The nine tracks arose from the creative approach of intervening in existing recordings in order to create new pieces. In this sense, the focus of this album lies not in the recording of new cello parts but the rework on existing tracks. The recordings were made in connection with the composition of the film music for the documentary "Alpenland" (Robert Schabus, A 2022, 88 min.). The subject of this film is the question of the effects and interactions of human intervention in nature. In "Interploitation" this theme finds a figurative equivalent: the polyphonic cello pieces of the film music were broken down into individual tracks, passages and individual tones were cut out and transferred to samplers or tapes. As a result, their original sound structure is completely dissolved and their parameters are intervened with the help of effect pedals: pitches, speed and timbre are changed, artificial spaces are created, elements are given a rhythm or repeatedly processed, from which new “artefacts” ultimately arise. In the working process, new, independent instrumental pieces have emerged from this, whose musical levels interact. Just as the syllables of the three words do, which are the basic structure of the content and at the same time give the title: INTERFERENCE - INTERVENTION - EXPLOITATION.

Open-mindedness and a passion for experimentation are the distinguishing feature of Lukas Lauermann’s (b. 1985) approaches to a great variety of projects. Whether in the studio or on stage, whether as a cellist and composer: he is unfailingly open to – and employs – unconventional methods. He collaborates with local Viennese artists such as Soap&Skin, Donauwellenreiter, André Heller, Der Nino aus Wien, Alicia Edelweiss, Saint Genet, Gelitin, the Hamburg-based rock band Tocotronic and many more.

All these artistic and personal experiences mingle with his classical training picked up at the University of Music and Performing Arts, Vienna, and the Anton Bruckner University in Linz – and come together in this solo project.