Amnioverse by Lapalux

Essex producer Stuart Howard, AKA Lapalux, returns to the Flying Lotus-owned Brainfeeder label for his fourth album, Amnioverse. The title comes from blending amniotic sac and universe and based on a cycle of birth, life, death and rebirth. Howard has also released music through Ninja Tune and Pictures Music.

Vinyl Double LP £27.99 BF086

Pink splatter vinyl 2LP on Brainfeeder house in a gatefold sleeve with silver foil detail. Includes 28-page booklet.

  • Coloured vinyl
  • Includes download code
  • Only 1 copy left
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CD £10.49 BFCD086

CD on Brainfeeder.

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Amnioverse by Lapalux
1 review. Write a review for us »
7/10 Fred MG 07 November 2019

Rave revivalism, as you might have heard, is currently all the rage. People have started dressing like they’re on their way to a warehouse party in 1993, and musicians are responding to the trend with tracks that evoke the sound and feel of those earlier eras. Recent releases from the likes of Lone, Clouds and Dream Cycle all present a rose-tinted and hugely evocative re-rendering of this earlier epoch, a sort of return-to-the-garden for modern synthetic music and its reliant countercultures.

‘Amnioverse’, the fourth LP from Stuart Howard under his Lapalux banner, both does and doesn’t fit into this trend. Cyberpunk titles - ‘Amnioverse’, ‘Voltaic Acid’, ‘The Lux Quadrant’ - signpost that we’re looking back to move forward here, reaching into electronic music’s past in order to make sense of its present. A fair few of these tracks do what the best rave revivalists do by sluicing classic sounds like acid, breakbeat techno and ambient house with lush atmospherics.

The reason that the revivalist tag doesn’t fit too neatly is because several tracks on ‘Amnioverse’ feel distinctly like they’re coming from the IDM/Ninja Tune tradition of electronic experimentation. ‘Hellix’, for instance, is a kernel of weightless niceness at the centre of the album, while Lilia’s feature on ‘Limb To Limb’ pushes the track’s rolling broken-beat instrumental into Kelela territory. Meanwhile ‘Oblivion’ and ‘Esc’ bookend the album with Boards Of Canada-style wistfulness. It gives good variation to an album that knows its history without succumbing to retro pastiche.



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