Sven Laux | Sound Design & Music | Press
Press

2017-11 | Irregular Crates’ review of ‘Paper Streets’
Paper Streets is an undeniably an album about weather, shafts of light – and possibly being underwater [at least in this listener’s lug-holes]. It’s a widescreen affair that would soundtrack the current flagship UK natural history programme Blue Planet II, with it’s Hans Zimmer echoes. That might be a lazy reference, but looking at Sven’s website (always nice when an artist has more than a Bandcamp) he describes himself as a composer, sound designer, musician, DJ and film addict. He lives in Berlin. Of course he does. But any way, it’s clear that he’s an audio visual gun for hire. read more

2017-11 | Igloo Magazine’s review of ‘Paper Streets’
Long chordal moves, impressionistic soundscapes fluctuate in a vast ocean of tone colors and patterns. Detached acoustic notes, fragmented melodies open on a profound meditative estate where blurred memories meet a feeling of loss or desolation.
Paper Streets is not so much an isolationist ambient work because the soundscapes are built via majestic arching textures, repetition and melody. If you are into modern classical music and spacious, beatless cinematic ambient, this album is for you. Recommended for fans of Arvo Part, Hilmar Hilmarsson, Loscil, Deaf Center et al.
read more

2017-11 | Vital Weekly’s review of ‘Paper Streets’
Music that sounds like the fading of day light, but no doubt that is an image that just came up as I was watching outside for a bit while contemplating the meditative nature of the music. The titles of Laux’s pieces aren’t always the most optimistic ones, to say the least; ‘I Wish I Could Sleep’, ‘From Sadness To You’, ‘The Lost Violin’ or ‘Are You Still With Me?’ but throughout I would think this music is sad and melancholic, yet not necessarily without a shred of light; it is just not easy to see, I guess. Laux is one man that sounds like a chamber orchestra; long live technology I guess and he does a great job. read more

2017-11 | Kevin Press’ (baddpress.blog) review of ‘Paper Streets’
A beautiful new recording from Germany’s Sven Laux makes clear there are other ways to build texture into electronic music. Laux adds violin, cello, piano and gentle noise elements that turn what would otherwise be a rather dated-sounding album into a genuinely magnificent collection of eight new works. read more

2017-10 | Ryan Keane’s (losttribesound.com) review of ‘Paper Streets’
Sven Laux new album ‘Paper Streets’ is like witnessing the inner workings of a storm cloud. Mammoth swaths of dark strings coax the misty edges of the enveloping gray mass ever outward, tiny electrical charges from within keeping the nimbus formation alive and connected. It’s hard to tell, if giant arrives as friend or foe, simply as a passive grazer on the weary landscape below, or as a threat. Though it’s not all doom, blue skies and hazy golden rays pierce the vaporous monolith occasionally to warm the ground below. Sublime! I could somewhat compare it to Field Rotation, maybe a darker toned Hammock for good measure. Out soon on Dronarivm.

2017-10 | musicwontsaveyou.com’s review of ‘Paper Streets’
Alternando modulazioni evanescenti a loop lievemente pulsanti, quest’ultima costituisce non solo il fondale sul quale Laux si cimenta nella composizione cameristica ma anche il trait d’union con la sua abituale dimensione elettronica. E, un po’ come avviene quando Bvdub si immerge in affini abissi di malinconia, il risultato di “Paper Streets” è un affresco di neoclassicismo ambientale intenso e cinematico. read more

2017-01 | Juno Download’s review of ‘Alliteration’
The dark ambient intro ‘Transmission I’ sees Laux do his best impression of Alva Noto until ‘Parachesis’ introduces a sound more typical of the German producer, with its deep and ethereal sense of groove. The subtle and slow rolling house of ‘Parallelism’ sounds like a Vid record on -8, the gorgeous title track is a certain highlight with its William Basinski style atmospherics reminiscent of his Watermusic II opus. read more

2016-04 | Sound Impression: Sven Laux – ‘Slow Motion Days’ by Stationary Travels
In the bustling European metropolis of Berlin, there are likely very few days that move in slow motion, but as sound designer, producer, and composer Sven Laux proves, that does not preclude one from achieving such a state of mind and, if you give him 40 minutes of your time, he will slow you down as well with the lush and melancholic soundscapes on his latest album Slow Motion Days now available on the Barcelona-based Seven Villas Voyage imprint. read more

2016-02 | ‘Slow Motion Days’ featured on xlr8r.com
At the end of this month, Berlin-based artist Sven Laux will kick off Pablo Bolivar’s new label, Seven Villas Voyage, with Slow Motion Days, his upcoming LP. The six-track album is a gorgeous ambient excursion centered around a field in winter and, like its wintery subject, the LP peacefully floats from a foggy, atmospheric opening to more emotive instrumentals and melancholic soundscapes. read more

2013-12 | createdigitalmusic.com’s review of ‘We Were Here’
Top 10 lists are played out. Deconstructing what’s bad about Top 10 lists is ALSO played out. And people who make Top 10 lists miss a lot of music for all kinds of reasons – because an album isn’t in a genre they follow closely, because things get released after magazine cutoff dates for Top 10 submissions, because we turned off the internet that day, or because we didn’t turn off the internet that day and then lost a week to the latest meme of the moment. read more

2013-10 | exclaim.ca’s review of ‘I Have Found A Place For Us To Stay’
Six years into his career, Sven Laux has hit his stride. For the Berlin-based composer, it’s been a steady climb. His discography boasts an acclaimed LP on NYC’s Microcosm Music, but it’s his 2011 release for Unfoundsound that marked a compelling evolution in his craft. Laux’s meticulous rhythmic habits began providing a base for a warmer, more emotive output and he’s been channelling that energy ever since. On Laux’s latest record, we’re treated to what feels like the summit of his recent efforts on Archipel and Dewtone, with his beat-focused past finding a harmonious co-existence with his newly found ambient voice. read more

2012-10 | Textura’s review of ‘And Then We Were Surrounded’
Laux’s And Then We Were Surrounded (issued by the Vancouver-based Dewtone imprint) locates a middle ground so precisely between ambient and techno that it neither leans more in one direction than the other. As he has done on previous releases for Microcosm, Archipel, Villar Village, and others, the Berlin-based Laux here transmutes instrument sounds, foundsounds, and field recordings into multi-layered set-pieces that are anything but minimal. read more

2011-03 | Textura’s review of ‘Homesickness or Nostalgia’
Microcosm is, without a doubt, the perfect label home for Sven Laux’s first full-length Homesickness or Nostalgia. With its nine quirky tracks animated by jaunty rhythms and adorned with oddball samples and found sounds, the digital-only set possesses all of the earmarks of the New York-based imprint’s style. Prior to the album, Laux issued several EPs and remixes, so it’s not all that surprising to discover that the album’s material is polished, even if the tracks’ skeletal techno and house rhythms are relentlessly beseiged by a never-ending stream of sound fragments. read more

2011-02 | Boomkat’s review of ‘Homesickness or Nostalgia’
You can always rely on Ezekiel Honig’s Microcosm imprint for some high-grade 4/4-based sounds. That said, the pulsing beats that form the backbone of many Microcosm releases are only part of the story, as these artists merely use techno as the starting point for their compositions. read more

2011-02 | infernaltechno.com’s review of ‘Homesickness or Nostalgia’
Homesickness or Nostalgia might be Berlin-based Sven Laux’s first full-length album, but with steady releases on Archipel, Multi-Vitamins, spontanMusik, Tropic, and Leporelo labels, to name a few, Sven has already introduced listeners to his personal world of music. Upon first listening, it is clear to tell that he takes great influence from techno and house music from past and present. However, Sven’s chiseled and refined sound remains refreshingly tight throughout the course of its productions. read more

2011-02 | cyclicdefrost.com’s review of ‘Homesickness or Nostalgia’
With a title straight out of the hauntological handbook one might have expected Sven Laux’s Homesickness or Nostalgia to be an exercise in Burial-esque crackle and sadness, but the nostalgia seems to point closer, back a mere ten years or so, to the height of glitchy microhouse. Since then CPUs have gotten bigger, enabling Laux to stuff his tracks with greater amounts of digital fizz and clamour, but these nine tracks remain lithe and limber, like the Perlon of yore. read more

2009-07/08 | Beat Remix-Contest ‘Hoy & Monk EP’
Sven Laux ist seit Jahren ein fester Bestandteil der Netaudio-Welt und begeistert mit einem kreativexperimentellen Minimal Techno, dessen Charme man sich kaum entziehen kann. Für den Remix-Wettbewerb der Beat stellt er das Titelstück seiner aktuellen EP „Hoy & Monk“ bereit. read more

2009-01 | Beat Interview ‘Sich von der Maus entfernen’
Die Frage nach seiner Lieblingsmusik haben wir Sven Laux zwar nicht gestellt, doch rotieren in seinem Player gerade Oasis und Coldplay einträchtig neben dem hypnotischen House von Pheek und den kühlen Knisterklängen von Vladislav Delay. read more

2007-10 | tokafi.com’s review of ‘The Stories of Kwiggle EP’
Sven Laux is back with already his fifth EP this year: “The Stories of Kwiggle” is out on Meerestief, a label, radio show and magazine with some of the highest quality packaging-standards when it comes to their physical releases and the demand of going far beyond the superficial with everything they do in general. As such, Laux should feel perfectly at home here. Not sure whether Kwiggle is a reference to the relatively rare computer virus, but just like this digital worm slows down the system until it is working at full capacity while being barely able to move, Sven has silenced the pulse of his tracks to a gentle heartbeat and brought the subtle crispbread structures, which previously underpinned his music like an insect hum, to the fore. read more

2007-08 | tokafi.com’s review of ‘Languish EP’
Sven Laux has been a regular guest on these pages and he is bound to remain so for quite some time. Not so much because of his unfettered productivity (McDonalds keeps churning out the greasy stuff as well, after all), but mainly because few other contemporary producers have understood the principle of the EP as well as him. Laux approaches his releases from a sound-conceptual and structural perspective, filling in the music as he goes along. This ensures that all tracks are interrelated, mutually complementing each other and continually defining and deepening a particular mood. „Languish“ is the most recent addition to his discography and already his sixth publication this year (!). Again, Sven finds the hidden gap between abstraction and physicality, between soundscapes and chilled-out club-tracks. Sluggishly, even spartanically, the beats roll forward, developping on a microperceptional basis. read more

2007-07 | tokafi.com’s review of ‘Coco EP’
07.07.07 is not only a good day for weddings, it is also an excellent date for great new music, and for everyone, who wanted to hear more of Sven Laux after his darkly alluring “Boutique” contribution to Tropic’s first label sampler. Already back then, the trademarks of his style were clearly contoured: A knack for prominent atmospherics, a subtle integration of harmonies and the attachment of slight, but unsettling irregularities in his 4/4-propelled grooves. What has changed on his latest “Coco” EP, however, is the general mood: A freshly shimmering fruit on the cover and some decidedly laid-back, sun-drenched beats on the inside. Laux is obviously enjyoing the summer and his urge to share that sensation has resulted in five minimal and yet constantly evolving tracks. read more