PANTHA DU PRINCE’S NEW ALBUM THE TRIAD
A full-blooded analogue excursion, which the producer says was composed through more human ways of interacting. On June the 3th, Pantha Du Prince – aka Henrik Weber – will release his bewitching new album.
The Triad brings Pantha du Prince back to the studio with guests such as Queens and Joachim Schultz, still banging gongs instead of merely sampling them.
If we stretch back to 2007’s This Bliss—which first hinted at Weber’s infatuation with these tones—Pantha du Prince has now spent nine years tearing down and rebuilding the same McMansion on the same foundation. There’s nothing as insistent here as “Urlichten” from This Bliss or as expansive as “Stick to My Side” from Black Noise. His bells have crossed the line from signature to crutch, and a lot of his syncopated instrumentals yearn to slam when they instead just nudge.
There are too many cuts (“The Winter Hymn,” “Dream Yourself Awake,” “Islands in the Sky”) with vocals so far off as to lose clarity, therefore meaning, therefore any sense of import. The arrangements make endless lazy, confused circles through Balearic beats, dream-pop and New Age. The album’s best moments (“You What? Euphoria!” and “Chasing Vapour Trails”) suggest the intelligent techno of Orbital and Plaid but don’t nearly improve upon it. Its worst suggest some weird alternate-universe remix of Sting’s The Soul Cages.
The Triad feels content to hem and haw on what’s the road less traveled, a John Diliberto mix or (ha!) a Four Tet one. By the time Pantha du Prince pulls the trigger on a decision, will anyone be around to care?