For a man who got his big break as recently as 2012 through Flying Lotus’s Brainfeeder label with his two EPs in When You’re Gone and Some Other Time, Lapalux has rapidly built himself up to be a consistent producer. Having had his song “Make Money” featured on the GTA V soundtrack, the producer has a noteworthy follow up which comes to us in the form of his second album “Lustmore”.
In “Closure” we’re treated to a smooth R&B number with a ‘pinch’ of ambience. The resulting song capitulates what Lapalux’s sound is all about, and that’s constant change. Whilst “Midnight Peelers” is a natural progression from “Closure”, “Push N’ Spun” seems to expand upon the basic concepts behind those two songs. Around the midway mark all of the elements in this song heard throughout the interim, suddenly burst into life all at once.
“Puzzle” reconfirms the continual expansion of the artist’s vision. It’s a song built on a similar foundation to “Closure” but this time the vocal is subject to a lot more editing and effects. This song retains a live element in the form of a saxophone playing away in the back. In a sense, “Puzzle” is a song reminiscent of the early works of Flying Lotus.
At times, however, songs such as “Bud” seem to offer nothing refreshing. Whilst the melody is different, the textures and effects utilised in the song seem to fall directly in line with the themes of a number preceding songs. Whilst the song sounds repetitive, this ‘sameness’ shows consistency in Lapalux’s sound.
If ever there was a song written solely for synchronisation to film and television then “Don’t Mean A Thing” would be that song. The simple yet gripping melody is perhaps tainted by layers of ambience and effects. The result is a dark and alluring composition that would make a perfect companion for film.
With its melancholic aura “1004” appears to be the perfect song to usher in the end of an interesting, yet consistent album. “Make Money” is as far from being consistent with the album’s style as can be. It’s something you’d expect from producers such as Autechre or Squarepusher, with all its glitches and imposing hi hats. “Funny Games” is soaked in reverb so much so that one can hardly make out what the singer is actually saying. But perhaps that’s the whole point.
Lustmore, whilst seemingly consistent, is filled with moments of sporadic and sudden changes in pace, all the while maintaining a dark aroma. If ever there was a perfect soundtrack album then this would be it.