Norwegian multi-instrumentalist / producer Hans Peter Lindstrom has emerged as one of the contemporary “cosmic disco’ movement’s most visible faces, his string of 12” releases of productions both solo and alongside regular collaborator Prins Thomas going a long way towards kicking off the initial media frenzy. While he’ previously been responsible for a self-titled album alongside Thomas on Eskimo on Eskimo in 2005, “Where You Go I Go Too’ represents Lindstrom’ debut solo album proper, last year’ “It’s A Feedelity Affair’ having been compiled from previously released 12†material. While Lindstrom’ previously displayed a penchant for sprawling track lengths however (witness his expansive reworkings for LCD Soundsystem), “Where You Go…’ sees him playing with myriad layers of texture over a much broader canvas, with the opening title track (one of just three gathered here) running in at just a shade under 29 minutes. Upon listening to the title track there are certainly some immediate comparisons to be made with James Murphy’ recent ’45:33′ release – indeed, both are self-described by their authors as being specifically intended for listening whilst exercising / walking. In this instance, it’s not until around four minutes in until there’ any semblance of a beat, an extended filmic intro section consisting of epic synth pads and reversed, strangely Pink Floyd-esque guitar licks giving way to a gliding backdrop of Neu!-meets-Kraftwerk synth melodies and streamlined drums, evoking a sensation that sits somewhere between blissed-out Euro-disco and “Autobahn’ – an aesthetic those familiar with Lindstrom’ preceding releases will no doubt be well acquainted with.
Unfortunately though, while there’ an intriguing segue into subdued ambience during the track’ second half, there isn’ quite the same sense of “journey’ that Murphy’ set evoked, in part due to Lindstrom’ decision to stick to the same melodic motifs throughout. “Grand Ideas’ meanwhile almost represents the baby here, coming in at “just’s ten minutes and offering up a shimmering, arpeggiated Italo-centred wander that’s easily this album’ most danceable moment, before “The Long Way Home’ takes things out amidst subdued, half-speed disco beats and delicate guitar strokes; while there’ a disappointing segue into tepid lounge-soul along the way, it’s nicely redeemed by the dramatic late night disco lead-out that follows. A more than solid album that’s likely to satisfy Lindstrom’ substantial established fanbase.
