Lauren Bousfield announces new LP ‘Salesforce’

Lauren Bousfield press photo

Lauren Bousfield, the artist behind pioneering breakcore project Nero’s Day at Disneyland, shares the lead single Headstone Prices on Credit lifted from the newly announced forthcoming album under her own name, ‘Salesforce,’ out July 7th via Orange Milk Records. Acting as a counterbalance to Bousfield’s day job producing music for television and internet channels, ‘Salesforce seeks to comment on a culture marked by speed and consumption via Bousfield’s obliterated production and lightning-fast breakbeats. 

The second verse on Headstone Prices on Credit is based off of the Burj Khalifa, which is, at least currently, the world’s largest building,” writes Bousfield in a statement about the single. “The lines are based off of a poem that greets visitors. Here’s a bizarre YouTube video to acquaint yourself to it. With this album and specifically this song, there’s a lot of blurring the personal with failed megaprojects or even doomed ones. I write a lot of songs about hyper-capitalism from an oblique or sideways place, going back and forth between absurdity and extremely heartfelt points of view. I like the whiplash that it gives the listener.” Watch the video for Headstone Prices on Credit via YouTube below.

More about ‘Salesforce

An omnivorous composer – gathering inspirations from a wide splattering of genres, styles, and subjects – Lauren Bousfield’s new album ‘Salesforce’ is the latest creation in her sprawling catalog of highly combustible breakneck pop experimentation. Bousfield, who has been making music both in groups and solo for more than two decades now, counterbalances her craft during her day job as a library music composer and scoring artist with her elegant and obliterated solo work under her name. Her work is characterized by its volatile beat production and breakbeat breakdowns sloshed and smeared with prickly shreds of melody and texture. At their core the songs are highly structured pastiches of modular pop music fragments, and with a tight ear and attention to detail, impressionistic washes of granular jitter are artfully scattered and splattered across the frameworks. 

‘Salesforce’ is a propulsive venture through a culture that is marked by speed. Microtextures and highly composed moments scream by; the album is blisteringly fast, but with such speed no details are compromised. Grabbing musical ideas from myriad places – jungle, drum and bass, classical piano, new age synth, breakcore glitch, robotic industrial static, and of course pop music – ‘Salesforce’ is frenetic and refined. A byproduct of a highly homogenized post-consumer compression, the album is littered with details both beautiful and tragic. Baroque microplastic melodies cascade into the strata of tectonic static, WIFI cloud autotune vocals swirl around disembodied and alienated, and braindance ratchet percussion chatters, clicks and blasts through the maelstrom.

 Lauren Bousfield Salesforce cover artwork
‘Salesforce’ track list

1. Mansions No One Wants To Buy For Any Price
2. Hazer (feat Ada Rook)
3. Headstone Prices On Credit
4. Debtors Prison Click Here Disney Needs To See This
5. Hail Sound
6. Permanently Closed
7. Organized Abandonment Bird Migration Patterns Relentless Bureaucratic Violence
8. Sable Wings
9. Deserted Olympic Villages
10. Organizational Rot
11. Narrow Down Concepts Force Meaning
12. Orphan
13. Halt Draft 

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