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Roughly two minutes into the first song on Lapalux's sophomore LP, Lustmore--through the 3am hypnagogia swirl, just past Andreya Triana's assuring voice, into the bends that repeat "I don't think you'll ever know"--the Essex, England-based artist steps out from the curtains all Kid Rock style, pyrotechnics ablaze, swathed in silk linens and gold jewelry, announcing "I've arrived." Lap of luxury, baby.

'U Never Know' is a statement piece, with Andreya Triana's prominent vocals being the star to Lapalux's equivalence of a session crew of texture and bass drenched musicians. Then at the halfway mark, we feel the power that's been building the whole time. The emotionally magnetic vibe here is high, very similar to the unsettling beauty of my first impression of Lustmore, 'Closure' (featuring Szjerdene). Not exactly tracks you daydream to. Is this the kind of engaging, synth-quilt symphony we can expect from the remaining 11 tracks on the album? No, but that's ok.

Lapalux's singularity transcends any particular structure. 'Midnight Peelers' opens with a spaced out, poppy four-on-the-floor groove. It's echoey and carefree, with an eyes-closed euphoric rush that hits throughout. Tracks like this one and 'Sum Body' and 'Don't Mean A Thing' are the kind of metallic soundscapes you'd expect to hear in an abandoned warehouse with wet floors and leaky ceilings. 'Push N' Spun' takes us to partly sunny California, where we get to sonically witness the birth of a 253-foot tall Port of Oakland Crane. The cumbersome glitch is only temporary as this puppy soon grows its legs and finds its stride. And in what is now one of my favorite displays of production flexing I've ever heard, 'Make Money' is a platinum gold Lou Ferrigno statue. Easy-going chopped samples get the hell outta the way for the speeding semi truck that's bumping a million subs worth of futuristic bass.

'Puzzle' and '1004' help reveal the most cohesive element of Lustmore, which is Lapalux's relationship with the sounds he uses and the realtime progression that plays out. It's as if all the textures and synths are invited in for an impromptu jam, free to improv and let it all go with the trust that all the pieces will find synergy. Eventually we hear Lapalux's trust pay off as each sound finds its place and rhythm. In Lustmore, every track is its own display of sound discovery, you get to experience live experimentation by a master at his craft, and the result is a record as compulsively inspired and meticulously assembled as you're likely to hear in 2015.

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