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While filled with warm analog electronics and is borderline ambient, Thomas manages to execute it in a tasteful way.
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It’s Thomas’s guilt-free love of mavericks past that lends such evocative warmth and unusual spontaneity to a fascinating album that could have been pure self-indulgence.
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The vibe is overwhelmingly positive, not to mention a bit woozy - ideal to take the edge off a hard day and turn it into a good evening.
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Q MagazineOrkenvandring and Sauerkraut evoke the motorik thrum and ringing guitar melodies of Neu!, splashed with Balearic colour and cloosely attuned to the squishy ambience of the hour just before dawn. [May 2010, p.125]
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Space is undoubtedly the place here, and if at times you’re left floating, it’s balanced out by lots of good loopy vibes and a couple of jaw-dropping moments of inspiration.
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Thomas’ own music is more discursive, and this solo debut (seven tracks, 60 minutes) has its whimsical, proggy longueurs.
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While this record may not be one that I listen to end to end, over and over, there is little doubt that it is the perfect soundtrack to a serendipitous, still-to-come, drive into the unknown.
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It's best to think of Prins Thomas not as a speedbump but as another iteration, slightly undercooked, of his still-developing style.
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Melody and groove are secondary, and as for conventional song structure--forget it, because everything gets lost in an echoey miasma. Despite all that, the compositions do retain the capacity to beguile--if you have the time to let them.
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UncutTexturally, the mood is one of warm, sensual dreaminess, of hushed vocals and woozy analogue synth. Prins Thomas isn't, though, wanting of strong grooves. [May 2010, p.102]