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Kl(aüs)

Kl(aüs)

Kl(aüs) has been played on NTS in shows including Supporter Radio: Metamorphosis, featured first on 30 January 2020. Songs played include Mammatus Clouds Over Saskatchewan.

Former Tasmanians and school friends Stewart Lawler (Boxcar, Severed Heads) and Jonathan Elliott (Prayers in Ashes, Batrachian) formed Kl(aüs) in 2013. With many years experience playing in critically acclaimed and influential Australian electronic bands using sequencers and laptops, and even more long evenings in the pub arguing the nuances of Tangerine Dream’s 1979-1985 period, the pair realised that the Berlin School genre is a perfect vehicle for a style of improvisation and sonic exploration that is focussed around playing instruments rather than performing from laptops.

Says Lawler, “We think the recent trend for ‘authenticity’ in electronic music by exclusively using vintage equipment is a bit misplaced, to be honest. What really matters is how you play the instrument; be it physical or software, it’s how you interact with the sounds as you play that counts. By recording live improvisations direct to multi-track audio we’ve displaced the sequencer from its central role, allowing a more organic development of musical ideas to take place”.

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Kl(aüs)

Kl(aüs) has been played on NTS in shows including Supporter Radio: Metamorphosis, featured first on 30 January 2020. Songs played include Mammatus Clouds Over Saskatchewan.

Former Tasmanians and school friends Stewart Lawler (Boxcar, Severed Heads) and Jonathan Elliott (Prayers in Ashes, Batrachian) formed Kl(aüs) in 2013. With many years experience playing in critically acclaimed and influential Australian electronic bands using sequencers and laptops, and even more long evenings in the pub arguing the nuances of Tangerine Dream’s 1979-1985 period, the pair realised that the Berlin School genre is a perfect vehicle for a style of improvisation and sonic exploration that is focussed around playing instruments rather than performing from laptops.

Says Lawler, “We think the recent trend for ‘authenticity’ in electronic music by exclusively using vintage equipment is a bit misplaced, to be honest. What really matters is how you play the instrument; be it physical or software, it’s how you interact with the sounds as you play that counts. By recording live improvisations direct to multi-track audio we’ve displaced the sequencer from its central role, allowing a more organic development of musical ideas to take place”.

Original source: Last.fm