Lukas Lauermann

At what point does intervention in a piece of music become exploitation? When is it necessary to create something new and when is it purely destructive? These questions are explored by the philosopher of sound Lukas Lauermann in his latest project Interploitation and it adds some completely new “strings” to his own instrument, the cello. The cello case remains closed, but an electronic set up fills the stage. The Austrian who delights in experimentation uses this to test the sounds of existing recordings, to dissect and distort them and reassemble them into something entirely different. This opens up a more imaginative and definitely more exciting cosmos of sound located somewhere in between musical worlds. Because “in between” is where Lauermann with his openness and ear for the essentials feels happiest. Tying himself down musically is not his thing. It feels right that the classically trained cellist – when he’s not performing solo or composing film music – is playing together with such wide-ranging personalities and formations as Wanda, Soap&Skin, the art pop artist Alicia Edelweiss, the songwriter Der Nino aus Wien or the jazz band Donauwellenreiter.