By now, Lawrence Casserley has established himself as one of the most stimulating composers and performers in the British music scene. Sprung from the avantgarde and experimental circuit of the 1960s, his musical output has grown steadily over the past 36 years, covering a wide range of instrumental forces from orchestra and chamber works through to electroacoustic. It is however in the latter medium that Casserley has managed to maintain a distinctly uncompromising profile throughout the years. And when so many composers embraced the safety of the tape medium, he courageously continued to choose the more risky and adventurous path of live-electronics. Unlike many other musicians working in this field, the electronic medium is for Casserley a physical extension of the musical mind and body - Marshall McLuhan's claim that 'technology is the natural extension of man' finds here an admirable example. There is always a natural cohesion between, say, a guitar and its electronic counterpart: one may be the transformation of the other, but the two sources are always one instrument. It is this unity that makes Casserley's performances so intriguing. And in the hands of the wizard, electronics become powerful means of expressivity and lyricism taking the listener through labyrinths of sound. Text by John Palmer, from the liner notes to the CD "Labyrinths" (Sargasso SCD 28030).
Lawrence has been working with electronic sound since the late 60s, with a particular emphasis on live performance. He is best known for his free improvised work, where he processes the sounds made by other performers and/or himself. He also creates sound/light installations in collaboration with Colourscape artist Peter Jones, and he is a Director of Eye Music Trust, who present the Colourscape Music Festivals.