Prins Thomas-Prins Thomas-(Retail)-2010-CFD

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Aug 18, 2011
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Prins Thomas-Prins Thomas-(Retail)-2010-CFD
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Prins_Thomas-Prins_Thomas-(Retail)-2010-CFD
August 17, 2011 8:22 pm

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Release Info :
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Prins_Thomas-Prins_Thomas-(Retail)-2010-CFD
AlbumPrins Thomas
ArtistPrins Thomas
Year2010
GenreElectronic
GroupCFD
Tracks7
Playtime58:88 Mins
Avg. Bitrate238 kb/sec
Size102 MB
TitleArtistPlaytimeBitrate
OrkenvandringPrins Thomas8:31207kb/sec
UggebuggPrins Thomas8:42253kb/sec
SlangemusikkPrins Thomas9:50239kb/sec
SauerkrautPrins Thomas10:15245kb/sec
Wendy Not WalterPrins Thomas9:29227kb/sec
NattonsketPrins Thomas7:06249kb/sec
AttiattePrins Thomas6:15245kb/sec
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       . .. C F D . a k a . C R O S S F A D E R . p r e s e n t s .. .  
       
 
       
 
 
    Prins_Thomas-Prins_Thomas-(Retail)-2010-CFD  
 
 
 
 
 
                         ARtiSt...... : Prins Thomas  
                         AlbUM....... : Prins Thomas  
                         GENRE....... : Electronic  
                         lAbEl....... : Full Pupp  
                         CAtNR....... : FPCD004  
                         SoURcE...... : CDDA  
                         StREEt.dAtE. : 15-03-2010  
                         QUAlitY..... : VBR/44.1kHz/Joint Stereo  
                         URl......... : http://www.myspace.com/prinsthomas  
                         SiZE........ : 102.2MB  
 
 
 
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       01.  Orkenvandring                                           8:30  
       02.  Uggebugg                                                8:41  
       03.  Slangemusikk                                            9:49  
       04.  Sauerkraut                                             10:15  
       05.  Wendy Not Walter                                        9:28  
       06.  Nattonsket                                              7:06  
       07.  Attiatte                                                6:15  
 
                                                    Runtime..: 60:04 min  
 
 
 
 
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                    Despite a handful of wooly space        
                    disco singles on his Full Pupp          
                    imprint, in terms of his own output     
                    Prins Thomas is still known?if          
                    unfairly?as the Robin to Hans-Peter     
                    Lindstr?m's Batman in Nordic            
                    disco's super-duo, Lindstr?m &          
                    Prins Thomas. The two crafted two       
                    of the ever-widening genre's            
                    foundational albums in their            
                    self-titled debut and its last          
                    year's follow-up, II. But, even         
                    more than through his popular sets,     
                    Thomas' creative sensibility is         
                    still best appreciated through his      
                    remixes. There are, well, about         
                    fifty of them. Each?from keepers        
                    like his dizzy strut take on            
                    Studio's "Life's a Beach" to his        
                    almost twenty minute reshaping of       
                    Hatchback's "White Diamond"?seems       
                    to bloat 'til the original's left       
                    only the barest of traces on            
                    Thomas' airier offering. His talent     
                    is for offering breathing room          
                    without losing touch of a track's       
                    core melody or its most essential       
                    parts, often suffusing the original     
                    the languor and the slow siesta         
                    swell. They're patient epics,           
                    beginning with chin-stroking and        
                    end in full mad rushes.                 
                                                            
                    On last year's second album with        
                    Lindstr?m though, Thomas' sense of      
                    expansion and the shimmery              
                    instantaneity of Lindstr?m's            
                    songcraft dissolved within the          
                    duo's slowly evolving jams. As          
                    though the two had difficulty           
                    either encouraging or dissuading        
                    each others' best/worst instincts,      
                    it was hard for even the most           
                    attentive kosmische, Krautrock or       
                    cosmic fans to find any point of        
                    entry or engagement in the duo's        
                    brainy studio play. Now, the two        
                    have split for a while to pursue        
                    other projects. Lindstr?m unveiled      
                    one of the year's best with the         
                    '80s pop-disco pastiche, Real Life      
                    is No Cool. Prins Thomas, on the        
                    other hand, finally hits us with        
                    his first album under his own name,     
                    the starkly titled/artworked (and,      
                    yes, long overdue) Prins Thomas.        
                                                            
                    Following in the tradition of II,       
                    the album's essentially an extended     
                    fuzzbrain jam. But without              
                    sacrificing his need for                
                    spontaneity from a creative             
                    standpoint, on Prins Thomas there       
                    are just enough melodic passages to     
                    bring the noodlier bits into            
                    cohesion as a single work. If II        
                    seemed to unspool into a void, here     
                    you get a better sense of the           
                    shapes and patterns Thomas is           
                    forming.                                
                                                            
                    Sliding through the Michael             
                    Rother-esque "+rkenvandring," the       
                    stunning Spaghetti Western guitar       
                    breakthrough of "Uggebugg" (see         
                    3:45, one of the                        
                    sit-up-and-take-notice moments I        
                    referred to earlier), or the            
                    rambling, Krauty synths of              
                    "Slangemusikk," Thomas incorporates     
                    over 40 years of psychedelic            
                    beatmusic into these seven lengthy      
                    cuts. More directly allusive,           
                    "Wendy Not Walter"?a nod to             
                    transgender synthesizer pioneer         
                    Wendy Carlos on which Lindstr?m         
                    offers up some warbly                   
                    clavinet?sounds closer to the           
                    billowy kosmische HPL mastered on       
                    2008's Where You Go I Go Too. But       
                    all of the record's meandering          
                    wouldn't come into focus without        
                    the two tracks which bring it to a      
                    close?the crisp star-gazer funk of      
                    "Natt?nsket" and the morning-glory      
                    glide of closer "Attiatte."             
                    Fittingly, both assimilate Thomas'      
                    talent for the slow ascent, so          
                    evident in his remixes, with the        
                    hirsute, foggy headed jams              
                    displayed on the best of his own        
                    productions. A best of both worlds      
                    of sorts: delightful and still kind     
                    of delirious, and arguably a better     
                    record than either of those under       
                    his better known partnership.           
                                                            
                                                            
                                                                
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