The dons of the Oslo Space disco scene return with a strong album.
Regarded by many as being the forefathers of Oslo’s vital ‘space disco’ scene, producers/DJs Lindstrøm & Prins Thomas return with a follow-up to their acclaimed debut album. ‘II’ picks up where the duo’s eponymous first album left, offering synth-heavy, cinematic, spaced-out and throbbing grooves but also an overall feel that is more organic and lively.
‘II’ also bears witness of a duo that is exploring new terrain with forays into such styles as krautrock and prog-disco proving to be very rewarding. Live instrumentation and rich organic retro-synths signal a departure from overly processed electronics into a more psychedelic realm, resulting in a release that not only energizes the dance floor but can also provide the listener with a rich experience in front of the living room speakers.
The pair joined forces in 2003, after mutual admiration and inspiration of each others productions. Lindstrøm as muso-wizard and Prins Thomas as the nu-skool remix-champ but they also share the same passion for collecting records and run their own labels Feedelity (Lindstrøm), Full Pupp and Internasjonal (Prins Thomas) from their Scandanavian liars. 2008 saw the release of Lindstrøm’s debut solo album ‘Where You Go I Go Too’ (Feedelity) which cemented his standing as a unique master craftsman (“a triumph of sound design, as impeccably crafted as a Starck chair” 4/5 The Guardian) / ”a modern electronic masterpiece” 5/5 Album Of The Month, IDJ Magazine) whilst Prins Thomas has also been busy running both of his labels, DJing all over the world, remixing the likes of Simian Mobile Disco and LCD Soundsystem, releasing the ‘space-disco’ defining ‘Cosmo Galactic Prism’ (“a gem” 4/5 Mixmag, “cosmic disco don” 4/5 DJ) double mix CD and compiling his own label’s ‘Greatest Tits Vol.1’ on Full Pupp.
Writes Dusted.com in a review this week: ‘What makes II so vital on a grander scale is that they have reached a masterful equilibrium with the elements that have made them the preeminent producers they are today. This is the best evidence yet that they’ve balanced the organic and inorganic, the solid and cerebral, themselves and each other.’
Uncut is also equally as enthusiastic in its praise of ‘II’: ‘The general atmosphere, as a consequence, recalls that subtle evolution from kosmische extravagance to a sort of streamlined technocracy. It’s a tremendously warm, easy-going, but still energizing record..’