up in such a bubble in the studio that I’ve got no idea You have to believe him as well, for Hans-Peter is a really important to do it the ‘right’ way, but now I
whether this is a relevant album for 2010 or not.” man with a blasé disregard for what others consider know the rules I don’t listen to dance music at all any
‘cool’. Ask him about his musical heroes and he starts more.”
talking about perennially unfashionable ’70s prog
Timing rock acts like Jethro Tull and Genesis. Emphasising that “the music I make is just a product
Of course, Lindstrøm and Christabelle’s timing is “I’m not a complete nerd about it, but I’m obsessed of what I’m listening to at the time rather than what’s
actually spot on, with many of the tracks on ‘Real Life with details like all the different instruments and going on around me”, Hans-Peter also says that being
Is No Cool’ sliding seamlessly into the nu-disco layers in the music,” he explains. “Those records were based in Oslo has no direct influence on his sound,
revival sound of Crazy P, et al. That’s a movement in like my first teachers and you always remember what and that he’s certainly not part of any perceived
which Hans-Peter has played a pivotal role, with his your first teachers told you. It’s important to listen to Norwegian scene alongside the likes of Annie or Todd
seminal ‘I Feel Space’ one of the tracks that kicked music from all different genres and decades to get a Terje.
the whole thing off back in 2005, although he now historical perspective.” It’s Hans-Peter’s relative isolation in his studio that
says: “My interest in disco probably peaked in about In fact, the only thing you won’t catch him listening fuels not just his fresh thinking when it comes to
2005 and I’ve been looking to other music for to is any contemporary dance music. music, but also his prodigious work rate. Although,
inspiration since then. “The modern stuff I like the most are young New York having released three albums within 12 months —
“Every now and again an older form of music has a bands like Animal Collective and Yeasayer,” he “Which is crazy, I know” — he’s now planning on
renaissance and I think disco came back because continues. “They’re trying to incorporate things from putting his feet up for a bit.
there’s so much going on in those records compared dance music but because they’re from an indie “I’ve got stuff I’m working on that could be a new
to all the monotone minimal stuff. background they don’t really know how it’s supposed album but I’m definitely not going to release anything
“It’s good that it’s inspiring people to check out some to work. So what they make is far more interesting for another year,” he reveals. “I’m just going to have
really good music from 30 years ago, but there will be than when a DJ makes dance music because a DJ fun in the studio and make some good food in the
a backlash against it soon and I’ve never wanted to be listens to that stuff all the time, whereas I think a lot kitchen.”
part of any ‘scene’ because it’s dangerous to be of the best music happens when you attempt If Hans-Peter’s cooking is as good as his music, then
associated with something when the hype dies something where you don’t know the rules. Heston had better watch his back.
down.” “When I first started making music I thought it was
“The best music happens when you
attempt something where you don’t
know the rules.” Lindstrøm
www.djmag.com
041
DJ481.lindstrom_feature.indd 41 2/12/09 16:28:05
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132