Lindstrøm | ||
| Allmusic Biography : Starting out as a relatively unknown figure in the Norwegian dance underground, Hans-Peter Lindstrøm experienced one of the most spectacular success stories of any Norwegian producer or artist. Starting 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, I Feel Space, gained a huge cult reputation among DJs all over the world. Lindstrøms musical style is sometimes tagged space disco, while his somewhat indefinable sound has also been explained as the result of him not really listening to dance music before he started to produce it himself. Coming from a rock and country background, Lindstrøm is said to have started making dance music simply to figure out how it was done. Together with Prins Thomas, Lindstrøm released the album Lindstrøm & Prins Thomas (Eskimo) in 2005, while his own long-awaited debut, Its a Feedelity Affair (Feedelity/Smalltown Supersound, 2006), fulfilled the huge expectations of music writers and fans, and 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, he collaborated with vocalist Christabelle for Real Life Is No Cool, an album based on shorter, more song-oriented compositions 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-Maneeshs Emil Nikolaisen. Lindstrøm returned to dancefloor-oriented tracks with 2016s Windings EP, which was led by the single "Closing Shot." The producers fifth solo album, Its Alright Between Us as It Is, arrived in 2017, and featured collaborations with vocalists Jenny Hval, Grace Hall, and Frida Sundemo. | ||
 | Album: 1 of 14 Title: Lindstrøm & Prins Thomas Released: 2005-11-14 Tracks: 13 Duration: 1:18:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Foreløpig Bit (05:18) 2 Suppegjøk (05:11) 3 Boney M Down (03:49) 4 Turkish Delight (06:13) 5 Feel Am (05:35) 6 Don o Van Budd (07:39) 7 Sykkelsesong (05:53) 8 En Dag I Mai (04:56) 9 Naa Er Druene Paa Sitt Beste (05:28) 10 Horseback (08:50) 11 Claudja (04:45) 12 Plukk Og Pirk (08:51) 13 Run (06:31) |
| Lindstrøm & Prins Thomas : Allmusic album Review : After having remixed what seems like half the known universe, electronically speaking, Lindstrøm & Prins Thomas debut album is on the one hand unsurprising, but on the other hand exactly what one would want from them: sleek, shimmering grooves that are never quite either 60s or 70s or 80s or beyond, just a shifting, enjoyable mélange. The way "Forelopig Bit" calls to mind everything from Hot Butters "Popcorn" to bubbly Balearic house and back again is part of its charm -- whatever dancefloor it fills seems like one that hosts a moveable feast. The various backward glances throughout are hardly hidden (calling the third track "Boney M Down" is as dead a giveaway as any), but even something like "Don O Van Budd," which could be a Beach Boys nod, an Air one, or both, feels just right for its reflective context. Meanwhile, the addition of soft guitar parts, acoustic and electric, to many songs further expands the albums range; on songs where its the lead instrument, such as "Feel Am," where electric guitar essentially provides the rhythm, the duo carefully turn the expectations of what the album should be on its head. By eschewing rough edges and emphasizing a more fluid sound, arguably the duo leaves itself open to charges it revives the cul-de-sac of more tasteful techno that was increasingly blown out of the water by the eruption of hardcore and jungle in the early 90s -- and it does feel a bit too long in end, a maxed-out CD where one wouldnt be needed. But there are no acid jazz 20-minute diversions that go nowhere, thankfully, and where songs like "Suppegjok" definitely are more designed for chilling than raving, when the darker bass comes in on "Turkish Delight" and the peppier beats on "Plukk Og Pire," things are far from somnolent. | ||
 | Album: 2 of 14 Title: Another Side of Lindstrøm Released: 2006 Tracks: 7 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Oops... I Got Rings of Fire (?) 2 Violent Group (original mix) (?) 3 Take Me to the Metro (original mix) (?) 4 Juazza (original mix) (?) 5 Eeey (?) 6 Take Me to the Metro (Malerhaugen dub) (?) 7 Juazza (Guitar mix) (?) |
 | Album: 3 of 14 Title: Its a Feedelity Affair Released: 2006-11-21 Tracks: 11 Duration: 1:07:19 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Fast and Delirious (06:10) 2 Limitations (04:55) 3 Music in My Mind (04:50) 4 Cane It for the Original Whities (05:22) 5 Theres a Drink in My Bedroom and I Need a Hot Lady (10:44) 6 Further Into the Future (05:12) 7 I Feel Space (05:57) 8 Arp She Said (04:57) 9 Gentle as a Giant (04:56) 10 Another Station (07:32) 11 The Contemporary Fix (06:38) |
| It's a Feedelity Affair : Allmusic album Review : Its a Feedelity Affair, the debut solo album from Hans-Peter Lindstrøm (following his full-length collaboration with Prins Thomas), is the soundtrack to an unrealized mystical science fiction/action epic directed by Wong Kar-Wai. Handily, it also functions as a greatest-hits compilation for the celebrated Norwegian dance producer, collecting most of the sides from his single releases on his own Feedelity Recordings imprint between 2003 and 2006. Many of the inclusions turn up here for the first time on CD, although several of them appear in slightly abbreviated, edited form, presumably to accommodate CD running time. Arranged roughly chronologically in the order of their release, these productions run the gamut from the brisk, cheerful robotic disco of aptly named early single "Fast and Delirious" to the slinky, vaguely sinister disco strut of "Limitations" to the meandering, tripped-out cosmic disco of "Further Into the Future" (a Prins Thomas co-production) to the balmy, downtempo equatorial disco of "Arp She Said." Yep, its all disco in some way or another, including more or less any way you can imagine as long as its instrumental and least vaguely electronic (actually not everything here is instrumental: the supremely dubbed-out "Music [In My Mind]," Lindstrøms first Feedelity single, boasts some druggy, disorienting spoken/sung vocals courtesy of Christabelle, aka Isabelle Sandoo.) Otherwise, these tracks are united by a sense of adventurous musicality and a pervasive playfulness that is rarely so pronounced in electronic dance music -- dig the myriad extended noodley keyboard solos, the dizzying sequence of chord changes toward the end of "Fast and Delirious," or the endless restless mutations that compose the stately, epic-length "Theres a Drink in My Bedroom and I Need a Hot Lady." The compilations undeniable peak and centerpiece is also Lindstrøms signature tune, the epochal "I Feel Space," which nods to Donna Summer and Giorgio Moroders Italo disco blueprint "I Feel Love" in its title and agitated, arpeggiated bassline, but looks toward the cosmos with its mesmerizing, gracefully yearning portamento synthesizer melody. | ||
 | Album: 4 of 14 Title: The Contemporary Fix E.P. Released: 2007 Tracks: 4 Duration: 30:22 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Contemporary Fix (08:22) 2 The Contemporary Fix (Serious Syntoms version) (06:41) 3 The Contemporary Fix (EYE remix) (05:38) 4 The Contemporary Fix (Bjørn Torske remix) (09:41) |
 | Album: 5 of 14 Title: Reinterpretations Released: 2007-05-21 Tracks: 9 Duration: 1:15:47 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Turkish Delight (12inch Version) (10:19) 2 Claudio (04:41) 3 Mighty Girl (07:11) 4 Vrang Og Vanskelig (05:39) 5 Feel PM (05:19) 6 Boney M Down (Alternative Version) (06:25) 7 Tempo Tempo (05:41) 8 Nummer Fire En (20:59) 9 Nummer Fire To (09:33) |
| Reinterpretations : Allmusic album Review : 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 Soundsystems "45:33" -- and "Nummer Fire To" appear on the separately released EP of that same overall title. Unsurprisingly enough, Reinterpretations isnt 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, its 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." Its a tiny detail but as with the duos work in general, its the small things that add up to something special. | ||
 | Album: 6 of 14 Title: LateNightTales: Lindstrøm Released: 2007-07-09 Tracks: 19 Duration: 1:12:39 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 To You (04:10) 2 Baby Let Me Kiss You (04:33) 3 Kaddish (03:33) 4 In Time (03:35) 5 Why (03:36) 6 Born to Synthesize (02:17) 7 North Beach (05:08) 8 Conversational (03:38) 9 I Won’t Hurt You (03:02) 10 Pan Americana (03:52) 11 Reinbågan (02:21) 12 Energie (03:31) 13 Grand Drums (00:41) 14 Law of Life (06:23) 15 Let It Happen (06:02) 16 Baby Blue (02:26) 17 Pressure (06:16) 18 Coconut Grove (05:14) 19 Buenos Aires 2AM (02:21) |
 | Album: 7 of 14 Title: Where You Go I Go Too Released: 2008-08-18 Tracks: 7 Duration: 1:34:33 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Where You Go I Go Too (28:58) 2 Grand Ideas (10:10) 3 The Long Way Home (15:58) 1 Where You Go I Go Too, Part 1 (Prins Thomas edit) (13:04) 2 Where You Go I Go Too, Part 2 (Prins Thomas edit) (08:36) 3 Grand Ideas (Prins Thomas radio edit) (05:13) 4 The Long Way Home (Prins Thomas edit) (12:31) |
| Where You Go I Go Too : Allmusic album Review : In this post-millennial age of anxiety about the continued relevance of the album format, Hans-Peter Lindstrøm has handily established himself as the king of neo-future-retro-disco without ever bothering to release a "proper" album of his own material. Technically speaking, Where You Go I Go Too marks the Norwegians first full-length foray, although his zealous, literal-minded approach to the format hardly makes for a more conventional "album" than the 2006 singles comp that was his solo CD debut, Its a Feedelity Affair. Where You Go has but three tracks -- roughly 30, 10 and 15 minutes long, respectively -- which play as the movements of a single, epic, hour-long work rather than as individual pieces. The transitions into and out of each piece are relatively gradual and subtle, and while each has its own distinct set of constituent material (motivic polyrhythmic patterns, melodic riffs, arpeggiator settings), they tend to be developed in similar ways, none of which should be new to Lindstrøms followers: constantly growing and kaleidoscoping layers of instrumental texture, lovingly teased and tweaked electronic filters and effects, unexpected and dazzling harmonic shifts, and occasionally spacy synth swooshes that come along to tear everything down, only so it can be built back up again. The song titles vaguely suggest the concept of a monumental journey -- Lindstrøm has recommended listening to the album while walking or traveling by plane or train -- and this is unquestionably music about exploring and relishing the process of change and mutation itself, rather than advancing any specific, tangible musical content. Even the 29-minute title piece contains only as many discernible musical ideas as your average five- to seven-minute techno track (and notably fewer, for instance, than earlier Lindstrøm epics like "Theres a Drink in My Bedroom" and the 12" version of "Turkish Delight"), but its luxurious length lets those ideas stretch out gloriously and (for both artist and listener) indulgently, allowing a slow, fluid evolution that gestures towards a cosmic infinity. Its far from minimalist -- the track includes a reported 70 seamlessly blended layers of live and electronic sound -- but it maintains a sense of simplicity and groundedness that keeps it engaging and listenable in spite of its ambitious scope. And while it doesnt entirely eschew the dancefloor focus which dominated much of Lindstrøms earlier output, its hardly in much of a hurry to get there, taking a full six minutes before a kick-drum enters and later wandering off into a floating ambient oblivion where the only remaining pulse is the sound of measured heavy breathing. The ten-minute "Grand Ideas" feels almost negligible by comparison, spending most of its running time massaging a single, simple but insistent chordal synth riff into a frothy, ecstatic disco lather, but its also critically direct and pop-centric, by far the albums most readily danceable moment. "The Long Way Home" stretches out again, with an extended opening section of percolating, marimba-like synths and breezy guitar snatches. A slowed-down disco heartbeat rises and subsides, giving way to almost preposterously lush lounge-pop featuring the albums only extended melodic line, not that its one of much consequence. The vibe is rangy and exultant, relaxed more than majestic, a happy homecoming nodding more knowingly than ever towards its neon-blazed 80s signifiers (balearic, soundtrack synth pop, new age, electro-cheese), and as blissful and bemused as the vehemently unpretentious shot of Lindstrøm, unkempt and grinning, which graces the album cover -- its practically anti-epic. Perhaps not the epochal statement some may have expected, Where You Go is nevertheless an entirely satisfying display and consolidation of Lindstrøms strengths and hallmarks, and an expansive, exploratory journey well worth tagging along for. | ||
 | Album: 8 of 14 Title: II Released: 2009-05-26 Tracks: 8 Duration: 1:14:25 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Cisco (07:31) 2 Rothaus (09:00) 3 For Ett Slikk Og Ingenting (08:55) 4 Rett på (06:19) 5 Skal vi prøve nå? (09:47) 6 Gudene Vet + Snutt (08:24) 7 Note I Love You + 100 (11:26) 8 Flue på veggen (13:03) |
| II : Allmusic album Review : "Epic" has always been the watchword for Norwegian prog-dance producers Hans-Peter Lindstrøm and Prins Thomas -- separately and together. Just a year before II, their second album together, Lindstrøm on his own released Where You Go I Go Too, which stretched three cuts across 55 minutes; the duos 2007 Reinterpretations disc of remixes of their self-titled 2005 debut ran one cut ("Nummer Fire En") up to the 21-minute mark. Even in dance music circles where ten-minute tracks are commonplace, thats stretching it. But the tracks on II -- the shortest is six and a quarter minutes; the longest, 13:13 -- feel like discrete entities that seldom seem to take up as much space as they actually do. That isnt to say Lindstrøm and Thomas arent plenty indulgent: the slow guitar buildup of "Gudene Vet + Snutt" could have been taken from the warm-up exercises of any number of post-Dead jam bands, while the skittering drum rolls and cascading synthesizers that climax "Note I Love You + 100" might have escaped a pre-Miami Vice Jan Hammer session. But whats more evident than ever on II is how casual-sounding the two can make even a track such as the steady-building piano-centered electro-bolero of "For Ett Slikk Og Ingenting," or the endlessly playful "Skal Vi Prøve Nå?," a lovely pileup of thumb piano, shuffling hi-hats, thunking bass, chunky percussion, and woozy organ that spins like a top and lazes like a sunbather both at once. For all its widescreen ambition, II feels admirably lived in. | ||
 | Album: 9 of 14 Title: Leftovers EP Released: 2009-07 Tracks: 2 Duration: 15:19 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Magnificent (07:54) 2 Disturbing The Perfect (07:25) |
 | Album: 10 of 14 Title: Six Cups of Rebel Released: 2012-02-06 Tracks: 7 Duration: 53:13 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 No Release (05:16) 2 De Javu (07:14) 3 Magik (08:02) 4 Quiet Place to Live (06:34) 5 Call Me Anytime (09:44) 6 Six Cups of Rebel (05:50) 7 Hina (10:30) |
| Six Cups of Rebel : Allmusic album Review : Hans-Peter Lindstrøm is back with whats technically only his second "proper" solo album, and it is a feisty one. The unpredictable Norwegian producer seems to be taking some cues here from his labelmates (and sometime-remix cronies), the prog pranksters Mungolian Jet Set; Six Cups of Rebel is chock-full of the kind of bizarre, cartoonish, sci-fi lunacy and cheekily maximalist, gonzo musical odysseys theyve made their stock-in-trade. In particular, the album is animated by a virtual armada of goofy, muppet-like voices -- most or all of which are Lindstrøms own, tweaked and twisted in ways even the Knife might find extreme. Its certainly recognizable as the work of the same artist -- his sense of pacing, patient and playful in equal measure, remains as masterful as ever -- and features a unified, suite-like structure, but this is a far cry from the understated elegance and monumental minimalism of 2008s Where You Go I Go Too. It doesnt start out that way, however. The album opens in relative stillness and solemnity, with a single, spiraling organ figure gradually augmented by swelling, skyward organs, until the sudden rug pull of "De Javu" launches into demento disco mode for the next 20-odd minutes. Heres where the loopy vocal phantasmagoria really holds sway -- from the bluesman yowling "I cant get no release" to a curmudgeonly fellow muttering "All I want is a quiet place to live" to a chorus line of scatting space creatures demanding "What kind of magik do you do?" -- interwoven into a string of strutting mutant dance jams. The less vocally oriented second side embarks on a slippery arpeggio-thon that meanders like a prog-tinted jam session, featuring improvisatory drumming and oblique quotes from "Here Comes the Sun." It passes through the twitchy, zapping acid-funk of the title track en route to the glittery, expansive synthesizer fantasia of "Hina," which comes full circle with a swooning, celestial susurration of voices. Its the first time we feel a satisfying sense of prolonged suspension. The album is in a near-constant state of masterfully sustained harmonic and rhythmic tension. Just when you thought it couldnt possibly last, that swirling organ line reappears like a devilish deus ex machina, and sends the whole thing circling around again. | ||
 | Album: 11 of 14 Title: Smalhans Released: 2012-11-05 Tracks: 6 Duration: 33:47 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Rà-àkõ-st (06:31) 2 Lāmm-ęl-āār (04:31) 3 Ęg-gęd-ōsis (05:12) 4 Vōs-sākō-rv (05:17) 5 Fāār-i-kāāl (06:22) 6 Vā-flę-r (05:51) |
| Smalhans : Allmusic album Review : Hans-Peter Lindstrøm threw devotees of his shimmering cosmic disco productions for a loop in early 2012 with the release of Six Cups of Rebel, a wild and wooly joyride through nutty, prog-flavored excess -- complete with bizarro cartoon voices -- that was by turns campy, grotesque, and sublimely gorgeous. It earned a swift and not entirely undeserved appraisal as Lindstrøms "difficult" third album (not that his earlier work -- say, the epic peregrinations of 2008s exalted Where You Go I Go Too -- made for instantly digestible listening. either.) It also set up a somewhat pat, preordained narrative for Smalhans -- which was recorded immediately after Cups and released a mere nine months later -- as a much-needed back-to-basics corrective. Its certainly true that theres something of a pendulum swing in effect here, but its also reductive (and unfairly dismissive of the extraordinary Cups) to label this a simple return to form. For one thing, this is almost equally foreign territory for the producer, who has never before turned his hand to dancefloor material quite this focused and streamlined, especially in such a straightforward presentation: the six cuts on Smalhans, each named for a traditional Norwegian foodstuff (from sausage to waffles), each sitting tidily within the four- to six-minute range, all set up their groove (florid disco; thumpy tech-funk) and ride it out, snugly and surely. At the same time, while its hardly as overtly eccentric, theres nearly as much complexity, waggish humor, and dizzying invention on display here as on Cups, made all the more dazzling by how neatly it fits into such a tight framework. The album was mixed by Lindstrøms pal and countryman Todd Terje (who also created extended single mixes for several Smalhans tunes), and there are clear parallels with Terjes recent, highly melodic analog-synth fantasias like "Raygsh" and "Inspector Norse" -- but theres really nobody out there who shares Lindstrøms compositional knack for combining melody and misdirection; layering on the time-stretched hemiolas and side-stepping modulations, cycling through keys and textures with a masterful handle on tension and release. "V_s-S_k_-Rv," in particular, stretches this approach to wonderfully delirious extremes, with each circuitous, contrapuntal build-up growing more daringly suspended than the last until a final, impossibly constrained moment of tension lunges back to earth with two massive snare thwacks. While each of these six pieces adds its own kernel of flavor -- from the moody, incrementally shifting shuffle of "L_mm-_l-__r" to the triumphal, heaven-seeking "V_-Fl_-R" -- and each is more than satisfying as a stand-alone bit of celestial dance euphoria, Smalhans is, like its predecessors, ultimately its own complete, unified statement; one that is, in its deceptively humble way, as ambitious and assured as anything hes done. | ||
 | Album: 12 of 14 Title: Windings Released: 2016-07-08 Tracks: 3 Duration: 23:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Closing Shot (08:23) 2 Algorytme (06:04) 3 Foehn (08:37) |
 | Album: 13 of 14 Title: It’s Alright Between Us As It Is Released: 2017-10-20 Tracks: 9 Duration: 51:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 It’s Alright Between Us as It Is (00:51) 2 Spire (05:15) 3 Tensions (06:51) 4 Sorry (05:22) 5 Versatile Dreams (interlude) (02:38) 6 Shinin (07:02) 7 Drift (07:38) 8 Bungl (Like a Ghost) (07:00) 9 Under Trees (08:54) |
| It’s Alright Between Us As It Is : Allmusic album Review : Hans-Peter Lindstrøm tends to switch between a few different modes for his full-length and EP releases. While hes best known for his gliding, shimmering space disco tracks, hes also explored glittery disco-pop on Real Life Is No Cool (with Christabelle) and wacked-out prog on albums like Six Cups of Rebel and the Todd Rundgren collaboration Runddans. The 2017 full-length Its Alright Between Us as It Is arrives a year after Windings, a fine three-song EP of straight-ahead floor-fillers, but the Norwegian producer had delved into a few more pop-oriented productions during the preceding years, such as the single "Home Tonight" (with Grace Hall) and a remix of "I Know Theres Something Going On" by Frida (ABBAs Anni-Frid Lyngstad). Its Alright generally focuses on steady yet levitating cosmic disco excursions, momentarily tipping the scale toward the artists pop and experimental impulses. Early on, "Spire" and "Tensions" are sublimely structured club tracks with ticking beats and bubbling arpeggios, and theyre both as brisk and refreshing as a morning jog or a nice carbonated beverage. "But It Isnt" features dreamy, breathy vocals from a different Frida (Sundemo), and starts out sounding like a wistful Italo-disco cut before dissolving into mist for the final minute. "Shinin" is a second collaboration with Hall, but its far more focused and sensuous than the first. Her personality shines through much more, but Lindstrøms carefully paced beats and dazzling sonics arent to be overlooked. Following the ebullient Prince-scape of "Drift," the album enters much darker territory for its finale. "Bungl (Like a Ghost)" is a disturbing spoken word nightmare courtesy of Jenny Hval, whose ghastly narrative is scattered around eerie piano on top of a nevertheless chipper beat. "Under Trees" ends the album even more ominously, with vast storm clouds swarming over a more jittery beat pattern. The album delivers the type of lush, cheerful disco Lindstrøm has always been known for, but theres a much darker undercurrent present here, and it feels like one of his most emotionally complex works yet. | ||
 | Album: 14 of 14 Title: Didnt Know Better Released: 2018-02-23 Tracks: 5 Duration: 26:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Didnt Know Better (Original Version) (07:00) 2 Didnt Know Better (Short Edit) (04:53) 3 Didnt Know Better (Radio Edit) (03:27) 4 Didnt Know Better (Remix) (06:54) 5 Didnt Know Better (Acapella) (04:40) |