Six Cups Of Rebel
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2012 release from the Norwegian producer and Electronic musician. Six Cups of Rebel, Lindstrøm's fourth solo album, is a super-sized cosmic Disco rocket that burns up a galaxy of eclectic influences in it's wake, from Bach to Deep Purple, from Disco to Acid House, while sounding sleek and utterly contemporary. He may worship at the temple of godlike European DJs from the '80s like Daniele Baldelli and Beppe Loda, but the relentless, occasionally monumental scale of Six Cups of Rebel has the power to move mountains all by itself.
Hans-Peter Lindstrøm isn’t all that sure about the record he’s just made. "I think this album might be hard for my label," he demurred in a recent interview. "I think I’ve gone further out than before, but I’m not sure if it’s for the best."
It’s an alarmingly frank confession from a man whose last solo release’s first track ran to a whopping 29 minutes in length. But, to be fair, the Norwegian producer’s been a sound judge of quality over the course of a decade-long career that began almost by accident.
Lindstrøm was a rock fan before turning his hand to electronic music in the early-00s, scoring a string of successes with remixes for the likes of Franz Ferdinand and LCD Soundsystem. Later, his self-penned productions suggested a crisply modern take on the synth futurism of Vangelis and Giorgio Moroder, plus the ‘space disco’ sound of 1970s DJs like Daniele Baldelli.
The Oslo-born musician enjoyed further acclaim for his releases with fellow producer Prins Thomas, but his most accessible work to date came with Real Life Is No Cool. Said 2010 set collected tracks made with singer Christabelle, who added pop jouissance to his panoramic musical vision; it’s since become something of a cult classic.
As the title would suggest, Six Cups of Rebel puts him back in weirder territory, albeit of a slightly differing stripe — it’s a record defined by creeping anxiety and frustration, as evinced by the stuck church-organ drone of opener No Release, which is beat-free and leads you to wonder what kind of grand architectural folly Lindstrøm has in mind here.
De Javu provides some reassurance with its robo-George Clinton riffing and artfully pitch-shifted, choppy house accents. But, again, there’s a darkly introspective feel at work that’s bolstered by an anguished, "can’t get no release" refrain that makes its entrance around the five-minute mark. Magik is notable for some eccentric vocals (a hallmark of the record), before evil synths start flashing like searchlights on a penitentiary compound. Then the prog-tinged Quiet Place to Live lurches in like a bout of cosmic seasickness, a wracked voice declaring that "all I want is a quiet place to live" over a spooked-sounding beat.
Call Me Anytime sounds queasier still; all sozzled synthetic birdsong and freakshow sounds that settle into a skittering house groove. But Six Cups… gets truly out-there with the title-track’s unappealing blend of acid squelch and On the Corner-era jazz-funk, and the 10-minute Hina, which is bookended by a pair of drum solos and sounds like a purgatorial inversion of The Field’s sublime tension.
Points for trying something new, but it’s hard to disagree with Lindstrøm’s own assessment of the record as something of an experimental misfire.
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Top Customer Reviews
Good, but no cigar I'm afraid.
Lindstrom has allowed his creative impulses to run free here, but unfortunately the results are a big, silly mess. Gone are the icy space-disco tones of his first few EPs (collected on the excellent A FEEDELITY AFFAIR) and he's regressed even further back in time than the synth-odyssey of his debut album proper (Where You Go I Go Too). It sounds like he's having a lot of fun and it's the kind of fun that's so nearly infectious - you want to enjoy this experience with him - but falls short, perhaps due to excessive silliness: weird wobbly vocals, over and over (Magik, Quiet Place To Live), synthesized instrument freak-outs (Call Me Anytime) and a tendency to meander around when it could be hitting hard (most, if not all, of the tracks).
I think he's a talented bloke and he will learn from this effort, which is difficult to regard as anything other than a mis-step.