The US dance scene has taken an official battering of late and it’s great to now see that the scene is once again alive and kicking its electronic heels at the world of dance. The birthplace of techno and house, the US has had a resurgence of interest with artists such as Carmen Rizzo, BT and Christopher Lawrence again taking centre stage on the world DJ circuit. Often noted as one of the favourite DJs on the planet, the well travelled and well schooled Christopher Lawrence caught up with inthemix recently before he plays shows along the east coast.
First of all let me take this opportunity to welcome you back to our shores for your up and coming tour dates.
Thank you. I am looking forward to my dates in Australia. I always have a good time and people know how to party in Australia!
With yourself being the only US DJ to headline the Gatecrasher, Cream and Ministry of Sound inaugurals in the US, it seemed that the US sounds were in danger of taking a backseat to the European scene. However artists such as yourself and BT have again regained some ground from your continental contemporaries of late. In your view how healthy is the US dance scene?
The US is scene is very healthy. We had a couple of difficult years when the federal government shut down all the raves and festivals. All the parties had to move into clubs which was fine in the major cities, but in smaller and more conservative areas it was difficult to find venues willing to host EDM (electronic dance music) events. Fortunately the scene has found a balance.
2Advanced designed your quite remarkable website. How did you fit in all this consultation into your busy schedule?
Eric Jordan is the best designer in the business. He also happens to be a DJ and a friend of mine, so we were on the page with regards to design. I had content that I wanted included, but all the creativity was left to Eric and he did an amazing job.
Carmen Rizzo had a lot of input into getting the Grammy board to recognise electronic music with its own category. As many electronic artists prefer to stay underground and away from the spotlight of the main pop scene, how has your own nomination affected you?
I think that as long as you create music with integrity and stay true to yourself there is nothing wrong with being recognised. One of my tracks, Rush Hour, was picked up for the “Need for Speed 2” video game. That was a track that had been originally written for the dance floor, but was later used in the video game. I think it is always helpful for our scene when we are recognised for what we do without having to compromise.
The most amazing software in the world, Ableton Live, has taken the electronic world by storm and with good reason. Have you embraced this technology in your production duties or do you use more traditional methods to create your songs and DJ sets?
Ableton Live is just one more tool in my arsenal. I continue to use Logic and ProTools, but Ableton Live does have its place. I find Live to be very intuitive and great for putting together radio mixes while on the plane. I would not use it in the studio for original productions, though. For that I turn to Logic or ProTools. Also, I do not use Ableton Live in my DJ sets. I prefer to be more hands on, playing CDs. I believe the audience deserves to see a DJ actively choosing and mixing CDs or records. Some DJs and producers like Paul Van Dyk and BT properly use Live to create unique and creative mixes in their performances. But I have seen a lot of producers try their hand at DJing and they show up to a gig with a pre-recorded set in Live and just press play. That is just not right.
You’ve licensed some of your tracks to Electronic Arts, the video game behemoth. Do you like the idea of your songs being put to some of the world’s popular games or is the emphasis more on getting your tracks to a different demographic, and to people who may or may not frequent the club scene?
I just like the idea of my music being the background to a video game experience. I also like that it gets the music out to more people that may not venture into a club. For example, my brothers are too young to go clubbing, but when they heard a track of mine in a video game they were playing they were blown away.
Flight features prominently in your life, having clocked up more flight miles than a migratory bird. Do you find the time to enjoy your travels, meeting people, or is it more a necessary evil?
I love to travel. Unfortunately, I don’t always get to do any sight seeing. But I meet a lot of very cool people at the parties. I think that travelling and playing in new venues is the best part of being a DJ.
You concentrate mainly on making carefully crafted dance floor anthems. Are there any secret side projects that you’re currently involved in?I don’t have any secret side projects, but when I am in the studio, I do work on tracks that are not targeted for the dance floor. I save these for my artist albums, like “All Or Nothing” which had a broader sound than strictly peak time anthems.
You have achieved both mainstream critical acclaim and also kudos from the electronic press. How important is this respect in terms of how you judge your success personally?
Personally, I am never satisfied. Every time I play a set, I try to make it better than the last one. Recognition from the press is an added bonus. It does help, though. Sometimes seeing something positive in the press can turn the day around. But at the end of the day I am doing this for myself and the audience.
You list Australia’s Two Tribes as one of your favourite events. How do find Australian audiences react to your shows compared with other crowds around the world?
I always love playing in Australia. I think because the audience is musically educated and they go for it on the dance floor. I feel more comfortable playing the underground trance sound that I am known for in Australia. Sometimes when I am on tour in other countries I will encounter cities where the audience only knows obvious commercial trance anthems. It is a bit frustrating, because I don’t play entry level trance.
You played The Terminator III videogame release party. Did you get to meet The Governator, and if so what was your experience with him?
I met him. My impression of him: he’s short! He looks huge in all the Terminator movies, but I would describe him as petite. Sure he looks just like in the movies, just not to scale. Also, when my wife asked him for his autograph he said “I’ll be back” – just like in the movie…but he never came back. I’ll bet he uses that line all the time, like at a restaurant when it comes time to pay.
Music is a gift to all and there are few people on this earth that don’t follow some sound or another. Do you find that music inspires you everyday or are there times when you find yourself frustrated with the process and the industry?
I am often frustrated with the process and the industry, but that has nothing to do with the music. I make them separate. The music is what keeps me sane. When all else fails, turn on Air “Walkie Talkie”.
While your songs definitely sit in the trance and tech realm there are other subtle influences at work. On “Nitro” for example the synth tickles the brain in a Chemical Brothers sort of way, while in “New Day” it has a funky breaks vibe about it. What are some of the other electronic influences that have helped shape your style?
I listen to a lot of different styles of music. I have always really liked funky acid breaks and can’t understand why it is not more popular. I also listen to techno, and house. I get a lot of inspiration from bands like Unkle and Air.
The song “Freefall” is a collaboration between you and singer Camille Kramer. Did you have her specifically in mind when you wrote the tune or was her addition a post production epiphany?
The music was written in advance. The track seemed unfinished and needed a vocal. I had just heard some material she was working on so I invited Camille Kramer in to the studio. She has a beautiful voice and has a great intuition as to the feel of a song. The words just came together.
The video of above song seems to draw a link between the carnivalesque nature of the dance scene and also the characters that make up this scene. Do you see a connection with both of these types of entertainment?
Most definitely. It is the characters that make this scene so special. That is why the video was shot entirely on location at Electric Daisy Carnival in Los Angeles. This event is one of the biggest events in the US, drawing fifteen to twenty thousand people every year for the past ten years.
Don’t miss Christopher Lawrence, touring Australia over the coming weeks:
Fri Mar 17 – Sydney, Trancetribe at Arq (BUY TICKETS)
Fri Mar 24 – Brisbane, Family
Fri Apr 7 – Melbourne, Room680
‘Ultimate Trance 3, Mixed by Above & Beyond, Christopher Lawrence and Alex Megane’ is out now on Central Station/MRA.
