Copenhagen Denmark’s master of melding melody with the ethereal, Anders Trentemøller, has released “All Too Soon”, the new single from his sixth studio album, Memoria. It’s a sensory sojourn that lives in the fleeting space where transience and the terrestrial meet.
Trentemøller announces first leg of his extensive 2022 Memoria Tour with an all new band
15 years after the acclaimed Danish composer, musician and producer Trentemøller released his milestone debut album The Last Resort, the new and sixth album 'Memoria’ has been announced for release in early 2022 on his own label In My Room.
In stark contrast to the previous studio album, Obverse (2019), Memoria is intended and almost demanding to be presented on the live venues and festivals which we have all been longing for during these past couple of years.
Besides an exciting stage- and light design collaboration with the legendary lighting designer Leroy Bennett (who has worked with Nine Inch Nails, Prince, Lady Gaga, Paul McCartney, etc) Trentemøller will be joined on stage by an all new band consisting of four carefully selected musicians: Icelandic solo artist Disa (vocals and guitar), who possess exactly the ethereal voice that Trentemøller has been searching for to perform the haunting vocal melodies from Memoria, Silas Tinglef (drums) is releasing music as 2nd Blood who’s debut EP is produced and mixed by Trentemøller and released on In My Room, Brian Batz (guitar) is the man behind dream pop/shoegaze band Sleep Party People - and Jacob Haubjerg (bass) has long been playing with bands like Sleep Party People and Savage Rose - while also releasing music in his indie pop/post punk project Luster.
Dates & venues of the first leg of the 2022 Memoria Tour:
Danish composer, musician and producer Trentemøller announces his new studio album 'Memoria' which is set for release in early 2022 on his own label In My Room alongside the first single 'In The Gloaming' which is released today.
Anders Trentemøller’s sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural.
A recent, unanticipated drop of four songs, in the form of two singles (No One Quite Like You, and Golden Sun), might leave one surprised to find that a double album’s worth of material was also waiting in the wings. As with most Trentemøller releases, it’s a body of songs that are thematically linked by many melodic threads.
The first single from the upcoming album, 'In The Gloaming', which is released today, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne’s dawning. Stars emerge in the form of percussive arpeggios.
2019’s Trentemøller album 'Obverse' was an exercise in what could be done if the prospect of performing the songs onstage wasn’t a factor. It opened up some doors, and signaled a new chapter.
Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.
After Golden Sun/Shaded Moon Trentemøller now concludes his series of summer singles with "No One Quite Like You feat. Tricky". Out now!
His new song "No One Quite Like You” features Tricky reciting a six word mantra over a five note passage. The entire song is bathed in intimacy, from studio vérité elements like the mechanical noise and hammer clacks of the piano, to Tricky’s weary delivery, which falls somewhere between a lullaby and a warning. Add to this Byzantine string arrangements by fellow Danish violinist Maria Jagd arrive, and you have yet another mesmerising release from Trentemøller.
The reflective piano figures of ‘Vespertine’ manifests this subtle yet powerful prologue to the A side of the second and last stand alone single release of 2021 by Trentemøller.
And here it is! Golden Sun/Shaded Moon, Trentemøller's first release since 2019's Obverse LP, is out now! It's a return to instrumental compositions - the newest entry into an ongoing journal of compiled musical case studies exploring suspense and resolution.
As “Golden Sun” rises, we can feel the dew burn off, and our bodies become bathed in warmth. New themes hatch and rise, gravitating towards the song’s leitmotif. Pitches bend, morph, and we recall treasured days, lying somnambulant on a knoll, draped in beams of sunlight, intoxicated both naturally and chemically. As the song sets our eyelids finally succumb to the weight of sleep, and we dream of a collapsing star.
“Shaded Moon” begins with a sequence of percussive bursts into the great wide yonder, while charged musical particles slowly assemble into an auricular borealis. The peak arrives as if to provide a score for the macrocosm reverting to its ostensible state of chaos, after a brief moment of order. It resolves with layers of pulsating synths, signaling the retreat of perigean tides.
Last September, Tricky released his “most darkly moving music in years” (Pitchfork), the critically acclaimed album Fall To Pieces. Now he announces a remix EP with contributions from Trentemøller, Kahn, LA Timpa and Lafawndah. Four artists known for their own trademark production styles recalibrate and incorporate Tricky’s music into their own sonic terrains.
“I was very honoured when Tricky asked me to remix “ Like A Stone “ as I’m a huge fan of his work - and it’s a really great song! I only used his and Marta’s vocals and build up an entirely new song around them, focusing on a melodic and mystical vibe.” - Trentemøller
TOM And His Computer does not only make good music himself - he also has impeccable taste! Every month since November, he's been putting together songs for an amazingly dark Spotify playlist. This month - February - the playlist is titled "10 Hours of Winter". And what you see is what you get: The playlist includes 106 songs, clocking in at 10 hours 8 minutes of ethereal music to enjoy cold winter nights.
Pitchblack Playback ft Trentemøller - The Playlist
As a special New Years gift, in January 2021, Pitchblack Playback collaborated with Trentemøller again: Wherever you were in the world, you could be part of our exclusive session with Anders Trentemøller, listen to his own hand-picked selection of favourite tracks taken from his 5 studio albums followed by a Q&A with the man himself. Now he put all these songs in a Spotify Playlist, for everyone to enjoy: Trentemøller - Pitchblack Playback Playlist.
Two years in the making, Future Ruins, TOM And His Computer’s debut album, is now out on Trentemøller’s In My Room label. As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all. As a result, Future Ruins displays many treasures and traits along its arc when listened to in its entirety, either on vinyl, download, or stream.
For In My Room, TOM shares some background info on each track from his beautiful album.
Cover photo by Morten Germund.
The first track on the album. The track was originally made for a short scene in a Danish documentary film. I later replaced some of the synths and recorded the synths pads on my Revox Tape Recorder to get tape saturation, and then recorded it back to my computer. The title comes from the name of the Revox Tape Recorder model, which is the model A77.
Lovers and Gasoline (feat. Roxy Jules)
The track first started out as sort of a simple kraut rock instrumental track. We later recorded Roxy Jules vocals and added live bass, synths, and guitars.
Feathers (feat. Roxy Jules)
One of my favourite tracks on the album. I really like the rather chaotic synths and guitars on the track, the simple lyrics and the vocals that are being repeated. In the very last phase we added live drums by 2nd Blood’s Silas Tinglef, and it sort glued the whole track together.
I made this track one night on my laptop computer at home after listening to the latest Allah Las album. It ended up sounding no way near them, but the inspiration came from listening to their music. It happens quite often that I hear music thats triggers an idea and the end result ends up being no way close to what inspired you in the first place. Basically I wanted to make an instrumental track with a steady cool pace.
Our Man In Toronto
The idea for this track came from an old techno demo that I made back in 2010. I like the melodic feel and the synths in the track, but I wanted to slow the tempo down, eliminate the usual 4/4 kick drum and give the track a more haunting feel (and preferably something that couldn’t be labeled as being a specific kind of electronica).
Future Ruins (feat. Roxy Jules)
The first track I finished for the album. I used this track as a guideline for the overall feel and sound of the rest of the album.
Puzzle (feat. Roxy Jules)
This track has a driving psych rock feel to it while the vocals are a bit naive sounding and the lyrics are open for interpretation - which I really like. My absolute favourite track on the album. Some tracks just feel naturally and almost produce themselves. This was one of those tracks.
This was originally an ambient track, however, I felt it needed something else than just playful random notes so I sampled Roxy Jules voice and made a little theme out of it. I then added a very slow and deep kick drum along with a few guitars to give something extra.
A rather quirky synth waltz. I like the optimistic, rather childish melodic in the track, while the overall feel is more serious. I made the track shortly after listing to the Rodelius’s “Selbstportrait I” album from 1979.
Disbelief In A Postmodern World
This track was originally made as an intro for my live show, starting with long processed violins and drones, but I got quickly bored with the drones and added a guitar theme that I somehow think has an ethnic feel to it. Later I added a deep kick drum and some snares processed through the “Dark World" guitar pedal from Chase Bliss Audio, along with the dystopian synths in the end.
Two years in the making, Future Ruins, TOM And His Computer’s debut album, is now out on Trentemøller’s In My Room label.
As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all.
“I switch back and forth between the digital and the analog worlds. I’ll utilize old guitar pedals as well as the newest software,” says Thomas Bertelsen, producer behind TOM And His Computer. “It’s never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track.”
As a teenager he explored the limits of cassette tape machines, eventually assembling a small arsenal of classic noisemakers, ultimately releasing records from the music lab of his dreams. Better yet, he has been able to perform it live, headlining, as well as supporting Massive Attack, and Trentemøller on his European and North American tours.
Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered “electronic music”, including nods to dark wave, dream pop, krautrock and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer.
As with the Playing In The Night EP, Future Ruins once again features vocalist Roxy Jules, this time showcasing the more complex aspects of her talents on four tracks. “It’s the third time Roxy Jules and I have worked together. This time I tried to bring forward the more vulnerable and fragile textures in her voice. It has that dark, northern, Scandinavian coolness to it, combined with a little optimism, and even a hidden smile comes through. I also explored alternative ways of arranging the songs. I was less worried about finding the obvious chorus and focused more on experimenting with structure.”
The result is a genre-less collection of songs showcasing TOM’s obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his “commitment to fresh ideas with a clear sense of melodies,” according to Clash Magazine. “My tastes are eclectic and I like to flirt with many different sub genres,” says TOM. “The aim was to combine various styles while trying to maintain a common denominator,” which committing to a full-length offered as an opportunity.
Soundtracks have been a major source of inspiration. “I also use photos, or even the first chapter in a book to generate ideas. They can trigger certain emotions, and bring different feelings to the surface. The challenge is translating that into a recording on a computer workstation, but they offer a great starting point. For this album I’ve used anything from pictures of Ethiopian elephants in the desert, to ancient Mayan statues, or ‘80s Serbian brutalist architecture to get me going.”
As a result, Future Ruins displays many treasures and traits along its arc when listened to in its entirety, either on vinyl, download, or stream.