Free Download: Hans-Peter Lindstrom “De Javu” “When I was starting to work on tracks people like Metro Area and Danny Wang impressed me because melody seemed so essential in their work, it wasn’t just a rhythm track with a drum pounding.”
“When I was starting to work on tracks people like Metro Area and Danny Wang impressed me because melody seemed so essential in their work, it wasn’t just a rhythm track with a drum pounding.”
On the occasion of this new release Magnetic contributor and Disques Sinthomme/Ghost Town honcho Dennis Kane broke out the iPad and had an extended chat with Hans-Peter about the new work, music and the vertigo induced by the iPad view of two moving subjects.
Dennis Kane: Yo, sorry I missed you yesterday, you good? Doing tons of press stuff?
Hans-Peter Lindstrom: It is not so bad actually, I did some earlier, but things have quieted down a bit. Are you in NYC?
Yeah, just back. When you think of Norway there is indeed a certain sound associated with your work and (Prins) Thomas’, Bjorn (Torske) and Todd’s (Terje) etc… but this LP has a very unique and specific voice. When I heard “No Release” and “Hina” and “Quiet Place to Live,” I thought wow this has a Long Island vibe. (Laughter.) Seriously though I thought of Blue Oyster Cult. The tracks have some of the epic scale of “Where You Go I Go Too,” but there is also a darker, harder, live component. Is that organ in “No Release” live?
No it isn’t, I had toyed with the idea of doing it on an actual church organ, but I ended up working it out in the studio. I feel comfortable with the software, I have no prejudice against computer vs. live, to me it is about the idea and the track, delivering it however it needs to be realized, whatever the method or tool.
Yes I notice a lot of younger producers outfitting their studio with vintage equipment that they may not even use; it can take on a fetishistic quality.
Well some people like Todd are very good with older equipment and they use it well, for me I don’t really have a set tools agenda, it is more about getting the song going and trying to fulfill its potential.
Regardless of how it was done the organ in “No Release” has a vibrant sound and intense chromatic palette. Is there a method to the composition? For example was “No Release” always meant for organ?
Yes it was. Generally speaking I get an idea sometimes and work out from the sketch, or things start happening as I am just jamming in the studio. Increasingly I am thinking more about song structure and the importance of melody. When I was starting to work on tracks people like Metro Area and Danny Wang impressed me because melody seemed so essential in their work, it wasn’t just a rhythm track with a drum pounding.
Right, melody helps sustain so much; I have been listening to a lot of country…
The Memphis sound is such a songwriters thing, you know the Dusty (Springfield) in Memphis right?
Yeah it’s great, although I am more of a Bobbi Gentry fan, her voice is so dirty, and she wrote and played and produced.
That involvement, from song to studio to performance—seeing it through. It does so much for the development of the work.
You have toured behind your music, and you know a number of DJs who play it, does the feedback from these experiences inform what you do?
Well it is always interesting to see what has an impact on people, it changes from place to place—the context has a lot to do with it, but on a certain level my ideas just emerge—I don’t mean that naively, you are working away and certainly aware of feedback, response, etc… but then you have to do what you feel with a certain imperative. I told my label people—I am taking a chance with this music, it is not a dance music thing, it is some work that has obsessed me, I don’t know how it fits in, I really wasn’t concerned on that level…
The impetus is compositional, your making what you feel you have to make…
I felt good that the label was so behind it…
As they should be, it is fresh and intimate and takes chances. The status quo especially with software based dance stuff can get trite pretty quickly…
Well I love a good dance track…
I played “There’s A Drink In My Room (And I Need A Hot Lady)” the other night. It still sounded good to me… (Laughter.)
Thanks, when I did that I didn’t have an agenda, and I don’t feel like I do now other than following where the ideas take me…
In the end that’s the only way to go I think… Man this iPad movement is making me dizzy. (Both are moving while on cam.) So much of history is available to us now, you can research an era or sound pretty quickly. I find that in a lot of cases that leads to a kind of bad pastiche, this album doesn’t have that, I can hear tons of influence, but the voice behind it is definitely specific.
In addition to the darkness there is a utopian edge to tracks like “De Javu” and “Magik,” it brings to mind Todd Rundgren’s “A Wizard, A True Star.”
[ED note: Todd Rundgren has done a remix of “Quiet Place To Live”]
He—Todd, is really great, what a career…that is good company to aspire to be included with.
Well he was always on the edge of several genres, and yet he always has done his own thing.
I don’t think you can even plan it out that way, it just happens…
Jean Luc Godard once said “even with an unlimited budget it’s doubtful I could make a John Ford film, I have to do what is in my prism…”
One thing about the studio, you are there all day, even with friends and collaborators and outside information, etc. It is still you, that’s the voice you are given; it is what you have to answer for at days end.
That’s the freedom and responsibility for sure.
That dynamic keeps it interesting as well.
Thanks man good luck with the album.
Thanks D, hope to see you soon, send me some Bobbi Gentry!
Lindstrom “OPP mix for yourstru.ly”