Mouse on Mars' Jan St. Werner Taps Justin Vernon for New Album
· tech-debate
The Art of Collaborative Experimentation: Mouse on Mars’ Jan St. Werner Redefines Solo Work
In an industry where artist personas are carefully crafted and solo endeavors emphasize individual brilliance, Mouse on Mars’ Jan St. Werner takes a refreshing approach with his upcoming album, Squares Will Fall. As one-half of the influential electronic duo, Werner has pushed boundaries in sound design and composition. His latest project, however, takes this ethos further by embracing collaboration as an integral part of the creative process.
Werner’s new album boasts an impressive tracklist featuring Justin Vernon (Bon Iver), Sufjan Stevens, Beirut’s Zach Condon, and The National’s Ben Lanz. These collaborations are not tokenistic nods to other artists but a deeper commitment to collective experimentation. By working with such innovative minds, Werner is creating something entirely new and exciting.
The album’s genesis began in 2012 as a recording session for a friend’s birthday. Over the years, it underwent significant transformations, including Werner and Vernon collaborating on the Dimensional People sessions in Wisconsin. This process highlights the fluid boundaries between artistic endeavors and underscores the power of serendipity in shaping creative outcomes.
One striking aspect of Squares Will Fall is its emphasis on live performance as an integral part of composition. Werner’s 2021 Ural Industrial Biennial presentation featured speakers suspended from a circus ceiling, which became active participants in the mixing process. This approach blurs the lines between sound art and traditional music-making, inviting listeners to reconsider the role of technology in artistic expression.
Werner’s decision to release Squares Will Fall through Thrill Jockey challenges established norms. In an industry where major labels prioritize marketability over innovation, independent labels like Thrill Jockey provide a vital platform for experimental artists like Werner to push boundaries.
As we await the album’s November 13 release date, it will be fascinating to see how Squares Will Fall continues this conversation about collaborative experimentation and live performance. Will other artists follow suit in embracing more fluid approaches to creativity? Or will Werner’s bold vision prove a singular exception?
Squares Will Fall represents more than just another album release; it embodies a wider cultural shift toward valuing creative exchange and experimentation over traditional notions of artistic individuality. By embracing collaboration and live performance, Werner is redefining what it means to be a solo artist in the 21st century. His bold step into uncharted territory may inspire others to join him on this journey, or Squares Will Fall may remain a singular work of genius.
Reader Views
- TAThe Arena Desk · editorial
While Werner's emphasis on collaborative experimentation is undeniably exciting, one can't help but wonder about the production process behind Squares Will Fall. With so many creative minds involved, did any singular voice or perspective begin to dominate the album's sound? It seems crucial that these artists' individual styles didn't get lost in the collective experimentation, lest the result feel more like a patchwork quilt than a cohesive whole.
- JKJordan K. · tech reviewer
While it's easy to get swept up in the innovative spirit of Jan St. Werner's Squares Will Fall, I'd love to see more discussion about the sonic implications of his live performance-driven approach. How will this translate to a recorded album, particularly when listeners can't experience the suspended speakers and active mixing process? Will we see a more stripped-down or reworked version of the live show in the final product? These are questions that Werner's vision raises, and I'm eager to hear how Squares Will Fall navigates these tensions between art installation and musical composition.
- PSPriya S. · power user
While Werner's experiment with collaboration is undoubtedly exciting, I'm concerned that this approach may come across as forced or contrived to fans of his work in Mouse on Mars. The album's genesis began over a decade ago and has undergone significant transformations - perhaps too many cooks will spoil the broth? What's also missing from the article is an exploration of how these collaborations might alter the listener's experience, rather than just creating something "entirely new and exciting". Can we expect to hear a cohesive thread throughout the album, or will it feel like disparate elements stitched together?
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