Lawrence's fifth LP is a masterclass in the art of debonaire German deep house minimalism. The Hamburg mainstay is rarely paralleled in this arena, and effortlessly proves why over eight tracks of supple, seductive rhythms and soothingly emotive melodic gestures. From 'The Opening Scene' of wintry strings and icy bleeps, 'Marlen' quietly but sweetly swings in with its Convextion-like strings and sci-fi synths beside the sleigh-bell shimmy of 'In Patagonia'. In 'Films & Windows' he places more emphasis on stark snares and sub-bass perfused with trickling melodies, leading to a druggily ambiguous climax, and 'Angels At Night' is a heartfelt dedication to the lushest Detroit sounds. Although not as dark as the title infers, 'Lucifer' provides an engrossingly moody highlight again reminding of early Convextion, and you couldn't ask for a more lovely closer than the stroked keys, spiritual harp and gauzy church organ of 'Teenage Barb'.
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Lawrence's fifth LP is a masterclass in the art of debonaire German deep house minimalism. The Hamburg mainstay is rarely paralleled in this arena, and effortlessly proves why over eight tracks of supple, seductive rhythms and soothingly emotive melodic gestures. From 'The Opening Scene' of wintry strings and icy bleeps, 'Marlen' quietly but sweetly swings in with its Convextion-like strings and sci-fi synths beside the sleigh-bell shimmy of 'In Patagonia'. In 'Films & Windows' he places more emphasis on stark snares and sub-bass perfused with trickling melodies, leading to a druggily ambiguous climax, and 'Angels At Night' is a heartfelt dedication to the lushest Detroit sounds. Although not as dark as the title infers, 'Lucifer' provides an engrossingly moody highlight again reminding of early Convextion, and you couldn't ask for a more lovely closer than the stroked keys, spiritual harp and gauzy church organ of 'Teenage Barb'.
Lawrence's fifth LP is a masterclass in the art of debonaire German deep house minimalism. The Hamburg mainstay is rarely paralleled in this arena, and effortlessly proves why over eight tracks of supple, seductive rhythms and soothingly emotive melodic gestures. From 'The Opening Scene' of wintry strings and icy bleeps, 'Marlen' quietly but sweetly swings in with its Convextion-like strings and sci-fi synths beside the sleigh-bell shimmy of 'In Patagonia'. In 'Films & Windows' he places more emphasis on stark snares and sub-bass perfused with trickling melodies, leading to a druggily ambiguous climax, and 'Angels At Night' is a heartfelt dedication to the lushest Detroit sounds. Although not as dark as the title infers, 'Lucifer' provides an engrossingly moody highlight again reminding of early Convextion, and you couldn't ask for a more lovely closer than the stroked keys, spiritual harp and gauzy church organ of 'Teenage Barb'.
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Lawrence's fifth LP is a masterclass in the art of debonaire German deep house minimalism. The Hamburg mainstay is rarely paralleled in this arena, and effortlessly proves why over eight tracks of supple, seductive rhythms and soothingly emotive melodic gestures. From 'The Opening Scene' of wintry strings and icy bleeps, 'Marlen' quietly but sweetly swings in with its Convextion-like strings and sci-fi synths beside the sleigh-bell shimmy of 'In Patagonia'. In 'Films & Windows' he places more emphasis on stark snares and sub-bass perfused with trickling melodies, leading to a druggily ambiguous climax, and 'Angels At Night' is a heartfelt dedication to the lushest Detroit sounds. Although not as dark as the title infers, 'Lucifer' provides an engrossingly moody highlight again reminding of early Convextion, and you couldn't ask for a more lovely closer than the stroked keys, spiritual harp and gauzy church organ of 'Teenage Barb'.