The Norwegian producer Prins Thomas navigates an odd conceptual space: he is a classicist, a conservative, but one adherent to artists and styles that were, by definition, exploratory and indefinable. Thomas is again a passive adventurer on his second solo album, Prins Thomas II, on which he continues to explore foggy krautrock, hippie jazz, and space disco. Prins Thomas II jettisons his debut album's guitar-aided motorik expeditions in favor of slow, worming dance grooves.
Releasing his first three albums with fellow Norseman Lindstrøm, Prins Thomas already felt like an important part of the nu-disco scene long before his solo debut dropped. That's why Prins' stuffy, unbalanced 2010 self-titler felt like such a letdown. On follow-up Prins Thomas 2 (released just a week before Lindstrøm's third LP, Smalhans), the tech-house producer has attempted to cultivate his dusty electro landscapes, leaving the listener with seven hearty compositions built upon loose and fertile groundwork.