Review: The latest release on Prins Thomas' label is somewhat different to his more cosmic whimsies. Inspired by a desire to produce music to be played at peak-time, "Anything.." is a pared back, rolling electronic disco groove that resounds to a rumbling bass and a hail of bleepy electronics. Of course this being Prins Thomas, the tempo doesn't rise over 120bpm, so the concept of peak-time is relative. He has also commissioned two remixes: working under his Eagles & Butterflies alias, Chris Barratt delivers a pulsating, tripped out rework that gradually veers into synth-led bliss, while the Barratt remix is a more sophisticated, deeper affair, resounding to a glistening synth line.
Review: While he has not yet confirmed that he did indeed bring his mother with him to Berlin's most famous club, Prins Thomas has stated that "Mum.." was designed for maximum dance floor impact. It's hard to question this as soon as the loose percussion and insistent, lopsided rhythm kicks in. Meanwhile, Norman Nodge's take is designed for the main room in Berghain; insistent synth loops and predatory acid warbles come together over a menacing, juddering tribal rhythm that is sure to have a serious impact. Prins Thomas provides the second remix and his alternate version resounds to skipping drums and dramatic stabs supported by a lumbering, low-slung bass.
Review: In its original Prins Thomas 5 album form, "Lunga Strada" was something of a glistening Scandolearic treat - a sublime fusion of cascading, jazzy guitar solos, sun-ripe organ chords and layered, loose percussion. Who better to remix it, then, than Lyon-based Hawiaan shirt enthusiasts turned nu-Balearic kings Pilotwings? Naturally, the resultant reworks are little less than superb. They begin with the humid, kaleidoscopic fusion of the Bubble Zouk Mix, which utilizes synthesizer panpipe melodies, loose synth-pop drums and a skip-load of happy pills to transform the Norwegian's original version into a kind of tropical Balearic boogie masterclass. The "loved-up in the jungle" feel is heightened further by their Bonus Beats version, a dense percussion workout full of tribal drums and sampled chants.
Review: In the five years that it's taken former studio partner Hans-Peter Lindstrom to produce his latest solo album, Prins Thomas has delivered three fantastic full-length excursions. He's at it again here, laying down another cheery, entertaining and off-kilter romp in his now distinctive style. Rich in live instrumentation, vintage synthesizers and classic drum machines, "Prins Thomas 5" sees the lauded Norwegian serving up cuts that variously touch on space rock, cosmic disco, Italo-disco, krautrock, ambient, acid, proto-techno and, of course, his own distinctive takes on the "Scandolearic" sound he helped to create. It's arguably a little more intricate, layered and complex than some of his previous work, but that's no bad thing. Arguably, it's one of his best sets yet.
Review: Prins Thomas continues on his voyage through peak-time electronic disco with "Graut". Clocking in at just under twelve minutes, it sees the Norwegian producer drop steely drums and a dense, murky bass. Bells ring and percussion ticks along, but it's all about the powerful low-end on this track. For the remix, Prins has drafted in Fango; this version sees the Italian producer wrap the original track's bass inside an acid-soaked acid chamber before letting loose with a spangled electronic disco groove. Bolstered by tough, steely drums and lean percussion, it's a hard to classify dance floor-primed gem.