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LINDSTRøM

Since the release of II, Lindstrøm and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time—slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing."

Eventually, the bulk of III came together over the last year, as Lindstrøm and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic—we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrøm sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses."

Above all else, III is a testament to the adventurousness of Lindstrøm and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

STAFF COMMENTS

Barry says: There are few better collaborations I could imagine than these two veterans of the electronic music landscape. We get the housey styling of Lindstrom perfectly invigorated with the beachside balearic groove and airy ambient bliss of the Prins. Exactly as gorgeous as you would expect.

TRACK LISTING

A1. Grand Finale
A2. Martin 5000
A3. Small Stream
B1. Oranges
B2. Harmonia
B3. Birdstrike

Lindstrøm

Little Drummer Boy

    In 2007 Lindstrøm had just created his masterpiece Where You Go I Go Too, a 3 track long disco epic. Just for fun he made a version of Little Drummer Boy in the same style, with his signature cord-stacking cosmic disco/kraut. The result - a 43 minutes version - he just gave away through Soundcloud. It has since become something of a X-mas cult classic. And in 2019 The Guardian voted it the 20th best X-mas song ever. So we though it was finally time to put it out on vinyl. The original is now 21 minutes, shorter and more concise, and B-side comes with a brand new 13 minutes long bonus disco-remix version.

    TRACK LISTING

    SIDE A:
    1. Little Drummer Boy
    Side B:
    1. Little Drummer Boy (disco-remix Version)

    “I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this”

    In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album”

    This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement.

    It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.”

    Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”. Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself. “I guess I've been trying to re-educate myself”.


    TRACK LISTING

    A1. On A Day Like This I Can See You Forever
    A2. Really Deep Snow
    B1. Swing Low Sweet LFO
    B2. As If NoOne Is Here

    Lindstrøm

    It's Alright Between Us As It Is

      On Hans-Peter Lindstrøm’s latest album, those northern disco lights are twinkling once more. Over the continuous stream of nine interlocked tracks on It’s Alright Between Us As It Is, he’s refined his love of arpeggiated synths, warm and steamy analogue bubble baths and earworm melodies into his most rounded and complete statement to date.

      A Norwegian based in Oslo, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city centre studio (where his neighbours include friends and collaborators Prins Thomas, Todd Terje and Andre Bratten) into a factory floor for churning out monster tracks, then punching out regularly and going home to his family. This is about music being woven seamlessly into the fabric of life.

      The album’s title is a direct quote from one of Lindstrøm’s favourite movies, Ingmar Bergman’s Wild Strawberries. This Swedish arthouse classic is about looking for meaning and finding closure at the end of a long life. About reaching the special place you’ve waited for all your life. A professor asks his longtime housemaid if they could become more familiar, starting with her brushing his teeth for him. She replies they shouldn’t become too intimate: ‘it’s all right between us as it is.’

      The album aggregates all the best elements from his long and varied career: the Balearic free-disco excursions of his two albums with Prins Thomas, experimental cosmic voyages in the vein of Six Cups of Rebel and 2015’s collaboration with the stellar Todd Rundgren, Runddans; shimmering electronic pop featuring vocals by American singer Grace Hall (‘Shinin’) and Sweden’s Frida Sundemo (‘But Isn't It’). ‘Bungl (Like a Ghost)’ features a stream of conscious poem by transgressive Norwegian vocalist Jenny Hval. Most of all it reveals him as a masterful mood sculptor, with heart-stopping chord changes rolling over his relentlessly uplifting beats.

      Conceived as a continuous flow, each side of the vinyl version will play as one track; while the CD and streaming versions will be timestamped. But in any case, once you’re strapped into Lindstrøm’s driverless vehicle, you won’t want to get out. It’s alright as it is. In fact, it’s more than alright: it’s almost nearly perfect.



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