Christian Werner
Peter M. Kersten (aka the techno producer Lawrence) claims to not feel much artistic attachment to his home in Hamburg. It's easy to see why, if only because the German port city is still best known musically as the training ground for a certain foursome from Liverpool who spent their pre-fame years performing in the red light district over 50 years ago.But there's still a sense of place in the producer's music, which usually takes the form of light and sophisticated house and techno that's physically present without resorting to aggressive sonics. His latest album, Yoyogi Park, is named after and inspired by a well-known urban green space in Tokyo, and its the mechanized energy is an attempt to capture the bustle contained in the park.The album also marks the third and final installment of a trilogy of releases created with visual artist Stefan Marx for the renowned Japanese label Mule Musiq. Like the previous two records, Until Then, Goodbye and A Day In The Life, Marx's wobbly ink work paints an organic face on Lawrence's humanistic machine music, much of which is derived from field-recording sources and, on the new album, samples from his band project, Sky Walking.Below Lawrence explains the inspirations behind his latest work, alongside a stream of the record's dazed opener, "Marble Star."THUMP: This new album is being presented as the third installment of a trilogy that started back in 2009. Was it conceived as such when you were recording the first album for Mule back in 2009?
Lawrence: Way back in 2004, Stefan Marx, Toshiya Kawasaki and I started our long-term collaboration after a wonderful trip to Tokyo. We all became close friends and fans of each other's work and passion. After the first album, Until Then, Goodbye, we decided to continue the series, the idea of a trilogy of albums evolved quite naturally.There was large break between Until Then, Goodbye and A Day in the Life. This album seemed to come much quicker. What circumstances contributed to the break and/or the quicker current release?
The whole process slowed down a bit due to the release Films and Windows on Dial Records and a few 12-inches and remixes I produced for Smallville, Mule Musiq, and Ghostly International. Also, the new album is closely connected to A Day In The Life as there are a few club versions of the previous ambient release on it.Some of the tempos feel a tiny bit fast on the new album. Not like they're techno fast, but fast for the sort of detailed house music you make. Is that by design?
You're right, the tempo are more diverse compared to other releases these days. I was really into labels that offer a variety in terms of tempo and style, such as Underground Quality and Underground Resistance. The diversity of DJs and acts like Jus-Ed, Jenifa Mayanja, Timeline or DJ Stingray is just so fascinating to me. Maybe that influenced the pulse.Tell me a bit about the partnership with Stefan Marx. What about his work resonates with you in regard to this trilogy?
Artistically, you can regard these releases as equally by both of us. It's a great pleasure to spend time in Stefan's studio, watching drawings and figuring out options. Somehow we always end up with an idea we both never expected. By the way, Stefan's exhibitions are the only occasions I ever play music in the gallery context. I usually hate that, but with Stefan it is always fantastic!It seems notable having a German artist illustrate a Japanese park for an album by a German musician released on a Japanese label. What is the connection? Obviously both countries are techno hubs, but I also wonder about the difficult historical connections as well as the post-war capitalist circumstances that are unique to both nations. Or am I reading too much into it?
I never regard myself as a German artist, neither does Stefan. Also Toshiya's label is maybe the most international one that I know. So perhaps what connects us is that we all don't feel closely attached to our origin and love to travel on the occasion of art and music. The Yoyogi Park idea came up after Stefan produced this wonderful fanzine for Printed Matter Book Fair in NYC last year. I kind of love these mega parks, their cosmopolitan anonymity and sort of intimacy at the same time. You find that in the Techno/House world as well.It seems as if the process of making this album combined a few of your separate endeavors — your band Sky Walking, ambient recordings, field sampling — into a whole. Are you becoming more comfortable moving between the various processes to create a whole?
Exactly. I love to switch between processes and than combine them again. It's just so much more fun not to be stuck in one thing you have to conform to. Working on Sky Walking with Christian Naujoks and Richard Schulenburg is the most inspiring adventure; it is just completely free of any expectations and capability. It opens up new perspectives. To transfer some tiny bits of the weird Sky Walking sessions into the club is just exciting.What's one thing you want people to know about this album but no one has thought to ask?
There's always a lot to talk about an album as you put so much time and love into it. The most exciting questions would be just too personal or even awkward. I love the idea that music and arts contain so many secrets you don't need to share.
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Lawrence: Way back in 2004, Stefan Marx, Toshiya Kawasaki and I started our long-term collaboration after a wonderful trip to Tokyo. We all became close friends and fans of each other's work and passion. After the first album, Until Then, Goodbye, we decided to continue the series, the idea of a trilogy of albums evolved quite naturally.There was large break between Until Then, Goodbye and A Day in the Life. This album seemed to come much quicker. What circumstances contributed to the break and/or the quicker current release?
The whole process slowed down a bit due to the release Films and Windows on Dial Records and a few 12-inches and remixes I produced for Smallville, Mule Musiq, and Ghostly International. Also, the new album is closely connected to A Day In The Life as there are a few club versions of the previous ambient release on it.
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You're right, the tempo are more diverse compared to other releases these days. I was really into labels that offer a variety in terms of tempo and style, such as Underground Quality and Underground Resistance. The diversity of DJs and acts like Jus-Ed, Jenifa Mayanja, Timeline or DJ Stingray is just so fascinating to me. Maybe that influenced the pulse.Tell me a bit about the partnership with Stefan Marx. What about his work resonates with you in regard to this trilogy?
Artistically, you can regard these releases as equally by both of us. It's a great pleasure to spend time in Stefan's studio, watching drawings and figuring out options. Somehow we always end up with an idea we both never expected. By the way, Stefan's exhibitions are the only occasions I ever play music in the gallery context. I usually hate that, but with Stefan it is always fantastic!It seems notable having a German artist illustrate a Japanese park for an album by a German musician released on a Japanese label. What is the connection? Obviously both countries are techno hubs, but I also wonder about the difficult historical connections as well as the post-war capitalist circumstances that are unique to both nations. Or am I reading too much into it?
I never regard myself as a German artist, neither does Stefan. Also Toshiya's label is maybe the most international one that I know. So perhaps what connects us is that we all don't feel closely attached to our origin and love to travel on the occasion of art and music. The Yoyogi Park idea came up after Stefan produced this wonderful fanzine for Printed Matter Book Fair in NYC last year. I kind of love these mega parks, their cosmopolitan anonymity and sort of intimacy at the same time. You find that in the Techno/House world as well.It seems as if the process of making this album combined a few of your separate endeavors — your band Sky Walking, ambient recordings, field sampling — into a whole. Are you becoming more comfortable moving between the various processes to create a whole?
Exactly. I love to switch between processes and than combine them again. It's just so much more fun not to be stuck in one thing you have to conform to. Working on Sky Walking with Christian Naujoks and Richard Schulenburg is the most inspiring adventure; it is just completely free of any expectations and capability. It opens up new perspectives. To transfer some tiny bits of the weird Sky Walking sessions into the club is just exciting.What's one thing you want people to know about this album but no one has thought to ask?
There's always a lot to talk about an album as you put so much time and love into it. The most exciting questions would be just too personal or even awkward. I love the idea that music and arts contain so many secrets you don't need to share.