Trentemøller -The Last Resort

The Last Resort


He is a unique talent in the current music world. Danish producer Anders Trentemøller, who took dancefloors all around the world by storm last year with funky mi- nimal techno-tracks like „Physical Fraction“ and „Polar Shift“, and subsequently was voted „Best Newcomer’“ in many dancemagazine readerpolls.

Now Trentemøller returns with his debutalbum on Po- ker Flat, „The Last Resort“ - a beautifully crafted, asto- nishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursi- ons. An ever-changing kaleidoscope of colours and moods, „The Last Resort“ without a doubt contains Trentemøller’s best work to date.

Although it’s definitely an electronic album, it also in- corporates live-drums, some guitars and other acous- tic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. „Something I couldn’t manage with just electronica“, according to the producer.

Most tracks were recorded over the course of last year, often in the time inbetween sessions for his 12-inches and remixes. „Making these tracks was like having time-off.“, says Trentemøller, „Moments to totally space out and let the music flow.“

It may come as a surprise that on „The Last Resort“ Trentemøller moves away from the dancefloor and in

stead produces an introspective album that’s especial- ly great for homelistening (or listening in the car, or on your i-Pod).

But hey, from his first release on Audiomatique („Phy- sical Fraction“ from January 2005) we knew the young producer from Copenhagen was able to fuse great melodies and chord progressions with subtle, yet driving beats.

His excellent remixes for Yoshimoto („Du what U do on“, OM, 2004), Röyksopp („What else is there“, 2005), Pet Shop Boys („Sodom“, Parlophone, 2006) or Moby („Go“, Mute, 2006), show yet another side of this mul- titalent, while his first releases on Audiomatique („Phy- sical Fraction“) and Poker Flat (‘Polar Shift’) suddenly propelled him to dancefloor-fame.

But, as Trentemøller says now, he doesn’t see himself as someone who just produces dance-tech. „Because I have always made all kinds of music. In the studio, I never think about which genre it is or what target group it is for, I just make the music I feel like.“

What came out of the recording sessions for „The Last Resort“ was a very personal album: „It reflects my life, my thoughts, my needs, my insecureness, my lon- gings.“ And it was a challenge, he adds, „to express these feelings and moods without words, only with music.“

A fantastic accomplishment from one of the greatest producers of this new century.