First vinyl edition of a masterclass in deep, minimalist house and genteel ambient from the sound’s autumnal year of 2009, when its crest was waning but still alight for those who’d followed its ebbs and flows thru the preceeding decade.
With a minimal house revival surely around th corner, if renewed interest in dub techno is anything to go by, Lawrence’s 4th solo album sagged a finely measured mix of trim, Teutonic deep house and soft touch ambient characteristic of prevailing trends that would largely give way to ruggeder sounds in the following years. ‘Until then, Goodbye’ remains an artful lesson in how to do minimal house elegantly and effectively in an album format, neatly balancing the vibe around laid-back but gently insistent grooves in spacious arrangements suffused with a spirit carried over from deepest ends of Detroit, Chicago and NYC house, and adapted in translation for dancers and fans of that sound in the UK and elsewhere.
Peter M. Kersten was well into his stride as Lawrence in 2009, and poised to distill his influences from GAS, Isolée and Theo Parrish, and transcend them. The hour long album revels in hypnotic depth as he tactfully toggles the pace and atmosphere between cottonfloss-headed ambient in ‘Fridays Child’ and the pill-bellied ‘Sunrise’ to evoke Hamburg’s harbour city play of light like Theo reflecting on Lake Michigan with ‘Grey Light’.
He continues to sashay from the house swing of ‘Jill’, to offbeat forms of jazzy, folksy chamber music that predict new movements of German avant folk on the distant horizon in ‘Todenhausen Blues’, touching on svelte beatdown in ‘The Dream’ and signature, hushed house depths in ‘Don’t Follow Me’ to the closing flourish of solo keys swept up in ‘A New Day’ and Isolée-esque nimbleness of his title piece,
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First vinyl edition of a masterclass in deep, minimalist house and genteel ambient from the sound’s autumnal year of 2009, when its crest was waning but still alight for those who’d followed its ebbs and flows thru the preceeding decade.
With a minimal house revival surely around th corner, if renewed interest in dub techno is anything to go by, Lawrence’s 4th solo album sagged a finely measured mix of trim, Teutonic deep house and soft touch ambient characteristic of prevailing trends that would largely give way to ruggeder sounds in the following years. ‘Until then, Goodbye’ remains an artful lesson in how to do minimal house elegantly and effectively in an album format, neatly balancing the vibe around laid-back but gently insistent grooves in spacious arrangements suffused with a spirit carried over from deepest ends of Detroit, Chicago and NYC house, and adapted in translation for dancers and fans of that sound in the UK and elsewhere.
Peter M. Kersten was well into his stride as Lawrence in 2009, and poised to distill his influences from GAS, Isolée and Theo Parrish, and transcend them. The hour long album revels in hypnotic depth as he tactfully toggles the pace and atmosphere between cottonfloss-headed ambient in ‘Fridays Child’ and the pill-bellied ‘Sunrise’ to evoke Hamburg’s harbour city play of light like Theo reflecting on Lake Michigan with ‘Grey Light’.
He continues to sashay from the house swing of ‘Jill’, to offbeat forms of jazzy, folksy chamber music that predict new movements of German avant folk on the distant horizon in ‘Todenhausen Blues’, touching on svelte beatdown in ‘The Dream’ and signature, hushed house depths in ‘Don’t Follow Me’ to the closing flourish of solo keys swept up in ‘A New Day’ and Isolée-esque nimbleness of his title piece,