Peter Kersten's latest long-player for Mule Musiq commemorates a decade-long relationship with artist Stefan Marx and label head Toshiya Kawasaki. The album breathes new life into the Hamburg native's process, one that has previously had a contiguous relationship with ambient music. Kersten has successfully breached the borders of his Lawrence persona by stripping away most of the rhythmic frameworks found in his revered discography and leaving the music in its most digestible form.
The 12 stems here make bold, but brief, two-to-four minute statements without relying on an extended bed of looping kicks to carry the brunt of the weight. This makes the record feel like the ultimate Lawrence tool kit — it brings most of what Lawrence has been celebrated for to the forefront while doing away with the house music stamps that have undoubtedly helped define his legacy. Those familiar with Kersten's recent work will recognize a decision to revisit a number of themes for A Day In The Life. The album is not an entirely new body of sounds, but it plays well in the context of a retrospective, and plenty of previously unreleased ideas are intermixed to keep the experience feeling fresh.
(Mule Musiq)The 12 stems here make bold, but brief, two-to-four minute statements without relying on an extended bed of looping kicks to carry the brunt of the weight. This makes the record feel like the ultimate Lawrence tool kit — it brings most of what Lawrence has been celebrated for to the forefront while doing away with the house music stamps that have undoubtedly helped define his legacy. Those familiar with Kersten's recent work will recognize a decision to revisit a number of themes for A Day In The Life. The album is not an entirely new body of sounds, but it plays well in the context of a retrospective, and plenty of previously unreleased ideas are intermixed to keep the experience feeling fresh.
