Rory is 'Hyperfocus'(ed)
Redefining Relevance in the Techno Landscape with Rory Lawson
Having immersed himself in the techno scene for over a decade, Rory Lawson has witnessed the ebb and flow of countless trends. Yet, for him, classic raw and hypnotic techno remains a timeless constant—a genre he genuinely enjoys producing and releasing, largely because it resists the fleeting nature of passing fads.
In 2022, Rory decided to leverage his deep understanding of the techno landscape and his entrepreneurial acumen in brand building to create something truly distinctive: Hyperfocus. He finds immense satisfaction in managing the label, viewing it as a direct expression of his vision for what techno could be. It's also an opportunity to connect with artists and spotlight their unique talents.
With around eight years of production experience, Rory's sound has evolved into a blend of hypnotic, minimal, and experimental techno. While he currently prefers to release under his own label, he remains open to compelling offers from others.
Hyperfocus operates alongside Rory's other businesses, which demand the majority of his time and energy. This multi-faceted approach allows him to run the label with a distinct artistic focus, free from the typical pressures of relying on it as a sole income stream.
Rory Lawson talks with 6AM and dives into the philosophy behind his label Hyperfocus, emphasizing quality over quantity, artistic integrity over trends, and building a timeless techno catalog rooted in community and intention.
Hi Rory! Thanks so much for talking to 6AM. How are you doing?
I’m doing well, thanks! Looking forward to diving into this Q+A. Life is generally good. Busy, of course, but good!
For those that don’t know, you run a raw hypnotic label ‘Hyperfocus’. You've mentioned that Hyperfocus is rooted in a “less is more” philosophy—limiting EPs to just two tracks, for example. Can you walk us through what led you to make that creative decision? Was there a moment or release that made you realize quality needed to outweigh quantity in this way?
Yes, let’s get into that. When I started building Hyperfocus, I tried to think about things objectively. I was very intentional with my decision-making to avoid just copying existing labels. In our scene, there are lots of predetermined decisions when running a label, and I’ve never operated like that in business. The label was officially born in 2022 during a period when four-track Hard Techno EPs were being released daily. For me, that looked too much like a trend and I don’t like riding those waves. I’m looking to create timeless products.
Looking specifically at the two-track EPs you mentioned, I made that decision from the beginning. As I was building HYP001 and reviewing the first demos for what would become HYP002 and HYP003, I had this unsatisfied feeling. What I noticed was that every four- or six-track demo would be the same: two tracks would stand out the most. I thought, “Why bother releasing an additional two tracks of lower production quality?” In any four-track EP, there will generally be two that are stronger. This is of course subjective, but as the curator at Hyperfocus, these are the creative decisions I have to make. The standard four-track EP format is the aftermath from the vinyl era, and there’s definitely still room to create in that way when releasing on vinyl.
You’ve stated that you felt raw and hypnotic techno is timeless. Why do you feel that way versus other genres and specifically subgenres of techno?
This is a pretty complex one, but let me try to summarise it neatly. When I think about the origins of techno, I think of two places: Berlin and Detroit. From the Berlin perspective, I think about its history and clubs like Berghain, where that unique Berlin techno sound was born. From the Detroit side, I think about Underground Resistance and the importance of drum machines like the 909, which are rooted in the productions of that era. What I don’t think about is Hard Techno, Trance, or that more maximal side of the scene.
When it comes to raw/hypnotic techno today, I feel like those original influences are still so present in the music. When I listen to it, I don’t necessarily feel like I’m back in the late ’80s or early ’90s, yet so much of the music mirrors that time period. We might have more complex VSTs, synths, and drum machines now, but so much of techno is still built around the 909, the 303, and samples from the past. That’s what I mean when I say it’s timeless—it sounds both old and new simultaneously.
It’s worth noting I don’t have an anti-Hard Techno stance. I like a lot of the music as a listener, but some of it feels like it’s replaced what we used to call EDM in the 2010s. It’s a completely different scene and community from the raw/hypnotic side, and it often feels overly corporate and transactional.
Hyperfocus just dropped its first VA on May 1st and only features returning artists from the Hyperfocus family. Why was it important for you to focus inward instead of using this moment to bring in new faces? What kind of statement were you hoping to make with this first VA?
Great question. There are no right or wrong ways to do a VA, but I was very particular with my approach. For me, the VA was not just another release. It was an artistic statement. Nobody actually knows this (until now), but the VA was also celebrating three years of the label.
The success of the VA has been incredible, and I put that down to exactly what you’ve asked. Every artist on the VA already has a listener base with the label. Supporters of Hyperfocus know who’s released and when. Some of the artists have returned multiple times, others just once before. This created a real sense of community when we brought everyone together on one compilation. Antonio Sanna, for example, released with us way back in 2022 with HYP003 and made a return which has been so well received. He hadn’t released anything at all since that first EP due to other creative commitments. Everyone pulled out the stops for this VA.
You’ve been in the scene for 10+ years and now run Hyperfocus alongside other businesses. How do you manage to keep the label artistically driven while also navigating the business side? What do you think most people misunderstand about balancing creativity and entrepreneurship in this space?
I love this question. It’s something people often shy away from. Labels don’t tend to make good money compared to other business models. Truth be told, you could make more money in a year doing almost anything else. Here’s my take...
A record label takes a few years to generate any significant income because our scene rewards legacy. Sometimes labels do well simply by not giving up and staying in the game long enough. Add to that an artistic commitment and an effort to grow and improve the label, and you’ll do well. But a label is a circular economy. Every penny earned at Hyperfocus goes straight back into the label. Into mastering, distribution, promo, marketing, and a host of other things. My advice? Don’t rely on a label as your sole income until it’s generating enough to live on. Hyperfocus is just one of several businesses I run.
That actually benefits me. My other businesses make money, so I can run Hyperfocus in a relaxed, focused way - sticking to the artistic vision without compromising for profit. In short: make your money elsewhere.
With Hyperfocus, you’re not interested in following typical label trends—fast release cycles, massive VAs, or over-saturation. Why do you feel this way? What would you say to artists or label heads who feel pressure to keep pumping out content to stay relevant? Have you ever felt that pressure yourself?
What you’ve described is often what we see from profit-driven labels. Think about it—if there was no financial incentive, there’d be absolutely no reason to release weekly or bi-weekly. There simply isn’t enough good-quality music to justify that. Even if there were, I’d run it through a filter, take the best 10%, and space out the releases with strong branding and marketing. Ironically, that would make the label more successful in the long run. When I look at the labels I admire, the “less is more” approach is always present. Think PoleGroup, Ostgut Ton, R-Label, or ARTS. That’s the league Hyperfocus will place in.
As for pressure—I don’t really feel it. Without sounding cliché, my focus with Hyperfocus is simply to be better than yesterday. Once you see through the smoke and mirrors of the techno scene, you’ll realise that pumping out content adds no value unless the content is good. Less is more.
Thanks so much again for talking to our audience Rory! Is there anything else you’d like to add?
No problem. I’ve thoroughly enjoyed this. Thanks for having me!
If you haven't already, please check out our latest release HYPVA001, and stay tuned for our next release (HYP017) on June 1st with Craig Heneveld.