Thirteen ways of looking at Lindstrøm's Where You Go, I Go Too

I Hans-Peter Lindstrøm's long-anticipated official LP debut, this album features three sprawling songs that range between ten and twenty-nine minutes. It's epic and expansive where most electronic music of this ilk is built around immediate payoff, patchy and challenging and moody where most others aim to please. II The natural intersection between dance as ambient and ambient as dance. III The score for an hour-long meteor shower. IV A funeral procession for a disco legend. Black chiffon, elbow-high gloves, and neon boas on parade. Raccoon eyes spiked with tears and red nostrils dusted with white powder. Regret tempered with miles of glitz. V A proof of Newton's First Law of Motion. VI The extended version of a theme song for a mid-'80s cop drama. A lead character named Dirk Rockland, a moustache thick enough to bury contraband in, a fondness for catch phrases and former cheerleaders. Glossy shots of gritty downtown corners lit up at night, obligatory slo-mos of getaway vehicles going airborne. Police Chief Morton will slam his desk and order Dirk to play by the rules at least once per episode. VII God running a marathon. VIII Spilling out of the club in droves, outstretched like banners along the curbs, bodies still frosted with sweat and AC. The four a.m. blear of a tincan sky, eyes squinting into n-dashes, basslines still pumping behind distant walls, our skin still twitching electrically. IX Spangly. X A cheerleading routine choreographed by methheads. XI Crowd surfers gliding over sound waves. Maneuvering a crest of hands at high tide, flecked with the spume of six-dollar beers, tipping back into the pull of the omnivorous current. XII What a young Søren Kierkegaard would throw on at his Thursday night house parties. XIII The best dance-ish album since LCD Soundsystem's Sound of Silver and a must-hear for 2008.