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Disruption Theory
Andre LaFosse
A sonic gene-splice of lead guitar, jungle beats, and fragmented post-ambient textures.
Collection Contents
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
You Cannot Come Back | 10:44 | Play |
| 2 |
|
Walking Stick | 7:43 | Play |
| 3 |
|
Signify | 8:30 | Play |
| 4 |
|
In Time | 8:26 | Play |
| 5 |
|
The Reason Why | 10:21 | Play |
| 6 |
|
Disruption Theory | 10:42 | Play |
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| Bitmunk Marketplace Service | USD $0.98 |
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Description
In a world full of musical clones, the DNA of guitarist and producer Andre LaFosse runs rampant with rare strains of cross-breeding and gene-splicing.
His debut album, Disruption Theory, charts a collision course between formalized instrumental musicianship and street-level DJ aesthetics, going deep inside the relationship between "live" and "sampled" music to uncover connections both familiar and bizarre.
Far from a contrived collage of generic beats underneath conventional instrumental playing, Disruption Theory functions as a natural extension of LaFosse's long-term musical eclecticism.
His musical background is both wide-ranging and in-depth; the scope of his experience encompasses live performance, studio production, sound engineering, and formal musical study in everything from classical to jazz to rock to avante-garde, and countless points between.
As a result, Disruption Theory is an album that eludes easy categorization, even as a quick examination reveals elements of modern dance music, compositional approaches from both Western and non-Western traditions, and an array of guitar-oriented styles.
But in the interest of oversimplifying matters and describing it in a basic sense, Disruption Theory could be said to function as a hybrid of rock and jungle.
There are obvious elements of drum & bass all over the album; most of the songs are built around jungle-derived rhythms, and the genre's distinctively chopped-up, nonlinear logic informs the material on several levels.
But Disruption Theory is also a guitar album; aside from his rhythm section programming (and a Mellotron sample on the title track), LaFosse produced every sound on the album with an electric guitar.
The textures that adorn the album cover a vast spectrum, from bare-boned traditional guitar tones to angular post-ambient sonics utterly unrecognizable from their six-string origins.
Of course, all of this comes at a point in time when simply putting guitar lines over drum & bass rhythms is hardly an innovative gesture in itself.
Disruption Theory paints its picture in wide, complex strokes: beyond simply placing contrasting musical colors of performance and programming next to each other, the album functions as a palette that blends those hues together until an altogether different shade emerges.
The result is music that both embraces and violates convention in equal measure.
Cut-and-paste digital textures and dancefloor sensibilities are infiltrated by traces of song-like compositional structure, while melodic and harmonic conventions are filtered and chopped through a non-linear post-DJ mentality.
Disruption Theory unfolds like a map of possible paths: filled with landmarks of familiar musical territory, but charting a course that bypasses any conventional routes, to arrive at an altogether different destination.