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The last five or so years, mind, have seen him write an impressive resume, turning out a string of fine space-disco releases on his own Feedelity imprint before making his name internationally with Where You Go I Go Too – a masterpiece of warm, progressive space disco that posited this Norwegian producer as an heir to cosmic-minded 70s producers such as Giorgio Moroder and Daniele Baldelli.
On Real Life Is No Cool, Lindstrøm reconnects with an earlier collaborator, one Christabelle Silje Isabelle Birgitta Sandoo, who made her Feedelity debut back in 2004 with the wonderful Music In My Mind 12”. It’s tempting to call Christabelle the Donna Summer to Lindstrøm’s Moroder, but their relationship appears much more chaotic than that. Recording her vocals independently, making up lyrics on the spot and submitting them to Lindstrøm for tweaking and re-editing, their collaboration feels a subversion of the traditional producer-vocalist relationship – in short, anything goes.
So, the opening Looking For What commences with Christabelle’s voice singing a cappella, chopped up and layered until it’s incomprehensible. As the beat finally drops, she emerges from the fog, free-associating mischievously: “What shall we do… shall we start looking… looking for what?” Instead of disco’s grand climaxes and stage-managed highs, then, we have a woozier, constantly mutating tableau – one that clearly privileges jamming as a most adequate way of making music, and one that feels pleasingly organic next to the majority of most modern, digital dance music.
Conventional highlights include a revived Music in My Mind and Baby Can’t Stop, a Jackson 5-tinged number with vibrant horns and itchy funk guitar. But there are impressive experimental excursions here, too: take Never Say Never, a whirl of backwards beats, twinkling harps and discombobulated vocals that’s both utterly disorientating and quite delightful. --Louis Pattison
Find more music at the BBC This link will take you off Amazon in a new window
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On Real Life Is No Cool, Lindstrøm reconnects with said collaborator, one Christabelle Silje Isabelle Birgitta Sandoo, who made her Feedelity debut back in 2004 with the wonderful Music In My Mind 12" single . It is tempting to call Christabelle the Donna Summer to Lindstrøm's Moroder, but their relationship appears much more muddled and yet synchronous than that. Recording her vocals independently, making up lyrics on the spot and submitting them to Lindstrøm for modification and re-editing, their collaboration feels a subversion of the traditional producer-vocalist relationship - in short, anything could happen and quite often does .Hear the sassy horn led "Baby I Cant, Stop " which is like an amalgamation of Dr. Beat (Long Version) , Don't Stop 'Til You Get Enough (Single Version) and something off ABC,s Beauty Stab for a prime example of the unlikely directions this album heads off to .
"Real Life Is No Cool" is preordained on how the pair, according to Lindstrøm, "Found out that we shared many of the same musical references, such as Motown, Grace Jones, `80s soul, Vanity 6 etc." Plenty of it, consequently, sounds like a high-gloss, uber- glamorous revival of `80s electronic pop - though distinctly more cosmopolitan and polished than a lot of the `80s revivalism that's around at the moment. You can hear a touch of Grace Jones haughtiness in Christ belle's voiceover on the elegant "Music In My Mind", but the `80s soul tones are much more potent on the closing "High & Low", a sparkling but feline slow jam .There's also a neat Summer/Moroder pastiche, "Let's Practise" which alludes to the point I made earlier .
Those who have found Lindstroms tendency to ramble and stretch an idea to infinity , or so it seemed , should find this album a refreshing listen . Just occasionally it becomes frustratingly obtuse - "So Much Fun " could live up to it's titular hedonistic promise if it didn't spend half it's allotted near five minutes arsing about and "Never Say Never " is not what I concluded after hearing it - but overall Real Life Is No Cool is something deep-rooted given a prescient subtle tweak . It's the past refracted hazily into the future, or something like that .
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