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The Trentemøller Chronicles - Anders Trentemøller (Sonic Democracy - Master Artist series)
Buy The Trentemøller Chronicles

Release Details

Artists: Trentemøller - (Sonic Democracy 'Master Artist Series' artist)

Album: The Trentemoller Chronicles
Release Date: October 1 2007
Record Label: Audiomatique Recordings

About the album

The Trentemøller Chronicles is a compilation album by Danish Electronic Musician Trentemøller released on October 1, 2007. The first disc acts as a mix session, mixed by Trentemøller and the second disc contains selected Trentemøller remixes in their full length. The double album is also available on vinyl and as digital downloads.

The Liner notes read:

  The unique double album is Trentemøller's very own personal selection of his finest songs and remixes from 2003 - 2007. Featuring new and rare material, much of which has only been available on vinyl or compilations until now, as well as special re-edits, CD1 itself is an exclusive Trentemøller mix session.  

Who is Trentemøller@

Anders Trentemøller
(born October 16, 1974 in Vordingborg, Denmark) is a Danish Electronic Music producer and multi-instrumentalist based in Copenhagen, Denmark.

Interview with Anders Trentemøller

on http://backbeatseattle.com, posted April 27th 2011 by Dagmar

Danish musician Anders Trentemøller has got the magic musical touch. His debut LP, 2006′s the Last Resort included a variety of electronic instrumental (mostly) scorchers, including “Evil Dub,” “Always Something Better,” “Nightwalker,” “Chameleon” and “Into the Trees.” Last year Trentemøller changed a key tactic by adding vocalists to several tracks on his follow up, Into the Great Wide Yonder. “Sycamore Feeling” features Marie Fisker, Solveig Sandnes and Josephine Philip sing on “Tide” and “. . . Even Though You’re With Another Girl,” respectively, and a male voice gets emphasized by Guillemots’ Fyfe Dangerfield on “Neverglade.” The results are beautiful. I talked with Trentemøller about his albums, remixing, the video for “Moan,” and his work as a kindergarten teacher.

What drew you to using surfer sounds on the new album?

Anders Trentemøller: I was quite inspired by the surf ‘60s guitar sound coming from bands like the Ventures and I wanted to incorporate that sound in a more electronic world.

The song “Häxan” is very spooky. Häxan means witch, right?

T: I’ve always been inspired dark, mystical vibes and this song has some inspiration from horror movies from the ‘60s also. I really liked to mix that into my music. That song just turned out to be quite dark and a little bit scary in a way. I thought the title fit the song quite well.

Your video for 'Moan' is very moving. How did you develop that?

AT: This video was done with a Danish director called Niels Gråbøl. I was talking to him about doing a video that was not taking the lyrics too seriously. “Moan” is a simple love story [instead of it being about] about a girl missing her boyfriend we thought it would be funny if it was about a dog missing his owner out in outerspace. In the computer effects we also got the dog to sing in the satellite. That was quite fun – and a bizarre twist.

You’ve got several singers, such as Marie Fisker on Into the Great Wide Yonder. How did you select them?

AT: I was choosing them because of their beautiful voices and Copenhagen is quite a small music scene. People pretty much know each other from various bands and people tend to work together on different levels, so it was quite easy for me to chose them because I knew them privately and I knew that they were capable of adding something personal and unique to the songs. It was quite important for me this time to have some vocals on the album because I felt that I had explored the whole instrumental album thing with my first album. It was a challenge for me to work with lyricists and vocalists.

Do you have remixed planned in the near future?

AT: Yeah, I’ve just done a remix for Unkle– you can download (“The Answer”) that mix for free – and then Unkle remixed one of my tracks from the new album, ….. that will be out very soon. I don’t know if you know this Danish band called Efterkland, but they also just remixed me and I remixed them. So I’ve literally been doing these remix swaps. That is really fun to have someone really admire remixing one of your tracks.

Does where you live in Copenhagen inspire your writing?

AT: I don’t get inspired because I think it’s the most hardcore area in Copenhagen, it’s like the red-light district but with a lot of junkies.

When you first started making music you were in a rock band, what kind of rock?

T: When I started I was very much inspired by English bands like the Smiths.

You’ve started a new label, In My Room. Has this given you a lot of freedom?

AT: For me it was done out of being able to have the freedom to do exactly what I want to do. If you’re on a major label you often get dictated to. On the small, independent label there’s much more freedom. It was also for me to be sure that I had that freedom in the future.

How do you incorporate all your ideas into music?

AT: It’s all about making the music that sounds right. There are no real rules. It’s fun to mix different music styles and get it all together into one organic album that doesn’t go into too many directions, with a flow that’s just natural. That’s what I’m looking for when I make music.

You worked as a kindergarten teacher?

AT: It was fun to work with the children, but to be honest the teachers were a little . . . they had been working there for too many years. It was very strict.

What can you tell me about Darkness Falls?

AT: Darkness Falls is a new Danish group that I’m producing. They have just released their first EP. I produced that album and the singer from that group, Josephine Philip, is singing on my tour. She’s the one singing “. . . Even Though You’re With Another Girl.” They will come out with a full-length in the autumn, so that’s something we’re really looking forward to.

I really like them.

AT: It’s good, simple pop melodies with a special twist. It was fun for me to produce something that was not my own material.

The rhythm in “. . . Even Though You’re With Another Girl” is really cool. Where did that come from?

AT: It’s inspired from a track by Iggy Pop called “Nightclubbing.” He was using a drum box, and I programmed the rhythm to sound the same way – and put a lot of extra things on top.

I love the photo you had done where you’re wearing a hat. Who took that?

AT: Casper Sejersen. He has done a lot of photo shoots with me. Normally I do not wear hats.


October 17, 2007. By Phillip Sherbourne for http://pitchfork.com

At a time when no one seems to be making any money in the music business, Anders Trentemøller has learned that diversification is the name of the game. The Danish artist is prolific, releasing more than a dozen 12" singles and two full-lengths in only four years. His list of remixes, including work for the Knife, Röyksopp, and Moby, is even more extensive. Performing both solo and with an expanded live-plus-DJ setup, he tours tirelessly: His current schedule has him hitting 16 cities, including Toronto, Rejkavik, Bologna, Copenhagen, Athens, and Sydney, in under two months. Just as importantly, he's learned to adapt his music to suit different markets-- or, if that sounds crass, to different modes of listening. Where his singles, remixes, and live act aim squarely at the dance floor, his debut LP, last year's The Last Resort, was designed to appeal to CD buyers looking for cozy home-listening.

Trentemøller has also learned the art of re-packaging: The Last Resort was initially released in a special 2xCD edition featuring a selection of previously vinyl-only singles. The Trentemøller Chronicles attempts something similar. On disc one, Trentemøller has chosen a selection of personal favorites from his own back catalogue, including one commissioned remix (of Klovn's "McKlaren"), one "live" version, and two unreleased cuts. (The disc is allegedly mixed by Trentemøller, but as review copies featured only truncated versions of the songs, nominally blended together, I can't attest to the sophistication of the mix itself.) Disc two, dedicated to Trentemøller's commissioned work, features 11 of his remixes, including reworks of the aforementioned artists plus Sharon Phillips, Tomboy and others.

That's a lot of Trentemøller. Fortunately, there's a lot to like here, beginning with disc one's "The Forest". Originally released in 2004, on his only single for the Out of Orbit label, it's a brooding, midtempo wash of carefully manipulated keys, strings, and drums, with an irresistible vocal hook bubbling up periodically. Another highlight is Trentemøller's own remix of his "Moan", featuring the vocalist Ane Trolle and infinitely better than the versions released on The Last Resort. Where those cuts sagged under layer upon soggy layer of keys and reverb, this one is spring-loaded and nimble; Trolle's smoky voice only manages to sound sexier when it steps out from behind the previous versions' impenetrable scrim. And the entire second half of the first disc showcases Trentemøller at his moody, minimal best, running through the singles "Kink", "Gush", "Physical Fraction", "Killer Kat", and "Rykketid"-- each a study in muted electro-house economy.

But there's also plenty to-- well, if not actively dislike, simply forget. Just as The Last Resort felt overstuffed as it began wandering into tone-poem territory, so does this disc. The weightless "Klodsmajor" is pretty but thin, evaporating on impact. The echo-soaked "McKlaren" is just as light-bodied, despite its bassy footprint. "Snowflake" drifts from an inconsequential ambient swirl into an incongruous drum'n'bass cadence. And the dirgey "Blood in the Streets" sounds like a pastiche of the Cure's Seventeen Seconds without the actual angst. All the tics that made early gothic music compelling-- the yelps, the wrong notes, the sense of an emotion that couldn't be contained by the music-- are either absent or smoothed into a form that ultimately rings hollow. Skip back to opening cut "The Forest", and one wishes that Trentemøller could rediscover the simplicity that made his early productions so compelling.

The disc of remixes is a similarly mixed bag. When he's on, Trentemøller is on: His reworks of Röyksopp (fronted by the Knife's Karin Dreijer), the Knife, Mathias Schaffhäuser, and Moby all show the Danish producer at his muscular best, doling out generous hooks and carving beats so chunky they're all but unparalleled in electro-house for sheer body-moving functionalism. Where there are vocals, his fidelity to the original is striking; one wonders, in fact, if this respect for the original artist's vision is in part what puts him in the front of so many A&R folks' Rolodexes. Unfortunately, the same fidelity works against him when the source material is lacking. He makes the Blacksmoke Organisation's cut-rate New Order sound like cut-rate New Order with an electro-house beat. On Filur's "You and I", he parts the curtains on a lovely Basic Channel-styled dub underpinning only to put the vocalist's poor Kylie imitation at center stage.

Trentemøller's ear for detail is impressive. There's a moment, two minutes and 16 seconds into "The Forest", in which the music-- a liquid swell of dubby chords and that playful-yet-melancholic vocal arpeggio-- suddenly stops. For a split second there's just silence, but for a lone vibration that hangs ringing in the void. When the music comes rushing back in, everything feels different, fundamentally altered by its brush with nothingness. Faced with the glut that is The Trentemøller Chronicles, one can't help but think that the story would be far more interesting if Trentemøller could find more of those pockets of stillness in his work. With his attempts to fit his music for so many different venues, Trentemøller begins to look like he's spreading himself a little thin. There's no need, then, to lay it on so thick at the same time.

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