with JAN ST. WERNER of


“SONG FOR EWE” is the feature where artists beloved by VELVET SHEEP choose an obscure song they’ve been listening to that day.

The last few Fridays we’ve featured electronica artists like Clark and Mark Archer of Altern 8 so rather than “song for ewe” it could equally be a “dance for ewe”. Today is a particular favourite techno-head, but also an analogue artisan. He’s both composer and curator, the professorial yet totally affable Jan St. Werner of Mouse on Mars.


I was first charmed by Jan St. Werner when he & his Mouse on Mars partner in chime Andi Thoma joined the sadly departed Mary Hansen from Stereolab to guest present MTV Europe’s Alternative Nation, complete with the Camden studio fish-tank bubbling away like background found sounds.


Recently I had a chance to reminisce with Jan about those crazy mid 90s days, to catch up about his latest installment in experimental music in Jan’s Fiepblatter series on Thrill Jockey records and most enlighteningly chat about his favourite albums for The Quietus.

It was an education, to say the least, but an entertaining journey into sound, stereophonic sound.

Given his interest in art installation and performance pieces, it comes as no surprise to find Jan’s latest work is a “long mix” for the Tate Modern inspired by and to accompany a Dieter Roth drawing.

Mouse on Mars have always been on the fringe, left of field, eclectic of taste and super focused, so it was with interest I asked Jan for his “song for ewe”. Would it be arty like his recent work or party like Mouse on Mars “Autoditacker” days. Let’s find out, it’s…

Over to Jan:

“From one moment to another this track turned from a plastic soundtrack of a pretentious David Bowie movie into a fun dub sound mess, minimal, spacious, ironic.

Peter Murphy, Love & Rockets, I loved their psychedelic squeezes as a teenager and still do.

Sometimes I DJ “Bela Lugosi’s Dead” and people dance to it.”