III

Nu-disco luminaries Lindstrom and Prins Thomas released several acclaimed albums and EPs during the 2000s, fusing bubbly Balearic house with the farthest reaches of wigged-out cosmic rock. They spent much of the 2010s working on their own respective projects, but they continued collaborating on remixes for artists ranging from the Chemical Brothers to London Grammar to Cerrone, in addition to remotely developing original material. Their third proper album arrives 11 years after their second, and on the surface, it seems like they were in no rush to finish a new record. III sounds much looser and less propulsive than their prior work, exploring the textures of space disco more than its club energy. They perversely put a track called Grand Finale at the beginning, and its Italo-drama synths, starshine pianos, and dubbed-out crawling tempo would seemingly make more sense as a comedown. Martin 5000 is closer to their classic cosmic disco sound, with swift, polyrhythmic drumming accompanied by analog keyboard pulsations and smooth, gorgeous guitars reminiscent of Steve Hillages work with the Orb. The duo subvert expectations with the rest of the tracks, particularly in the way they construct tricky rhythms yet manage to keep everything sounding fluid and easygoing. Small Stream has a complex beat pattern that manages to go down in a flash, and Oranges seems like a laid-back palm tree sway, but its arpeggio seems more alert, and eventually the kick drum subtly bumps into double time. Final track Birdstrik is set to a low simmer, with a minimal beat shuffling away and pianos softly rippling on top. III is much more concise than other Lindstrom & Prins Thomas albums, but it still reaches toward the outer limits the way that only their work can. ~ Paul Simpson

単発のリミックス仕事では好打を放っていたノルウェイジャン・ディスコの盟友コンビによる3枚目のフル・アルバム。前作『II』から11年もの間には、それぞれが4枚ずつソロ・アルバムをリリースしており、お互いの経験値もスキルも格段にアップした状態で作られた本作は、相変わらずゆったりとした空気感とスケールの大きな世界観が印象的。一曲ごとに長尺で展開されるサウンドからは贅沢な感覚すら味わえます。
bounce (C)藤堂てるいえ