15 years in the making, the debut album from Pause is a rich, woozy, cinematic blend of electronic and analogue influences, all stuttering beats and tangential tracks that boom and bap, and post-acid soundscapes that evolve and mutate. Then again, as a producer inspired by DIY ethics (his most recent track ‘Hand Gestures’ was recorded by rubbing the surface of his laptop, chopping it up and turning into percussion) and electronic anarchist Aphex Twin, it’s no surprise his debut album is such a wonky, wonderful and evocative piece of work.
After making his debut in 2009 with Black Holes and White Noise, Pause – or Lawrence Pearce to the taxman – quickly garnered support from Laurent Garnier, Plaid and Daddy G, who called his Distance EP ‘weird and wonderful.’ Further support came with radio plays via Monki (Radio 1) and Nemome (Radio 6), while Data Transmission premiered his 2016 remix of Jani R ‘Two Sides.’ That success transformed into the club scene with several live gigs supporting his ‘Distance EP,’ a prestigious DJ set at Soundwave Croatia, and a trio of gigs with Blip supporting DMX Krew, Paul White and Blue Daisy.
After a break to become a proud Dad, Pause is back on sonic duties (with the odd nappy break), with his album entitled ‘The Sport’, proof of his maturing attitude towards music. A self confessed perfectionist, he’s streamlined his production process, dedicating more time to sound dynamics and mastering – which can clearly be heard in the thudding techno electro of ‘Tuesday’ or the skittering, P-funk sub bass of album closer ‘Vapour.’
Aiming high with his album, Pause is reaching for the big time after days, weeks and months fine-tuning his sound in the studio with his arsenal of software and hardware (including his much-loved Subpac).
After a long time coming, Pause is finally ready to go.

London