Bread & Butter talk with Lawrence


Peter M. Kersten aka Lawrence aka Sten launched the Dial label in 2000 together with his friend Carsten Jost. With releases on Ghostly International, Kompakt, Mule Electronics, Pampa,  his deep and functional Detroit-ish technosoul hit the DJs choice from the first 12″ to his Film & Windows album in 2014. His deep love to house and techno music made him launch the superb Smallville record store in Hamburg’s St. Pauli district. It is no secret how much the Dial label co-founder loves the classic emanations of the Motor City, always adding his own melancholic twist to Detroit’s legacy. Bread & Butter got in touch with Lawrence to talk about Dial, Hamburg, forthcoming projects and his all-time classic top 5 chart.

How’s your year been so far, what have been the highlights?

L: 2014 was an intense year.  My two personal highlights regarding music production have been finishing the debut album of our new band Sky Walking (with Christian Naujoks and Richard Schulenburg) and a full length Lawrence album, ambient works, in cooperation with my friends Stefan Marx and Toshiya Kawasaki.

Talking about your background, What kind of music were you listening when you were young and when you were first introduced to electronic music?

L: As a teenager in the 80ies i listened to mainstream radio music which back then included The Smiths, Depeche Mode, the Cure, Talk Talk, Kraftwerk. In 1984 Breakdance introduced me to the combination of music and dancing for the first time. I was a bad breakdancer though :). The starting point regarding House Music and Techno was the Front Club Hamburg in 1988

front club hamburg

How would you say your tastes have evolved since the start of your own imprint Dial? Have there been any specific big shifts?

L: Eventually my taste of House Music shifts the least- “Can You Feel It” by Fingers Inc. among a few other tracks marks a standard already in ’86. The challenge is more to create that magic feeling over and over again. It’s still single tracks and moments in music that feel more like a change rather than trends or general taste.

Some of your tracks are very reflective and almost experimental with a distinctive ambient-hypnotic sound. Where does that come from?

L: Uncountable musicians influenced my work. Probably most of them prefer seeking something interesting and new rather than the authentic and real.

You’ve proved to be a very proactive person managing labels and a record shop in your city, producing music and ultimately running an art gallery in Berlin. What is the secret to be successful in each of these different projects?

L: I’d love to show you the key to success but i really don’t know how this all happened, it’s a true miracle and sometimes pure craziness. My colleagues Bianca, David and me seem to be attracted to the assumed unrealizable, if it just feels right and essential.


I’ve read that your “Mathew” gallery in Charlottenburg (Berlin) will also open soon in New York..are there any particular exhibitions worth to check?

L: Each and every show is worth to check! And I do not only say this only as a gallerist, i deeply mean it in regards of the the artists and their works.

matthew galley

I’ve always been attracted by the artwork of each Dial, Smalville release..Do you believe these unique little pieces of art donate an extra “value” to each release?

L: The visual world of music is not exactly filled with beauty. Looking at most of the artworks, websites, download portals… it is rather depressing. Our mission was always to create elegance and beauty. To display art on a record indeed is a nice gift.

What’s happening in your city – Hamburg?

L: Hamburg is a small city, slow but intense, everything here seems to have a certain rhythm. With the tiny Golden Pudel Club you’ll find one of the most ambitious places ever. The space is open seven days a week and offers all kinds of extreme music from Black Metal to Contemporary Classic. The community is politically engaged and welcomes artists and musicians from all over the world. Then you have institutions like Rote Flora, the infamous Golem Bar, Park Fiction, the Smallville record shop and many others- quite an extraordinary scene.


You’ve been around a long time, what are the biggest changes you have seen? Also where do you think the ‘industry’ is at right now?

L: The industrial part of creating and releasing club music was never that interesting- what counts is the people taking care of it, the music itself, the parties and music lovers. And these are still as crazy and hot as in the beginning, i don’t feel a massive change.

What can we expect from Lawrence and the Dial, Laid, and Smallville families in the near future?

L: A lot of exciting projects are waiting to be released in the near future: the debut of Sky Walking in October, Ambient works by Lawrence on Mule Musiq in November and a Lawrence 12inch to come soon on Smallville to be followed by a Smallpeople single. After Efdemin Remixes Pt2 and another Roman Flügel EP, Dial is going to release the album by Dj Richard in early 2015.

Top 5 all-time classic:

Convextion – Astrum

Theo Parrish – Lake Shore Drive

Pépe Bradock – Deep Burnt

Timeline – Conscious Dream EP

Maurizio – Domina (C. Craig’s Mind Mix)


Bread & Butter talk with Ripperton

Ahead of his appearance at Bread & Butter this weekend, we had a chance to catch up with Ripperton to chat about how he originally got involved in the scene, his label, highlights for the year and future projects.
Since the beginning of his career, Ripperton has let loose with a prolific string of consistently high-quality releases and remixes, making his reputation as a purveyor of tasteful house, techno, and minimal undoubtedly deserved…

How’s your year been so far, what have been the highlights?

R: This year was great so far thank you!
Lot of traveling and studio sessions for remixes and new materials coming soon.
The highlights so far were the huge reception of my remix for my good friend Baikal on his label Maeve, I didn’t expected it to be honest.
In top of that playing so many top clubs and festival in my home country was something that was absolutely stunning as well.

When you were first introduced to electronic music?

R: By the radioshow every Friday/Saturday night on the national Swiss Radio Couleurs 3.
The residents were Tony Humphries, Mandrax, Djamin to name a few. Great way to enter the deep side of that new thing that was called house music.

You have always kept a distinct sound that manages to stay melodic, yet still driving. Were there any influences or aims that led you to this sound

R: Yes, you are right. It’s a priority for me to sound and respect the house music from his pure form. Which is connected to Chicago, Detroit and New Jersey sound. Vocals, strong melodies and hard work on the edit are my golden rules.

What drives your creativity mostly; what gets you up and writing new music day after day?

R: Good question, I do music as i breath and it’s the only thing i can do not too bad i think.
When I’m tired of producing I do a break and focus my interest on other things like books movies, painting etc… I simply need art forms around me to feel good.

rippertonYou started your Tamed Musiq in 2012. Why and what is the music background behind your label?

R: I wanted to restart a fresh things for my own productions only. But as I’m a dj and I’m luckily enough to get some great friends that make astonishing music and kind enough to send them to me, I started to release them on Xtra-Tamed. I just want to release the best of them, the ones i think that deserve it. There’s way too much “okay” productions right now but “okay” is not “okay” anymore.. we all want more, I mean more personal records less functional.

Your relatively new project “Headless Ghost” saw releases on Clone Royal Oak & Tamed Musiq. Why change monikers? What was the thinking behind that?

R: Headless ghost came first on STHLM audio in 2009, I had that nice bunch of tracks sleeping in my computer and one night Agnès came by and was drunk enough to sign them all. They were more housey and raw than what I did with Ripperton so the idea of that moniker came by. The house was almost gone at this “minimal” rise period, so yeah ghost and headless because they came straight from the heart and not from the mind.

Basing House, at the moment, is probably the best small underground venue in London. How do you feel performing to an intimate crowd?

R: My first show there last year was outstanding, I love small venues. What is a party? It’s just you, me and a good sound system. who care about the numbers. I guess that’s all I need to be a happy dj.

Who are you on the day to day outside of music? What else do you like doing?

R: I have a family, two young kids, so it takes almost all my time outside of the studio, I watch a lot of series as well, otherwise some good dinner with friends!

What else can we expect from Ripperton in the near future?

R: I have just signed a new song called “Unfold” on Innervisions that should drop end of June, a remix for Noir & Haze on Noir music, a new collaboration with Deetron as Roots Panorama on his new label Character coming soon and a track called “Searchin 4 you” for the Systematic 10 years anniversary compilation, that will feature exclusively on the new Deetron’s Fabric mix as well.

Catch Ripperton on Saturday 31st of May at Bread & Butter [Basing House-London]

Event on Resident Advisor

Bread & Butter talk with their headliners

Before derbruden Zenker come to London to play for Bread and Butter at Basing House we caught up with Dario & Marco Zenker to talk Harry Klein, kung fu and he gives us his guide to Munich.

How’s your year been so far, what have been the highlights? Great so far. Heavy winter in Munich. We are celebrating our five year anniversary with Ilian Tape and beside that working a lot as usual.  One highlight was the birthday party at Harry Klein with Claro Intelecto Live and Regen.  Then Dario’s gig at Panorama Bar where we went with all our friends and Snafu in Aberdeen gig wise.  There is a lot of amazing music out there right now, hard to pick just one name.
Otherwise FC Bayern and the Champions league Final.

When were you first introduced to electronic music? Well super early actually as our mum was a gipsy and following the roots of Frank Lloyd Wright in Chicago and Wisconsin. So we were born behind a Warehouse on the parking space where our mum lived and we grew up. The Tent we lived in was owned by Farly Jackmaster Funk and Jeff Mills.


You started your label Ilian Tape in 2007. Why and what is the music background behind your label? Ilian tape is our baby.Run by Marco, Andi and Me, it was founded in 2007 actually. I was running the old dub label from my dad called hometown music but it didn’t work out so we just had to create a new label because we had already stuff lined up.The first record on Ilian Tape by Lee Van Dowski & Dachshund was actually supposed to come out on hometown music as 005. We had the master cuts already done so it went quite fast. As we were distributed by Intergroove for the first 4 records, we took a break until beginning 2010 because we lost a lot of money with Intergroove. Since Ilian 005 we are working without distribution.That just gives us more space and freedom, and we really like to do whatever we want and we are in fully control about everything.

You also run the HarryKlein-Label and a resident in the same-named club. How it came about? Yeah Marco and me are running Harry Klein records. It was founded by all residents of the club end 2009. We are just taking care of everything. I used to play on Stock 5 party at Harry Klein club like 6-7 years ago, so I’ve got involved into the whole thing. We played there more and more and suddenly I had a residency. We really grew with that club as. Our whole style of playing and interacting with the crowd was actually experienced there and of course all other shows we played at already, but Harry Klein was like our space to experiment and test our own productions and really to connect with the crowd.

Tell us a little bit about the general inspiration / influence for your new projects? There is no general Inspiration. Music just happens out of nothing. When we produce music together for example we just smoke and laugh a lot. That’s how it goes mostly. We just jam. We just moved into a new House in the Turkish Town of Munich. Most amazing area of the city for us. The only hood where you have the feeling of living in a big city. Super multicultural. That is probably our main influence right now. But besides that love, food, music, kung fu, friends, weather, dancing and the list goes on and on and on.

What’s happening in Munich? Well we have a very old Techno/House scene already. Since beginning of the 90′s or so? The scene is pretty big overall. But of course there is a small more intimate crowd aswell. If u catch a good night the people are very open & enthusiastic for the music.of course the city has a big influence on the nightlife aswell. I think it’s the bavarian mood, very good atmosphere.

Some of your tracks are very reflective and almost experimental, are you influenced by ambient and experimental music at all? No not really. We just wanna create a certain atmosphere in our tracks that goes another direction than just super functional stuff. Of course it has to be functional in a way too, but that is not the main goal.

Who are you on the day to day outside of music? What else do you like doing? Mark US & Diri D. Playing football, robbing old women, stealing cars in the Landwehr Avenue and just running Munich.

The Zenker’s must-see-guide for Munich:

– Beer-garden: The most lovely one ist the one called “Menterschwaige” . It is close by the Isar and just beautiful. You can even see FC Bayern players there once in a while.

– Shopping: The Vintage Stores Kleidermarkt and Alexa. Munich is not the best shopping city for me to be honest. So go VINTAGE!

– Culture: Techno City Munich!

– Outside: Everywhere at the lovely Isar. My favourite place is at the Grosshessloher Brücke.

– Bar: Jazz Bar Vogler at the Glockenbachviertel. Live Jazz. Good Whiskey.

– Restaurant: The greek place called Paros is Haidhausen. Amazing greek food and great service.

Exclusive interview with Redshape

B&B: When were you first introduced to electronic music?

Redshape: Roughly ’94. I started to DJ 2 years later.

B&B: How would you say your tastes have evolved since the start of Redshape? Have there been any specific big shifts?

Redshape: No, no big shifts – not even minor ones. OK, the UK scene had an extra influence over the last 1-2 years, rather than. I still love that dirty house techno vibe from the beginning.

B&B: Your sound is definitely influenced by different genres of music. Can you tell me why you think it’s important for producers and electronic music producers in particular to have an open mind to music of all styles and genres?

Redshape:  I won’t judge people doing what they have to do – but – as a comparison to painted art, it’s like as if you watched only one, probably really nice, painting all your life – and then suddenly decide to achieve its magic by trying to copy it. Different angles are always the key to creating something special yet close to your own complexity.

B&B: What drives your creativity mostly; what gets you up and writing new music day after day?

Redshape: Good question, once I get behind I gonna be more productive! if I meet interesting people during my travels or have a nice demanding time in general, something in me awakens and wants to express itself musically – no idea how to switch that on though.

B&B: Your new project “Palisade” saw its first release last year in May on Laid Records. Why change monikers? What was the thinking behind that?

Redshape: I actually wanted to create a new label, but the lovely guys from Laid kind of convinced me going another route. At that time I really needed a break from “fast forward” – so i decided to build a “Palisade” around some deep deep areas in me and see what happens.

B&B: You are quite regular at London’s Fabric nightclub playing for a big audience. Basing House, at the moment, is probably the best small underground venue in London. How do you feel performing to an intimate crowd?

Redshape: I love intimate crowd and venues – all the best moments I can remember happened in such places. So – yeah I’m really looking forward – as music tends to get more intimate as well – from time to time.

B&B: About your live show at Basing House…how it will works and the setups you are currently running?

Redshape: My traditional setup, Faderfox – drum controller, UC – 8 channel (harmony) mixing desk, Octatrack – extra live drums & stuff & a 4 channel DJ mixer to put all this together. No prepared breaks or arrangements, only 1 bar loops, 1 hit samples sequenced and arranged live.

B&B: What else can we expect from Redshape in the near future?

Redshape: Next will be my release on Martyn’s 3024 label and a remix I did for him on Brainfeeder. As soon I’m finished with this interview I’m gonna continue working on the new album, which hopefully will be done (written / produced) till March / April. I aim for a 2nd half 2012 release.

Bread & Butter Exclusive Interview With Kevin Griffiths (Tsuba / 8 Bit)

B&B: How you doing – what’s excited you most this year so far?

Kevin: All is good. I’m about to move house / office so its a bit hectic to be truthful! 2011 has been a really good one with lots of highlights. i celebrated 5 years of the label with a special two part release and parties at fabric and watergate which were great and i’ve been lucky enough to DJ all over the world, including my first time in Japan which was awesome for a sushi lover like me.

B&B: You launched Tsuba Records in 2006. How did it begin?


Kevin: i’ve been in music for the last 15 years running labels and working in music distribution so i entered into the music from that angle. i was running Tiefschwarz’s Fine label in the UK 6 years ago and was made redundant so it was a natural progression to launch my own label. i’d been thinking about it for a while anyway so the timing worked well and here i am nearly 6 years later. its great being my own boss and having a better work / life balance.

B&B: What is the music background behind your label? 

Kevin: musically i’ve always been a real vinyl lover so that part of things continues to be key for me, though these days its really just for collectors and vinyl enthusiasts. the best music is on vinyl and house music would be quite bland without it. i guess i’ve always been drawn to the deeper side of things and i like records that have a strong vibe or personality.

B&B: How have your tastes evolved since the start of the label would you say? Have their been any specific big shifts?

Kevin: there continues to be a tsuba sound, which is at the deeper end of the spectrum, but under that umbrella i’m able to release a variety of underground styles. so i can go from someone like tazz or a vakula mix on tsuba limited (my vinyl only label) through to more digital orientated releases like the sebo k mix of nina kraviz which was a big hit this year. above all though, its about releasing music of a high quality, with artwork to match. i really make an effort with the whole package of a release to try and make each one special.

B&B: What are your end goals when making a record?

Kevin: ultimately to try and make something that will stand up in 5 years time and still sound good. as a result i’m pretty slow and only produce when i’m in the mood and have a good idea. these days there is a pressure to have a high turnover of releases in order to maintain profile for gigs, but that doesn’t suit me. quality over quantity!

B&B: How do you consider yourself ..DJ/producer/label boss?

Kevin: ultimately the thing i most get a buzz out of is the label. its a dying art really as there isn’t much money in it, but its something i continue to feel very passionate about. i’ve recently updated the logo and artwork and relaunched the website including a shop, news section and regular podcast. the site is now the central point for all tsuba activity and is a real platform for the label. Of course DJing i continue to love as well. now i’ve been doing it 15 years its really relaxing and its great seeing reactions to new records (like this new one from mic newman i played in genova last weekend that kind of feedback really helps with the a&r process).

B&B: What does the future hold?

Kevin: I’m doing a series of Tsuba warehouse parties in London next year starting on 11th Feb with Gerd Live, sascha dive, spencer parker, ethyl and myself. its a great opportunity for a party with the roster! i’ve just finished some new tracks with my good mate justin drake which i’m really excited about. just really good underground house tracks, which will be released in the first half of 2012. i also have the first artist album on tsuba from canadian producer Tazz which is mind blowingly good. very melodic and analogue sounding with character in abundance. 2012 should be a good one!

Bread & Butter Exclusive Arnaud Le Texier (Safari Electronique / Cocoon) Interview & Podcast








B&B: Hey Arnaud, how’s it going?

A: Yes all cool… had a busy week last week and this one it’s not better… but I don’t complain better than to be bored!!!

B&B: How did it all start for you music wise?

A: Long time ago when it was nowhere between digital or vinyl because the CD didn’t even exist… It was a war between tape and vinyl… aahahahha

More seriously it’s a long story ! I found my passion for music when i was very young, around 9 years old. My parents and I often passed Christmas and New Year’s Eve at my uncle’s house and my aunt used to love music and going out. Most of the time my uncle was recording live from the club of his friend.
I was the only child surrounded by adults, i escaped from their conversations by listening music and asked constantly to my uncle, “what’s this track?”
So the next year, for Christmas i got my first turntable. I think, the most beautiful gift i could have!!!
Then I met a guy during my holiday in 1988 who made me listen a tape with some tracks from Frankie Knuckles and mix master. This is how I discovered House music! I just loved it and started to buy some records in this style. Then I had a good opportunity to work in records shop in the 90′s where I was selling house & techno for 8 years and started to play in rave parties and here you go.

B&B: In 2005 you founded your “infamous” imprint, Safari Eletronique. What is the thinking behind this project?

A: You just need to read the name, it’s as simple as that…. I am doing a Safari in Electronique and trying to find new talents always!!! No style in particular as long as it’s good with soul inside.

B&B: You’ve been around a long time, what are the biggest changes you have seen? Also where do you think the ‘industry’ is at right now? Is there an industry or just an independent scene within a scene? 

Biggest changes? To be honest I don’t see them… The only change I see is how people judge music actually… No matter if you have real talent it’s all about if you are fashion or not!!! If you know how to promote yourself… Makes me sad because if we react like that we are gonna miss future talents… believe me! Even clubs start to react in the same way… booking only big names and labels do the same by signing only safe names… Everyone can do that you just need money :-) I think electronic music now is a real business and really lost its innocence since long time… The only thing positive for me is the quality of music is still high and there is still some people trying to push the boundaries and some promoters too… So hopefully these ones will get bigger soon and will change the quality in a good way!

B&B: Tell us a little bit about the track selection, there are a wide variety of genres in your sets and not all of these tracks come out recently.

A: First of all I don’t like to repeat myself and always play with the vibe of the dancefloor. I like to play new tracks but I like also to select old tracks but never the same old ones… When I do my podcast Safari Electronique radio show, I do a selection of music that I like at the moment or in the past but not specially dancefloor… Electronic music is not only dancefloor so it’s the right moment to play some tracks a bit more personal :-)About the podcast I did for you it’s a selection of new & old music… mostly house – techouse. It was the mood of the day I recorded it…

B&B: 2011 has been a very important year for you. How would you describe it?

2011 was a great one… In production & djing! Really happy to sign an ep on Cocoon. The EP was no specially a big dancefloor one but I was happy to sign something ambient & deep. It shows another side of music and happy it worked. Then I had amazing gigs this year alongside D’julz for some Bass Culture nights… last one a Goa Madrid was a blast. Loved to play for Fabric’s birthday too as you might know one of my favorite club to play!

B&B: What else can we expect from Arnaud in the near future?

A: A lot of productions as I am in studio every weeks. Working on tracks I would like to put in an album and some collaboration with some friends… At the moment I am working a lot with Antonio De Angelis on a techno project and really love it.

B&B: Analogue or digital?

A: Digital in the anus…. Honestly I don’t care about the digital or analogue war… I used both and for me what matters is what is delivered at the end as a whole package… If you are all analogue and you know how to use it… perfect!!! But it’s not because you have analogue that you will make better music either… the talent doesn’t come from the machine you used but from your soul… I will always remember one day I signed a guy who was musician and he played some rhodes on his track so I asked him is it a real one? The guy told me NO, he just used the software Reason… lol.
So I took the demo and made it listen to a jazz musician who worked with the finest musicians in the world and he didn’t see any difference…. Since this day I just realized that whatever you use if the guy behind is a genius even with a bongo you can make a techno track… ahahahah

Audio: Bread & Butter catch up with their headliners.

Having released on Get Physical, Doxa, Kritik Records, Leutral Recordings and Tonkind, Turmspringer’s Curriculum Vitae looks impressive! Turmspringer is the capable moniker of Robert Galic (alias Edgar Peng und RAS) and Tim Brüggemann (alias Didier de la Boutique).

In 2001, when they met first time behind the desks, Robert just had left London to settle down in Berlin, attracted by Jazzanova to release his world wide appreciated album “Rhythmic Altered State” on Sonar Kollektiv.
To this point of time, Tim was already rooted into the colorful Rare Funk scene of Berlin.

Once in the studio, having put together their understanding of Funk, Soul, Afro and modern electronic club music, their own sound of a fresh funky minimal Techno was born and got the name “Turmspringer”. Now, since 2004 the producer and dj team is rooted deeply in the underground of Berlin’s Techno and Minimal House music.

In 2005 Robert Galic started “Tonkind”, an individual colored platform for acts, producers and DJs like Skinnerbox, Click I Click, Phonique or Agaric and many others. With this backing platform they established themselves also as party promoters. Their regular circulating label nights and off parties provides not only Tonkind acts to show up but also keep the network with other labels in flow such as Bar 25, Up on you, We Are, E-Minor, Hi Freaks or Berlin’s underground queen Bachstelzen.

1. Tell us a little bit about why you chose to go in this direction musically and what is appealing to you about the more subtle sounds.

Robert:                                                                                                                            We always have been attracted rather by unconventional music as by the popular and mainstream sound. just because it makes us feel free and inspired.

Sometimes life can be very monotone and everyday life makes you stomp, so at least music or art in general should always keep the door open for new perspectives

and a fresh appearance. Modern electronic club music in the present is in a constant change and keeps the fundamental impulses for the commercial music of tomorrow.

2. Tell us about your experience in Berlin. To what degree has Berlin influenced your sound and career ?

Berlin has influenced us a lot. When i moved from London to Berlin in 2000, i was working on my New-Jazz album for Sonar Kollektiv and it was really hard not to jump on this electrifying sound coming from the Techno underground. So i impatiently finished my RAS project to make the swap.

And Tim, when i met him first time in Berlin, he was one of the best and most wanted Rare Groove and Soul&Funk DJs of Berlin…this is history too.
In the last 20 years Berlin is going through a constant change in all areas and fields, it is just taking you with.

3. What do you guys have in store for the rest of 2011/early 2012?

Releasing a compilation for our beloved Golden Gate club and having from November a tour through Asia (India and Singapore) and Australia.

4. Any comments about your exclusive B&B mix for our listeners?


Its so exclusive, you wont hear it somewhere again…not even from us!!!