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Marriage pains and celibacy pleasures // The 405 meets Lindstrøm

February 13, 2012

Originally posted on The 405

peter-hans lindstrøm

“I decided before I started working on the album that I didn’t want to make an obvious follow-up to my previous albums. I find it much easier to work when there’s a certain idea or plan before I start working on something new.”

For those that have followed the wonderfully erratic career arc of Hans Peter-Lindstrøm, the above explains a helluva lot as to why his output is indeed so wonderful and disparate. This ethos and overt reaction against an album previously made continues with latest effort Six Cups of Rebel – an hour-long ecstatic psychedelic journey through disco storms and extended jams – or in plain old terms containing “a lot of weird influences on this album” in the words of the Nordic electronic-scientist.

2008’s ‘Where You Go I Go Too’ was mainly a continuous, four-to-the-floor mix that evolved subtly over it’s three elongated tracks – SCOR features distinct prog influences, as Lindstrøm states when discussing his musical upbringing “I used to listen to a lot of prog when I was younger. A relative of mine introduced me to Jethro Tull, Genesis and Pink Floyd. I was young and digested everything that I was exposed to. I’m sure that a lot of these early musical memories is still making some kind of impact on me when writing music”.

But it’s not all nostalgic old school comfort, with the album being remarkably inventive as perhaps articulated in his other listening habits, a “newfound interest for Zappa, Philip Glass, Todd Rundgren and other experimental music” concluding with “I guess the music manifested on the new album might be a little different than what I’ve done before.”

As you may expect for someone of this nature, he has a perhaps somewhat unusual working method “working on a lot of music at the same time” which enables an ADHD-esuqe procedure “…so when I get tired or bored, I just jump to something else”. The record took two years to make he states – in essence since when the partnership with Christabelle in ‘Real Life Is No Cool’ blossomed and concluded in 2010.

To segue this fact in I ask him about the vocals that appear on the new album from himself – a first for him “After working on Real Life Is No Cool together with Christabelle, I realised that I really enjoyed recording most of the harmony vocals on the album. Also, when performing that album live, I did all the harmony-vocals using a fun device from TC electronics called Voicelive2, that enabled me to “play” my vocal-parts with a midi-keyboard. I also had fun using a talkbox. hehe. Anyway, I knew that I was gonna use my voice on an album somehow, and it happened to be this album. I might do it again, but for variations sake I guess i probably do something instrumental again next time…”

Prog-rock influences have been discussed in terms of a direct influence, but as an almost indirect influence Krautrock seems to be an appropriate analogy; an analogy in the sense of a reaction against the norm, throwing oneself into something new and, well, in laymen’s terms – jamming. Is this accurate to some extent, are you a lover of the genre?

“Yes, I am.” he agrees. Phew. “Although it’s not the music I listen to on a daily basis, I do appreciate a little kraut now and then. My interest for music comes and goes I guess.” Though as opposed to the aforementioned childhood influences, this is something that has developed in relatively recent times “I discovered krautrock around the time when me and Prins Thomas started working together, so I’m sure I was very obsessed around that time … It culminated in the Can-tribute ‘Mighty Girl’ which is basically a coverversion of the track from the Peel sessions album they did sometimes in the 70s.” In summary of the shared ethos “Yes, it’s a lot of fun to go against the musical norms once in a while… Sooner or later everything will come back anyway”

The actual recording process seems to be a convoluted beast – an array of organic sounds and synths emerge throughout the LP. But are samples used much, if at all? “Actually, I use a lot of samples…” Lindstrøm offers “…but these days, it’s almost impossible to know what’s real and what is samples… I usually play everything myself, but on this album I’m playing my drumkit on a midikeyboard instead of hitting it with sticks.” As he states the most important thing in the methodology is that “there’s no rules”, as ultimately one can hear.

On his label – a small affair called Feedelity, Lindstrøm discusses his output and why it’s kept on a low-key scale “I’m only releasing limited vinyls in small runs these days. I’ll probably keep on doing it like this, on a small level… getting too serious isn’t always for the best.” The most recent output was last year “we did a 300 limited vinyl of my Best Coast remix” (Boyfriend).

It may seem a tad impatient to discuss the future – what with the album having only just been released; but you must have gathered by now that impatience is something of a character-trait with Lindstrøm – when it comes to musical matters that is. And it’s something that is on his mind already, to do “something new, or at least somewhere that I haven’t been to for a long time”. He riffs on this thought further, the theme of revisiting of the past “It don’t necessary need to be something completely new every time. Revisiting something that I’ve done previously can be as interesting really.”

What is certain is is that it won’t sound like Six Cups of Rebel, it won’t be Real Life Is No Cool, a future release “will be very different from this one, that’s for sure.”. Though when pressed on more specific terms he admits “I’m doing a few collaborations as we speak” and teases “I’m not gonna reveal any details, but it’s quite exciting to work with other people again, after working alone. Marriage has many pains, but celibacy has no pleasures”.

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