Features Lapalux

Very few music genres surpass the seasons, allowing every music listener to enjoy it regardless of the stormy clouds or setting sun. Electronic music is an exception: electronic music Lapalux might associate himself with, in particular. Stuart Howard offers that all-encompassing sound. Listen to any of his songs and you prepare yourself to be plummeted into something altogether new, almost unheard of. Inventive is a gross understatement.

Lapalux’s music is forever-shifting, turning its head towards new territory before it even settles into its current state; like other experimental electronic music, it seeps in and out of pitches, tempos in the most unpredictable fashion possible. Less concerned with a streamlined structure, more fussed with offering something unique, Howard is the kind of artist we ought to be referencing in a few years’ time as something of a game-changer.

But lack of predictability isn’t where the appeal lies. It’s the art of surprise. There’s a difference between the two: One frustrates the listener, the latter is more often welcomed. Howard channels hip-hop, guitar music, rich synthetics into tiny, concentrated fragments of sound, unleashed at undetermined moments within a song. It’s not a scatterbrained mess, though; more often than not, Lapalux’s songs have a coherent, focused atmosphere, a backdrop of sorts for all the hundreds of samples, tempo shifts to play around in. The results tend to be startling.

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