Norwegian producer Hans-Peter Lindstrøm is one of the key figures of the 21st century nu-disco scene, and particularly the revival of the space disco subgenre. His prolific output stretches beyond disco and electro influences, however, as he has branched into synth pop, art rock, and progressive electronic. Establishing his own label, Feedelity, in 2002, Lindstrøm released a series of highly acclaimed EPs and 12" singles over the next few years, becoming an increasingly well-respected producer and remixer on the international club scene, both on his own and together with his longtime collaborator Prins Thomas. He remixed artists such as LCD Soundsystem and Franz Ferdinand, and his own 12" release, 2005's scene-defining I Feel Space, gained a huge cult reputation among DJs all over the world. His album discography includes the supernatural prog-disco of 2008's Where You Go I Go Too, the sun-soaked dance-pop of 2009's Real Life Is No Cool (with Christabelle), and the cosmic club tracks of 2017's It's Alright Between Us as It Is. He has continued to work with Prins Thomas on remixes as well as original productions; their third full-length appeared in 2020. Coming from a rock and country background, Lindstrøm is said to have started making dance music simply to figure out how it was done. He began releasing music through his own Feedelity imprint in 2003, including an Untitled EP and the single "Music (In My Mind)" with singer Christabelle. Together with Prins Thomas, Lindstrøm released the album Lindstrøm & Prins Thomas (Eskimo) in 2005, while It's a Feedelity Affair, a 2006 compilation of tracks from his early singles and EPs, became one of the most acclaimed releases within the club genre that year. The sprawling Where You Go I Go Too (its title track nearly half-an-hour in duration) followed on Smalltown Supersound in 2008 and landed on the year-end lists of several publications. The next year, Lindstrøm released a 42-minute rendition of Little Drummer Boy for the holiday season. He also produced Real Life Is No Cool, a full-length with Christabelle that divided its intent between the dancefloor and home listening. Six Cups of Rebel, a tense, experimental set, was released in early 2012, with the back-to-basics Smalhans following later that same year. Lindstrøm collaborated with Todd Terje and Maya Vik on 12" releases that arrived prior to the 2015 full-length Runddans, a 12-part piece recorded with whimsical rock maverick Todd Rundgren and Serena-Maneesh's Emil Nikolaisen. Lindstrøm returned to dancefloor-oriented tracks with 2016's Windings EP, which was led by the single "Closing Shot." The producer's fifth solo album, It's Alright Between Us as It Is, arrived in 2017, and featured collaborations with vocalists Jenny Hval, Grace Hall, and Frida Sundemo. On a Clear Day I Can See You Forever, an improv-heavy set of ambient pieces performed on several vintage synths, was issued in 2019. Live at Henie Onstad Kunstsenter was digitally released in 2020. Lindstrøm & Prins Thomas continued to collaborate remotely, and their full-length III appeared in November.
© Ketil Mosnes & Paul Simpson /TiVo
© Ketil Mosnes & Paul Simpson /TiVo
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Electronic - Released October 11, 2019 | Smalltown Supersound
A pioneer of the Scandinavian nu-disco movement alongside the likes of Todd Terje or Prins Thomas, Hans-Peter Lindstrøm was commissioned in the summer of 2018 to create the soundtrack to a piece of performance art at the Henie Onstad centre in Oslo, Blinded by the LEDs. For this occasion, the Norwegian producer decided to forgo his main instrument, his computer, instead favouring modular synthesisers and manually controlled machines. This shift ended up heavily influencing his latest album: with four tracks each about ten minutes long, Lindstrøm is redefining his relationship with electronic music production, to which he attributes certain classical music structures. On the first track, On A Clear Day I Can See You Forever, he makes his synthesiser play like a violin; with a clever use of space, it is a minimalist but very lyrical piece of music, like it was concocted in a pianist’s brain. The beat returns on Really Deep Snow but is never put to the forefront of the track, the arpeggiator synth providing a thoughtful aspect to this impressionist painting of sound. Melodically refined, Lindstrøm, who seems to be thriving, has never captured so many emotions on an album until this one, which is doubtlessly his boldest but most accomplished work yet. “The joy of making music on physical objects all makes sense now, he explains. After having worked on a computer for fifteen years, I don’t think I will ever go back.” Lindstrøm 2.0 is worth keeping an eye on! © Smaël Bouaici/Qobuz
Electronic - Released May 28, 2007 | Eskimo Recordings
Having made a considerable splash with their remixing work in general as well as their well-received first self-titled album, the duo of Lindstrom and Prins Thomas returned with a companion piece to that, pulling off the neat trick of making their own remix collection. Reinterpretations is part compilation, part showcasing of new work, as the various alternate takes that make up most of the disc surfaced on various singles, while the concluding "Nummer Fire En" -- a twenty-minute monster that might almost be a response to LCD Soundsystem's "45:33" -- and "Nummer Fire To" appear on the separately released EP of that same overall title. Unsurprisingly enough, Reinterpretations isn't that far removed at all from its core album in terms of sound and impact, but things are generally far more geared to active listening and dancing here -- the never-never land of exuberant, global dance from past decades reworked and shot into the present is the base. Or rather the bass, as the spare but perfect part on the opening 12" mix of "Turkish Delight" shows -- the song itself becomes a ten-minute long masterpiece and should fairly be called the definitive version, its extended breaks bringing out the details in everything from the softly echoed breaths to any amount of further polyrhythms. From there the collection hits one inspired height after another, with standouts including the shuddering electro/house kick of "Mighty Girl" (when the lead melody first shifts from piano to a separate synth line, it's absolutely breathtaking) and the elegant swing of the alternative "Boney M Down." A low-key but fun touch lies in the name of some of the alternates -- "Claudia" here becomes "Claudio," "Feel AM" "Feel PM." It's a tiny detail but as with the duo's work in general, it's the small things that add up to something special. © Ned Raggett /TiVo
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Lindstrøm in the magazine