mica Levi's freestyle CDR gauziness. She gets more elaborate with the vocals, alternating between voices and cadences, rapping and singing as she widens her mythology. The eccentric 'Meet the Devil' provides a clear zenith, matching a faded, slow-mo bump with erratic contextual clues that Lolina delivers in weightless echoes and casual, Quasimoto-like rhymes.
'Dejavu' meanwhile captures the halcyon days of a long-gone club scene with skippy, squashed bossa slices and brassy melodies. "Boys in the club hanging out, girls by the door making out," she moans through the somnolence. And on the title track, she sings curtly over rattling, abstract distortions and hypnotizing synth spirals: "sometimes it's easier to say things you don't believe, so lie to me." It's not all fantasy - Lolina's ambitious illbient prog concept feels chewable and real, and its possible future painfully close.
Boomkat Product Review:
The third chapter in an ongoing story, 'Unrecognisable' is Lolina's most bonkers and brilliant statement yet, a surreal, DIY concept album that unfolds in a flutter of pitch-bent voices and tinny Casio SK-200 beats. Next level, honestly - RIYL Mica Levi, Elysia Crampton, Smerz, Voice Actor.
Okay, so there's a bit of background to this one. The album is part of a narrative that focuses on two characters: Paris Hell and Geneva Heat, both of whom are voiced by Lolina. Paris and Geneva are members of a resistance group called Unrecognisable, dedicated to bringing down weaponised buildings that are under corrupt governmental control. The first chapter of the story was published as a web-only graphic novel (with interactive soundtrack), and drops us down in South London, where Geneva and Paris disclose a plan to destroy the shard, leaving only the metal structure standing - the Eiffel Shard. But Paris is convinced the plan would result in too many civilian casualties, so it's abandoned. In the second chapter, called 'Paris' Dream' and improvised live by Lolina in front of a video, Paris sneaks into The Shard, fantasizing about being caught by another Unrecognizable who accuses her of betrayal.
This album picks up here, and London is a decaying husk of its former self - clubs have been shuttered and friends are hard to trust. "From the ashes of Lolina and Inga Copeland," a syrupy voice states over plasticky plucked bass slaps, "rising like your heartbeat, meet Geneva Heat and Paris Hell." Lolina's clattery, dub-mangled Casio beat tumbles into the frame, and a higher-pitched voice begins to fill in a few of the gaps. "A disaster is never really that far," she assures us. 'Rules of the Game' is more mercurial: "meet me in the night time under the city lights, behind the bus stop," says Lolina, warning whoever's listening that any potential meeting is dangerous - and you can't trust anyone. Dusty, evocative stabs hang in the background like thick cigarette smoke and Lolina pieces together a slow grind sparingly, never letting the hollow thumps interrupt the narrative.
Her soundscape is a smart antidote to the DAW era's relative hypercomplexity. Composing everything on her trusty SK-200, a 1987 sampling keyboard that has a modest 1.62 seconds of sampling time and just 20 preset rhythms, Lolina uses the limitations to her advantage, chopping and looping her downsampled beats and evoking an out-of-time haze that perfectly fits the dystopian setting. There's never too much going on, just stuttering, jerky slaps and faint, fleeting melodies that lend the music its unique atmosphere - somewhere between the b-boy rasp of Push Button Objects or early Gescom and Mica Levi's freestyle CDR gauziness. She gets more elaborate with the vocals, alternating between voices and cadences, rapping and singing as she widens her mythology. The eccentric 'Meet the Devil' provides a clear zenith, matching a faded, slow-mo bump with erratic contextual clues that Lolina delivers in weightless echoes and casual, Quasimoto-like rhymes.
'Dejavu' meanwhile captures the halcyon days of a long-gone club scene with skippy, squashed bossa slices and brassy melodies. "Boys in the club hanging out, girls by the door making out," she moans through the somnolence. And on the title track, she sings curtly over rattling, abstract distortions and hypnotizing synth spirals: "sometimes it's easier to say things you don't believe, so lie to me." It's not all fantasy - Lolina's ambitious illbient prog concept feels chewable and real, and its possible future painfully close.
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Boomkat Product Review:
The third chapter in an ongoing story, 'Unrecognisable' is Lolina's most bonkers and brilliant statement yet, a surreal, DIY concept album that unfolds in a flutter of pitch-bent voices and tinny Casio SK-200 beats. Next level, honestly - RIYL Mica Levi, Elysia Crampton, Smerz, Voice Actor.
Okay, so there's a bit of background to this one. The album is part of a narrative that focuses on two characters: Paris Hell and Geneva Heat, both of whom are voiced by Lolina. Paris and Geneva are members of a resistance group called Unrecognisable, dedicated to bringing down weaponised buildings that are under corrupt governmental control. The first chapter of the story was published as a web-only graphic novel (with interactive soundtrack), and drops us down in South London, where Geneva and Paris disclose a plan to destroy the shard, leaving only the metal structure standing - the Eiffel Shard. But Paris is convinced the plan would result in too many civilian casualties, so it's abandoned. In the second chapter, called 'Paris' Dream' and improvised live by Lolina in front of a video, Paris sneaks into The Shard, fantasizing about being caught by another Unrecognizable who accuses her of betrayal.
This album picks up here, and London is a decaying husk of its former self - clubs have been shuttered and friends are hard to trust. "From the ashes of Lolina and Inga Copeland," a syrupy voice states over plasticky plucked bass slaps, "rising like your heartbeat, meet Geneva Heat and Paris Hell." Lolina's clattery, dub-mangled Casio beat tumbles into the frame, and a higher-pitched voice begins to fill in a few of the gaps. "A disaster is never really that far," she assures us. 'Rules of the Game' is more mercurial: "meet me in the night time under the city lights, behind the bus stop," says Lolina, warning whoever's listening that any potential meeting is dangerous - and you can't trust anyone. Dusty, evocative stabs hang in the background like thick cigarette smoke and Lolina pieces together a slow grind sparingly, never letting the hollow thumps interrupt the narrative.
Her soundscape is a smart antidote to the DAW era's relative hypercomplexity. Composing everything on her trusty SK-200, a 1987 sampling keyboard that has a modest 1.62 seconds of sampling time and just 20 preset rhythms, Lolina uses the limitations to her advantage, chopping and looping her downsampled beats and evoking an out-of-time haze that perfectly fits the dystopian setting. There's never too much going on, just stuttering, jerky slaps and faint, fleeting melodies that lend the music its unique atmosphere - somewhere between the b-boy rasp of Push Button Objects or early Gescom and Mica Levi's freestyle CDR gauziness. She gets more elaborate with the vocals, alternating between voices and cadences, rapping and singing as she widens her mythology. The eccentric 'Meet the Devil' provides a clear zenith, matching a faded, slow-mo bump with erratic contextual clues that Lolina delivers in weightless echoes and casual, Quasimoto-like rhymes.
'Dejavu' meanwhile captures the halcyon days of a long-gone club scene with skippy, squashed bossa slices and brassy melodies. "Boys in the club hanging out, girls by the door making out," she moans through the somnolence. And on the title track, she sings curtly over rattling, abstract distortions and hypnotizing synth spirals: "sometimes it's easier to say things you don't believe, so lie to me." It's not all fantasy - Lolina's ambitious illbient prog concept feels chewable and real, and its possible future painfully close.
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