The natural outcome of Lindstrom's artistic efforts to date, Where You Go I Go Too takes the meaning of the term "full-length" quite literally, stretching his already epic electronic disco into works of effortless symphonic grandeur. The current surge in trippy disco productions and rediscoveries has seen Lindstrom remain noticeably ahead of most of the pack, separated by the distance that so often demarcates the endeavors of a real artist from those content to muck about with questions of style. Where You Go I Go Too only further cements the figure of Lindstrom as a not only an artist who has been very influential in opening up a broad territory to be mapped and navigated by others, but who has genuine mastery of its contours and possibilities.
The track lengths are the first thing you notice about Norwegian Hans-Peter Lindstrøm's debut LP: 30 minutes, 10 minutes, 16 minutes. In case you hadn't guessed, this is epic stuff. Anyone familiar with Lindstrøm's earlier releases will know his sound was already pretty expansive, career highlight I Feel Space exemplifying the disco beats wrapped around endlessly growing layers of sweeping space excess that have made his name.
Having kick-started the cosmic disco rebirth, Hans-Peter Lindstrøm is now expanding it - in every sense. Where You Go I Go Too is a suite of three epic, shape-shifting tracks that take his key influences (Cerrone, Moroder) and build skyscrapers on them. Sometimes Lindstrøm rings his changes with flair, such as the introduction, seven minutes into the half-hour-long opening track, of a dramatic synth melody slashing through the clouds, or the triumphant handclaps, 17 minutes later.
Norwegian space disco producer Lindstrøm stretches the definition of the full-length with this three-song debut album, which by some standards doesn't even qualify as an EP. However, when you consider that the first song is only a minute shy of half an hour long, this collection of epic ambient disco revisionism definitely counts as a full-fledged artistic statement. The obvious reference points are the cosmic outer edges of late 70s and early 80s club music.
For someone who sets the governor at 110, Hans-Peter Lindstrøm has risen to fame relatively fast. The scruffy Norwegian made a name for himself with 2005’s dance juggernaut, "I Feel Space," a subsequent LP of collaborations with fellow countryman Thomas Hermansen (a.k.a. Prins Thomas), and some choice remixes for Franz Ferdinand and LCD Soundsystem.