LEAETHER STRIP

Few artists in the industrial and EBM scene have a catalogue as vast — or as intense — as Claus Larsen. Under the name Leæther Strip, the Danish musician has been releasing music for more than three decades, moving effortlessly between brutal club tracks, emotional electronics, and unexpected reinterpretations of songs that shaped him. With new songs, collaborations, and shows in the pipeline, there's no sign of Claus slowing down. Time for a quick check-in with Claus Larsen about covers, live shows, his side project Klutæ, why he keeps going, and what might come next.

Your Æppreciation series has grown into quite an extensive project, and with Æppreciation VIII now out, it clearly struck a nerve with listeners. What originally sparked the idea of dedicating a whole series to reinterpretations of songs you love?
When choosing the bands or tracks to cover, what tells you a song can survive — or even benefit from — the Leæther Strip treatment? And how does the actual work process look: do you already hear the darker electronic version in your head when selecting a song, or does the transformation happen later in the studio?
And the obvious follow-up: will there be an Æppreciation IX somewhere down the line?

Yes, Æppreciation really has become a kind of tradition. I always did covers from the very beginning, back when I bought my first synth in ’82. The first bassline I learned to play was “Back to Nature” by Fad Gadget. Since then, I have used covers to learn and to become a better composer. It was never really a goal to release them, but the demand grew bigger and bigger.

I am self-taught, so I play by ear. It’s all in my head. Diving into these songs is a great way to train my ear, and it’s also a fun process. When you really dive into a song, you start listening in a different way, and things you never realized were there in the original suddenly pop up. It’s like a short trip into the minds of the original composers. When I work on them, I try not to think too much about how I want them to sound — I just go for it and see what happens, just like when I compose my own songs.

And I sprinkle a little Æ dust on them. It’s a great way to find new inspiration for new songs too. Since I mostly work alone, I need a break after two or three Leæther Strip or Klutæ songs. It clears my head. Plus, it’s a lot of fun.

Yes, there will be Æppreciation IX. In fact, I just sent the masters to Cleopatra Records, so the album should be out in a couple of months. This time I wanted to cover queer-friendly artists. The world of electronic music is full of us, so I thought a tribute was in order. On this album I cover Chris & Cosey, Light Asylum, Man 2 Man, TR/ST, Bronski Beat, Peaches, Throbbing Gristle, Coil, Boytronic, and Psychic TV. My plan is to make one more after this one.

Your latest studio album “Fucking Perfect” arrived last year — a title that leaves very little room for subtlety. What was the mindset behind that record? Was it written with a clear direction in mind, or did the album take shape gradually while you were working on the tracks?

The title track of this album is very personal. It’s about me being the “perfect fuck-up.” During my school years, I was always told by teachers and other adults that I was a fuck-up and that I would never amount to anything. They made me feel like an outsider and never saw any potential in me. That really turned me into a loner, and I didn’t trust people at all — something I still struggle with.

So if they say I’m not perfect, I can at least tell myself that I’m a master at fucking up. Kind of the story of my life. But one thing it did teach me was: I will fucking show them who’s going to amount to something. That’s been my driving force for most of my life. Not fame, but living my life doing what makes me happy — and that’s the biggest joy we get to have.

I always write songs, so when it’s time for an album, I pick and choose. The only true concept albums I’ve done were the two “Serenade for the Dead” albums.

Looking back at “Fucking Perfect” now, how do you feel about it today? Does it reflect where Leæther Strip stands at this moment in your career, or do you already feel that the next chapter is heading somewhere slightly different?

I am very happy with that album. As you know, I’m not a one-trick pony, so I move between melodic and more aggressive styles, as I always have. I want my albums to reflect all sides of me, and that’s how I’ve always worked. First I create the music for myself, and once it’s released, it takes on a life of its own out in the world.

I’m kind of hard to put in a box musically, but I do think I have a recognizable sound that my listeners know — whether the songs are harsh or melodic.

There are quite a few live shows lined up, and Leæther Strip has always been known for bringing a lot of intensity to the stage. Are there any particular cities, venues, or festivals you’re especially looking forward to this year? And what can fans expect from the current setlist — more classics, or a stronger focus on newer material?

I am so grateful that I still get to play all these shows. Since my return to the stage in 2008, it has felt like a constant tour, and I’ve played all over the world. I play every show as if it were my last. I love both sweaty club shows and huge festivals.

I have so much fun on stage, and seeing all these happy faces forgetting their day-to-day worries for an hour or two — that’s magic. The best feeling in the world.

When COVID hit and I lost my late husband Kurt, I thought it was all over for me. I couldn’t get a job, I couldn’t tour, and I had lost the love of my life. I was in the darkest place I’ve ever been. Looking back, the only reason I didn’t end it all was that I promised Kurt on his deathbed that I would continue to make him proud with my music. And I keep my promises.

Alongside Leæther Strip, you’ve also kept your other project Klutæ alive over the years. What’s currently happening on that front? Are there new releases or ideas brewing that fans should keep an eye on?

Yes, Klutæ is still very much alive. A few months ago I released the Klutæ album “Godsent,” and I’m sure it won’t be the last. I have a lot of fun doing the Klutæ stuff, and I’ve got a few Klutæ concerts coming up this year too.

Klutæ (Klute) was only supposed to be a single EP back in the early ’90s, but I kept it going. Not many bands are doing this punky industrial genre anymore — but I definitely will.

In 2026 the single “Rage” will see you collaborate with Damage Control. How did that partnership come about? Was it something that developed naturally through the scene, or did one of you approach the other with the idea? More generally, how do you feel about collaborations — and are there any other artists you’re currently working with, or would like to work with in the future?

I’ve been friends with them online for some years, and I love their work. They asked me to guest on a few songs for their upcoming album, and since I enjoy collaborations, I jumped at the chance.

I love working with other people — whether it’s remixing or doing guest vocals. Usually it’s just me here in the studio, working hard, so it’s a breath of fresh air to collaborate.

My dream would be to have Dave Gahan, Marc Almond, or Alison Moyet sing on some of my tracks. I know it’s a pipe dream, but I don’t care. Stranger things have happened — and who knows what tomorrow brings.

You’ve been part of the EBM and industrial scene for decades, witnessing many changes in both sound and culture along the way. When you look at the scene today, what excites you the most? Are there any newer artists that have caught your attention recently?

Yes, time has flown by like crazy. Sometimes I have to pinch myself that I’m still here and able to live my dream. So many amazing artists have quit over the years, sadly.

This is my life, so I won’t stop until nobody wants me around anymore. And even then, I’ll keep composing — it’s very important for my mental health.

As for what I’m listening to at the moment: on the more melodic side I love Kn/ghts, Blaklight, Twice a Man, and Dead Lights. On the harsher side I listen to the new Flesh Field and The Mystic Underground.

Finally, the open mic is yours. Anything you’d like to share with the readers or the fans who have supported Leæther Strip throughout all these years?

I just want to say THANK YOU!!! I wouldn’t be able to do this without them, and I can’t wait to see you out there on the road.

The next Leæther Strip album is finished too — no release date yet because of all the touring. I still need to find the time to get everything finalized. I’m still 100% independent, and I need your support as always.

Wish you all the best!

Tour dates and more info:
Leaether Strip | Facebook / Claus Larsen AE (@leaether_strip_official) • Instagram-Fotos und -Videos

Britta Pirkko
19/03/2026