Cult cool a la Lindstrøm

The Norwegian artist and producer Hans-Peter Lindstrøm, a cult figure in the independent realm, receives brilliant reviews for his first full-lenght album and extends his list of prestigious remix-assignments with best-selling The Killers.


In joint venture with Smalltown Supersound Lindstrøm's label Feedelity Recordings has just released his first album; a compilation of 12 inch tracks under the heading “It’s a Feedelity affair.” Cutting-edge international reviewers are gracious in their acclaim: The sages at Pitchfork media find that the record “succinctly demonstrates why both he and his epic space-disco sound have been among the most ubiquitous forces in modern dance music.” And Uncut thinks the record a celebration of Lindstrøm`s “intuitive, organic approach to disco and funk.”
The record was very well received at home too, and his remixes of big names such as Franz Ferdinand and, soon, the Killers, attracts attention. Still this artist and producer is not really well known in Norway, certainly not to your average consumer. However, this is just evidence of indie music’s elusive influence on the mainstream; that many of the most influential personae are virtually unknown to the masses they in a roundabout way “direct.”

For a while now a corps of Norwegian equivocal and behind-the-scene gurus of music has been surfacing. Often the eye of the general public is only opened with a link to some big name in the mainstream of pop, such as remixes of bestsellers, but anterior and independent of such happenings these figures are indirectly hugely influential on the entire culture. Their mainstream exposure is often a tip-of-the-iceberg kind of phenomenon, in the independent realm they (already) enjoy cult status and have great influence. The nature of the independent substratum is that there are no big events; signings, releases, breakthroughs or gigs. Rather the entire world is quite elusive in commercial and promotional terms and not least truly international.
Hans Peter Lindstrøm embodies much of the essence of this “new” world of music: independent in every way he runs his own label and is thus in complete control of his own prolific production and the building of his own artistic edifice. As such, his venture is just as much about personal entrepreneurship and command of the new reality of media and market; -distribution, information and communication - as it is about pursuing an artistic line in the old meaning of that concept. As everywhere else the distinction between content and its conveyance is disappearing in music and it is exactly the merger and interconditionality of the what and the where and how that emerges as the essence of expression in the 21st century. Lindstrøm is a case in point in terms of the liberty and unrestricted scope an artist can achieve by building in the independent sphere, wielding the instruments and possibilities of 2006, and ultimately reaching the point of such cult status that mainstream impact is a matter of own choice.

Musically it is disco and dance that is Lindstrøm’s concern. What is worth noting though, is that he had no experience or affinity with this music at all before he decided to have a go at making it himself. His background is from the singer-songwriter tradition and classic rock –music true to the concept of analogue-acoustic instrumentation and composition- and he quit music altogether before he gave it a second go in a completely different direction. However, his love for actual instruments and his acoustic approach to creating music remains, and this has emerged as a great strength and distinction in his work with dance, disco and funk. His starting point is always organic, and from this he moves towards a chiller, synthetic constitution -often denoted space-disco- but with a distinct core of melody. The combination sets his songs apart from much of the purely engineered dance-music that proliferates, and the subtlety with which he combines different conceptions of music – the freshness of his unusual approach- is the secret to his influence and success. Over three years he has been steadily issuing singles, and his name, also in collaboration with partner Prince Thomas, has become a favourite connoisseur reference. As DJ Magazine puts it: (This is) "Sublime Nordic disco. For those who haven’t been near a dance floor recently, “Feedelity” succinctly collects the best bits from the first nine EPs by Norwegian producer Lindstrom

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