Since day one Christabelle is feedelity’s first lady, her voice has been haunting disco guru Lindstrøm’s retro-fururistic productions from the studio to the stage. The combination of the super produsers beats with his singer’s incantations is bringing a deep obsessional vibe to their music. On stage Christabelle is singing over this slow paced disco, making it sounds like voodoo. Casting huge analog bass over the dancefloor, uttering like being possessed by her own introspecting lyrics, Christabelle sexy spell is mesmerizing crowd’s hips and attention.
Christabelle Sandoo (also known under the artist name Solale), is best known for her critically acclaimed collaborations with space-disco extraordinaire Hans-Petter Lindstrøm. The results of this musical alliance were the 12” ‘Music (In My Mind)’ in 2003, and the 2010 album ‘Real Life Is No Cool’ (Smalltown Supersound). The latter release introduced Christabelle to an international audience, receiving widespread praise and wascrowned with a Spellemann prize for Best Electronica Album the same year.
Christabelle, whose full name is Christabelle Silje Isabelle Birgitta Sandoo, was born in 1981 to a Norwegian vocalist mother and a music teaching father from Mauritius (an island in the Indian ocean) in Oslo, Norway. Her brother, making the rounds as a drummer was the link between her and Lindstrøm.
“All my life I have been surrounded by music, musicians, and instruments, so it was kind of obvious that I would also make music”. She started working with some of the best producers in Norway, but felt she was getting off on the wrong foot as she soon rebelled against their slick sound and attitude. As she puts it, “There was simply no room for going crazy and having fun, and I didn’t want to sell my nomad soul”. Her vocal technique has been likened to the seductiveness of the aforementioned disco queen and the attitude of Mark E. Smith during his Mouse On Mars collab Von Südenfed.
After touring ‘Real Life is No Cool’, which included shows atØya, Roskilde, Benicassim (Spain), BLOC (UK), Bestival (UK) + + +
The album was met with generally favorable reviews by critics, and generated a score of 80/100 on the review calculator Metacritic. Several critics applauded Lindstrøm’s new pop-oriented format, and his new take on disco, mixing Balearic beat, space disco, house and new wave.Christabelle’s voice was described as “sexy and whispering” and Matthew Richardson in Prefix Magazine praised her contributions as being “alternately enthusiastic, aloof, earnest, and esoteric”. Most critics highlighted the track “Baby Can’t Stop”, noting the similarity to Michael Jackson‘s 1982 hit Wanna Be Startin’ Somethin’ and his Thriller album. The collaboration between the two Norwegians was compared to Donna Summer and Giorgio Moroder‘s work together in the 1970s. Louis Pattison in BBC Music described the experimental pen-ultimate track “Never Say Never” as a “…whirl of backwards beats, twinkling harps and discombobulated vocals that’s both utterly disorientating and quite delightful.” 
In an interview with XLR8R, Lindstrøm and Christabelle named the songs “Juicy Fruit” by Mtume, “Between the Sheets” by The Isley Brothers and “Computer Love” by Zapp & Roger as references for their work. They also said that they had tried to record a cover of the latter, without success, stating “maybe it’s just too perfect”
“Real life is a triumphant return to the dancefloor” (4/5, Uncut)
“a remarkable dance record” (8,1 Pitchfork)
“Real Life is simply stellar” (9,5 / 10 XLR8R)
“a masterful 10-song pop album” (5/5, URB Magazine)
“An object lesson in less being more” (4/5, The Guardian)
“This is a terrific album” (8/10, Drowned In Sound)
“Real Life an early front-runner for the year’s best Norwegian electro-disco album” (New York Times, Critics Choice)
“You may not hear a better dance-pop album before the year peters out” (4/5, Resident Advisor)
“will instantly make your jaw drop” (Anthem Magazine)
“an album that’s sweetly sexy and as charming as anything else Lindstrøm’s bestowed upon us to date” (4/5, Time Out New York)
“a thrilling amalgam of Lindstrøm`s complex, probing electronics with a more pop-based aesthetic” (4/5, NARC)
“Lindstrøm’s tracks range from rubbery funk to Eighties synth cheese, and his true gift is turning out meaty sounds” (Rolling Stone Magazine)
“Lindstrøm may have made his catchiest album yet, but that hasn’t stopped him from challenging our ears” (4/5 Time Out Chicago)
“A strutting, sexy record” (4,5 / 5 DJ Magazine)
“If anyone betters it this year we’ll be spoilt” (The Quietus)
“An accomplished, fun-filled detour” (8/10, IDJ Magazine)
“Pleasingly organic compared to the majority of most modern, digital dance music” (BBC)
“Just about all of the new tracks would make fine A-sides” (4,5 / 5, All Music Guide)
“the overwhelming feeling of cool” (9/10, Prefix Magazine)
“a Moroder-ish album of sun-up delight” (Monocle Magazine)
“Lindstrøm still comes up with some of the most exciting productions in contemporary dance music” (4/5, Mixmag, Album of the month)
“Real Life Is No Cool is a delightful disco-pop odyssey” (5/5, Irish Times)
“Real Life is a creamy, luscious sequence of classically structured pop-funk” (4/5, Slant Magazine)
Melt festival, Berlin,
Les nuit sonores, Lyon
Hush Hush, Marseille