An interview with Hans-Peter Lindstrom by Moka and myself.
Chris: When did you become interested in dance music, were you more into the rock scene previously?
Hans-Peter: Yeah, I’m from the rock scene, and accidentally got into the electronic music scene when winning (hey!) a bedroomproducer-contest in norway in 1999 …
Chris: Did you release any tracks previously to your work as Slow Supreme?
Hans-Peter: Only as part of a 8-piece gospel-group singing the gospel according to elvis presley
Chris: How did you and Prins Thomas meet up?
Hans-Peter: We met in oslo in 2001. He was the best dj around. And I was curious …
Chris: Did you feel as though you were part of a new movement in 2005 with the advent of so much new Balearic and Cosmic influenced music? Do you see a certain amount of zeitgeist in what you are doing and what artists like Quiet Village Project are doing, for instance? Do you guys all have a secret headquarters somewhere? :)
Hans-Peter: Hehe, not as far as I know … I’ve been making music w/more than one chord-change since day one, since I need something more than just beats & a bassline … and I prefer to keep the tempo slow, because it gives me space to fit in more musical elements … heh.. the slower the better, although I realise now that it doesn’t make sense to make remixes in 100 bpm … haha.
Chris: What is the scene like in Europe at the moment, have you seen a big increase in fans of your style, or has the scene been growing for some time?
Hans-Peter: I get the feeling that the crowd everywhere is 95% ‘normal’ people who doesn’t know anything about cosmic or balearic. While the rest is nerds & dj’s. When I play slower tracks, or unaccessible’ stuff, people leave the dance floor. Most clubs in Europe are used to house and minimal, but I’ve been told that it’s now ‘allowed’ to promote a night with the dreaded ‘disco’-word … haha
Chris: Is it just me or does Norway seem like a seriously stylish country? Who is the person that did the amazing artwork on the Album and the Turkish Delight single, for instance?
Hans-Peter: haha, he’s from Finland. That’s where all the nice scandinavian design is from. Norway isn’t particulary stylish as far as I know …
Chris: I once read about a club in Oslo (at least I think it was in Oslo) that was actually a converted public toilet building in a park somewhere. Does it still exist? Is it rad?
Hans-Peter: Yeah, that’s true ! However, it’s closed now. It used to be good, I’ve been told, but there were a change in ownership at some point.
Chris: Is the collaboration with the release of the Lindstrom debut album on Smalltown Supersound a sign of things to come? Could we be seeing musicians from that stable collaborating with you in the future?
Hans-Peter: I don’t think so. I’ve realised that I’m a loner. I like to do everything myself.
Chris: How did you first come across Todd Terje?
Hans-Peter: At a student-dj-night around 2000. He was 18 maybe, and seriously into Salsoul & New-York-disco.
Chris: Is Hans-Peter or Prins Thomas still possession of The Idjuts disco balls?
Hans-Peter: Say what…?
Chris: Are you fans of the Compass Point era of Grace Jones, when she was recording all those strange cover versions, under the direction of Chris Blackwell, assisted by Sly and Robbie and Wally Badarou? (I only ask ‘cos it’s my favourite thing!)
Hans-Peter: I love the early 80’s Grace Jones productions. Sly, Robbie & Badarou defined her sound. Simple but effective. A huge inspiration.
Chris: Finally I have to tell you a story about my former co-worker Zweli. When he was still working with me he used to listen to your album on headphones, while he played this computer game where there’s this bug that has to shoot all these crystal balls before they fall down a hole. The graphics are really trippy, so I really dug watching him play every now and then. While he was playing the one evening he started singing this song in Zulu. I couldn’t hear the music, just the singing, so I turned around to watch the screen and the combination of the singing and the visuals was just incredible. I really think you guys should get together and do some sort of multimedia thing together! (if only I knew where to find him). You guys should probably come to play in South Africa sometime.
Hans-Peter: Hahaha. It’s a great story indeed !!!!! Yeah, sooner or later it would be great to come to africa !!
Moka: Psychedelic and metal guitarists seem to be a very important and subtle influence on your sound, I read on an interview on your label you were citing Malmsteen as a one of your music addictions at the time and even your mate, Prins Thomas, released an Ep tribute to Ash Ra Temple’s guitarist, Manuel Goettsching, a few months ago. Would you mind sharing some of this guitar influences with us?
Hans-Peter: Hm … dunno what to say. All of the guitarists you mention are really good, and influences me in different ways. I like the sound of the guitar. It’s a very flexible instrument.
Moka: What’s the composition process you follow? Is there a substantial difference between composing in collaboration with your mate or alone?
Hans-Peter: Thomas is working waaaay faster than I am. I used to finish a track or a remix in 1 week, but now I’m probably using 1 month. Reason is that I’m doing many different versions of the track, and then decide for which arrangement/structure is best for the song. When working with Thomas, we record loong jams and edit everything the next day.
Moka: What’s been playing on your tour bus these months?
Hans-Peter: Which bus? Only flights in our world .. iPod-music … lots of good mixes.. recently, Tim Sweeneys beats in space mixes.
Moka: You edit, produce and even have your own label, what’s your opinion on the music industry? and internet and peer2peer networks?
Hans-Peter: I believe blogging and P2P works fine when promoting a new release. It’s a very effective way to spread the music instantly. And I don’t think it hurt the sales, since I’m releasing mostly vinyl. Low quality mp3s cannot replace a physical vinyl-copy. More and more dj’s play cd’s, but I believe many still prefers vinyl…. And I don’t believe in fighting against new technology in general.
Moka: You’ve both did a lot of dj-ing on festivals on August and you had a great show on the Sonar Festival in Spain, can you tell us about these experiences? How’s a Lindstrom and Prins Thomas gig?
Hans-Peter: I didn’t play at Sonar, but Thomas was there. Anyways, we’ve been travelling lots last year, and it’s a great way of meeting people, playing new productions to check if they sound alright, and eat good food from all over the world ! The only drawback with travelling is all the airports, transport, carrying, waiting, hotels etc etc … hm
Moka: The collaboration with Torgunn Flaten (on “run”) and with Christabelle and the way vocals adjusted almost effortlessly into your music was well received and praised by fans and critics, does the future hold more vocal collaborations or vocal samples?
Hans-Peter: Yes, I’m working on some new tracks with both of them, and there might even be a taste of a christabelle-collaboration on 12” early 2007. She’s got a really great voice, and has this non-clubmusic-background which I think is an advantage sometimes.
Moka: What’s your plans and projects for the next months?
Hans-Peter: Lots of studio-work, and some more travelling I guess. And maybe NYE in Tokyo with my girlfriend :o)
recording of the Lindstrom laptop-live set from Club Caviar in Gothenburg Sweden on the 3rd of August 2006
And as far as you eye demands another sun, see if there is behind you another sun.
“The album Product Music: Vol 1 is a collection of memorable examples of the industrial song. Because if you’re not buying a company’s product, perhaps a few listens to their new dance tune will change your mind!”
