MEZZANINE PRESENTS:
LINDSTRØM
with support from
TÂCHES
CAMDAZE (BROUHAHA)
PUSH THE FEELING
MORE ON LINDSTRØM
On Hans-Peter Lindstrøm’s latest album, those northern disco lights are twinkling once more. Over the continuous stream of nine interlocked tracks on It’s Alright Between Us As It Is, he’s refined his love of arpeggiated synths, warm and steamy analogue bubble baths and earworm melodies into his most rounded and complete statement to date.
A Norwegian based in Oslo, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city centre studio (where his neighbors include friends and collaborators Prins Thomas, Todd Terje and Andre Bratten) into a factory floor for churning out monster tracks, then punching out regularly and going home to his family. This is about music being woven seamlessly into the fabric of life.
The album’s title is a direct quote from one of Lindstrøm’s favourite movies, Ingmar Bergman’s Wild Strawberries. This Swedish arthouse classic is about looking for meaning and finding closure at the end of a long life. About reaching the special place you’ve waited for all your life. A professor asks his longtime housemaid if they could become more familiar, starting with her brushing his teeth for him. She replies they shouldn’t become too intimate: ‘it’s alright between us as it is’.
The album aggregates all the best elements from Lindstrøm's long and varied career: the Balearic free-disco excursions of his two albums with Prins Thomas, cosmic voyages in the vein of Where You Go I go Too, and shimmering electronic pop, remindful of 2010's Real Life Is No Cool. It features vocals by American singer Grace Hall (‘Shinin’) and Sweden’s Frida Sundemo (‘Sorry’), and a stream of conscious poem by transgressive Norwegian vocalist Jenny Hval on ‘Bungl (Like a Ghost)’. Most of all it reveals him as a masterful mood sculptor, with heartstopping chord changes rolling over his relentlessly uplifting beats.
Conceived as a continuous flow, each side of the vinyl version will play as one track; while the CD and streaming versions will be timestamped. But in any case, once you’re strapped into Lindstrøm’s driverless vehicle, you won’t want to get out. It’s alright as it is. In fact, it’s more than alright: it’s almost nearly perfect.
MORE ON TÂCHES
Shirtless and shoeless, TÂCHES sits cross-legged in the dirt gently taking in his mountainsurroundings. It’s clear that he’s deep in thought as he mindfully traces the shape of a fallen leaf in his hand and a slight smile gently spreads across his face. There’s a tangible feeling of love and fascination communicated through the way he looks at the world around him and it’s precisely this holistic approach to creativity that makes him such a captivating artist. This is the makeup of a being that finds passion and inspiration anywhere he looks.
Contradictorily, he is as much a devotee to tradition as he is a breaker of rules. TÂCHES is uninterested in following trends and instead seeks to provoke the senses through a deeply personal examination of culture and cliche. Conceptual without ever being pretentious, his music shows a deep rooted appreciation for the textures of the times passed and faraway places. There’s a certain urgency to capture the world as he perceives it; albeit a world seen through the rose tinted lenses of a creature forever romantically entangled with his surroundings.
There’s no one way to sum up TÂCHES’s music, as it’s perpetually in growth, bending and swaying like a tree in the wind. This sonic metamorphosis is due to a primal need to experiment coupled with a deep longing to express the continually transforming experience of being human. Drawing heavily from emotion and memory, there’s a clear sense of nostalgia in all that he creates. His pure and unabashed desire to combine the things that he loves manifests itself as rich and evocative dance music with a massive personality and palpable global flavours.
TÂCHES’s desire to build upon the world in which his music exists led to the creation of his label GLITTER COWBOY – the peculiar home for the sonic documentation of his journey. When you listen to GLITTER COWBOY, you are nakedly experiencing life through the eyes of TÂCHES as he seeks to embody self-awareness and optimism, along with finding inner peace through nature, artistic expression and simplicity of living.
show less
LINDSTRØM
with support from
TÂCHES
CAMDAZE (BROUHAHA)
PUSH THE FEELING
MORE ON LINDSTRØM
On Hans-Peter Lindstrøm’s latest album, those northern disco lights are twinkling once more. Over the continuous stream of nine interlocked tracks on It’s Alright Between Us As It Is, he’s refined his love of arpeggiated synths, warm and steamy analogue bubble baths and earworm melodies into his most rounded and complete statement to date.
A Norwegian based in Oslo, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city centre studio (where his neighbors include friends and collaborators Prins Thomas, Todd Terje and Andre Bratten) into a factory floor for churning out monster tracks, then punching out regularly and going home to his family. This is about music being woven seamlessly into the fabric of life.
The album’s title is a direct quote from one of Lindstrøm’s favourite movies, Ingmar Bergman’s Wild Strawberries. This Swedish arthouse classic is about looking for meaning and finding closure at the end of a long life. About reaching the special place you’ve waited for all your life. A professor asks his longtime housemaid if they could become more familiar, starting with her brushing his teeth for him. She replies they shouldn’t become too intimate: ‘it’s alright between us as it is’.
The album aggregates all the best elements from Lindstrøm's long and varied career: the Balearic free-disco excursions of his two albums with Prins Thomas, cosmic voyages in the vein of Where You Go I go Too, and shimmering electronic pop, remindful of 2010's Real Life Is No Cool. It features vocals by American singer Grace Hall (‘Shinin’) and Sweden’s Frida Sundemo (‘Sorry’), and a stream of conscious poem by transgressive Norwegian vocalist Jenny Hval on ‘Bungl (Like a Ghost)’. Most of all it reveals him as a masterful mood sculptor, with heartstopping chord changes rolling over his relentlessly uplifting beats.
Conceived as a continuous flow, each side of the vinyl version will play as one track; while the CD and streaming versions will be timestamped. But in any case, once you’re strapped into Lindstrøm’s driverless vehicle, you won’t want to get out. It’s alright as it is. In fact, it’s more than alright: it’s almost nearly perfect.
MORE ON TÂCHES
Shirtless and shoeless, TÂCHES sits cross-legged in the dirt gently taking in his mountainsurroundings. It’s clear that he’s deep in thought as he mindfully traces the shape of a fallen leaf in his hand and a slight smile gently spreads across his face. There’s a tangible feeling of love and fascination communicated through the way he looks at the world around him and it’s precisely this holistic approach to creativity that makes him such a captivating artist. This is the makeup of a being that finds passion and inspiration anywhere he looks.
Contradictorily, he is as much a devotee to tradition as he is a breaker of rules. TÂCHES is uninterested in following trends and instead seeks to provoke the senses through a deeply personal examination of culture and cliche. Conceptual without ever being pretentious, his music shows a deep rooted appreciation for the textures of the times passed and faraway places. There’s a certain urgency to capture the world as he perceives it; albeit a world seen through the rose tinted lenses of a creature forever romantically entangled with his surroundings.
There’s no one way to sum up TÂCHES’s music, as it’s perpetually in growth, bending and swaying like a tree in the wind. This sonic metamorphosis is due to a primal need to experiment coupled with a deep longing to express the continually transforming experience of being human. Drawing heavily from emotion and memory, there’s a clear sense of nostalgia in all that he creates. His pure and unabashed desire to combine the things that he loves manifests itself as rich and evocative dance music with a massive personality and palpable global flavours.
TÂCHES’s desire to build upon the world in which his music exists led to the creation of his label GLITTER COWBOY – the peculiar home for the sonic documentation of his journey. When you listen to GLITTER COWBOY, you are nakedly experiencing life through the eyes of TÂCHES as he seeks to embody self-awareness and optimism, along with finding inner peace through nature, artistic expression and simplicity of living.
MEZZANINE PRESENTS:
LINDSTRØM
with support from
TÂCHES
CAMDAZE (BROUHAHA)
PUSH THE FEELING
MORE ON LINDSTRØM
On Hans-Peter Lindstrøm’s latest album, those northern disco lights are twinkling once more. Over the continuous stream of nine interlocked tracks on It’s Alright Between Us As It Is, he’s refined his love of arpeggiated synths, warm and steamy analogue bubble baths and earworm melodies into his most rounded and complete statement to date.
A Norwegian based in Oslo, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city centre studio (where his neighbors include friends and collaborators Prins Thomas, Todd Terje and Andre Bratten) into a factory floor for churning out monster tracks, then punching out regularly and going home to his family. This is about music being woven seamlessly into the fabric of life.
The album’s title is a direct quote from one of Lindstrøm’s favourite movies, Ingmar Bergman’s Wild Strawberries. This Swedish arthouse classic is about looking for meaning and finding closure at the end of a long life. About reaching the special place you’ve waited for all your life. A professor asks his longtime housemaid if they could become more familiar, starting with her brushing his teeth for him. She replies they shouldn’t become too intimate: ‘it’s alright between us as it is’.
The album aggregates all the best elements from Lindstrøm's long and varied career: the Balearic free-disco excursions of his two albums with Prins Thomas, cosmic voyages in the vein of Where You Go I go Too, and shimmering electronic pop, remindful of 2010's Real Life Is No Cool. It features vocals by American singer Grace Hall (‘Shinin’) and Sweden’s Frida Sundemo (‘Sorry’), and a stream of conscious poem by transgressive Norwegian vocalist Jenny Hval on ‘Bungl (Like a Ghost)’. Most of all it reveals him as a masterful mood sculptor, with heartstopping chord changes rolling over his relentlessly uplifting beats.
Conceived as a continuous flow, each side of the vinyl version will play as one track; while the CD and streaming versions will be timestamped. But in any case, once you’re strapped into Lindstrøm’s driverless vehicle, you won’t want to get out. It’s alright as it is. In fact, it’s more than alright: it’s almost nearly perfect.
MORE ON TÂCHES
Shirtless and shoeless, TÂCHES sits cross-legged in the dirt gently taking in his mountainsurroundings. It’s clear that he’s deep in thought as he mindfully traces the shape of a fallen leaf in his hand and a slight smile gently spreads across his face. There’s a tangible feeling of love and fascination communicated through the way he looks at the world around him and it’s precisely this holistic approach to creativity that makes him such a captivating artist. This is the makeup of a being that finds passion and inspiration anywhere he looks.
Contradictorily, he is as much a devotee to tradition as he is a breaker of rules. TÂCHES is uninterested in following trends and instead seeks to provoke the senses through a deeply personal examination of culture and cliche. Conceptual without ever being pretentious, his music shows a deep rooted appreciation for the textures of the times passed and faraway places. There’s a certain urgency to capture the world as he perceives it; albeit a world seen through the rose tinted lenses of a creature forever romantically entangled with his surroundings.
There’s no one way to sum up TÂCHES’s music, as it’s perpetually in growth, bending and swaying like a tree in the wind. This sonic metamorphosis is due to a primal need to experiment coupled with a deep longing to express the continually transforming experience of being human. Drawing heavily from emotion and memory, there’s a clear sense of nostalgia in all that he creates. His pure and unabashed desire to combine the things that he loves manifests itself as rich and evocative dance music with a massive personality and palpable global flavours.
TÂCHES’s desire to build upon the world in which his music exists led to the creation of his label GLITTER COWBOY – the peculiar home for the sonic documentation of his journey. When you listen to GLITTER COWBOY, you are nakedly experiencing life through the eyes of TÂCHES as he seeks to embody self-awareness and optimism, along with finding inner peace through nature, artistic expression and simplicity of living.
read more
LINDSTRØM
with support from
TÂCHES
CAMDAZE (BROUHAHA)
PUSH THE FEELING
MORE ON LINDSTRØM
On Hans-Peter Lindstrøm’s latest album, those northern disco lights are twinkling once more. Over the continuous stream of nine interlocked tracks on It’s Alright Between Us As It Is, he’s refined his love of arpeggiated synths, warm and steamy analogue bubble baths and earworm melodies into his most rounded and complete statement to date.
A Norwegian based in Oslo, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city centre studio (where his neighbors include friends and collaborators Prins Thomas, Todd Terje and Andre Bratten) into a factory floor for churning out monster tracks, then punching out regularly and going home to his family. This is about music being woven seamlessly into the fabric of life.
The album’s title is a direct quote from one of Lindstrøm’s favourite movies, Ingmar Bergman’s Wild Strawberries. This Swedish arthouse classic is about looking for meaning and finding closure at the end of a long life. About reaching the special place you’ve waited for all your life. A professor asks his longtime housemaid if they could become more familiar, starting with her brushing his teeth for him. She replies they shouldn’t become too intimate: ‘it’s alright between us as it is’.
The album aggregates all the best elements from Lindstrøm's long and varied career: the Balearic free-disco excursions of his two albums with Prins Thomas, cosmic voyages in the vein of Where You Go I go Too, and shimmering electronic pop, remindful of 2010's Real Life Is No Cool. It features vocals by American singer Grace Hall (‘Shinin’) and Sweden’s Frida Sundemo (‘Sorry’), and a stream of conscious poem by transgressive Norwegian vocalist Jenny Hval on ‘Bungl (Like a Ghost)’. Most of all it reveals him as a masterful mood sculptor, with heartstopping chord changes rolling over his relentlessly uplifting beats.
Conceived as a continuous flow, each side of the vinyl version will play as one track; while the CD and streaming versions will be timestamped. But in any case, once you’re strapped into Lindstrøm’s driverless vehicle, you won’t want to get out. It’s alright as it is. In fact, it’s more than alright: it’s almost nearly perfect.
MORE ON TÂCHES
Shirtless and shoeless, TÂCHES sits cross-legged in the dirt gently taking in his mountainsurroundings. It’s clear that he’s deep in thought as he mindfully traces the shape of a fallen leaf in his hand and a slight smile gently spreads across his face. There’s a tangible feeling of love and fascination communicated through the way he looks at the world around him and it’s precisely this holistic approach to creativity that makes him such a captivating artist. This is the makeup of a being that finds passion and inspiration anywhere he looks.
Contradictorily, he is as much a devotee to tradition as he is a breaker of rules. TÂCHES is uninterested in following trends and instead seeks to provoke the senses through a deeply personal examination of culture and cliche. Conceptual without ever being pretentious, his music shows a deep rooted appreciation for the textures of the times passed and faraway places. There’s a certain urgency to capture the world as he perceives it; albeit a world seen through the rose tinted lenses of a creature forever romantically entangled with his surroundings.
There’s no one way to sum up TÂCHES’s music, as it’s perpetually in growth, bending and swaying like a tree in the wind. This sonic metamorphosis is due to a primal need to experiment coupled with a deep longing to express the continually transforming experience of being human. Drawing heavily from emotion and memory, there’s a clear sense of nostalgia in all that he creates. His pure and unabashed desire to combine the things that he loves manifests itself as rich and evocative dance music with a massive personality and palpable global flavours.
TÂCHES’s desire to build upon the world in which his music exists led to the creation of his label GLITTER COWBOY – the peculiar home for the sonic documentation of his journey. When you listen to GLITTER COWBOY, you are nakedly experiencing life through the eyes of TÂCHES as he seeks to embody self-awareness and optimism, along with finding inner peace through nature, artistic expression and simplicity of living.
show less
Date/Times:
444 Jessie Street, San Francisco, CA 94103
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