OUT NOW on CD, Double Vinyl (Limited edition) and digital!
We’re extremely proud to present “Lost”, the third full-length venture from Anders Trentemøller. “Lost”, much like its predecessor “Into the Great Wide Yonder” (2010), serves not only as a logical continuation of his work, but also as yet another fuck-you to whatever genre you thought you had him boxed into. The Trentemøller sound is definitely left intact, yet as a whole it really doesn’t sound like anything he’s ever produced before. Few artists seem to possess that special talent of leaving the audience just as baffled as they are satisfied, but hey, that’s what’s great about Anders. He may alienate a few heads along the way, but it wouldn’t be interesting for him if he didn’t.
“People wanted something similar to the last album, but if you’re getting to the point of listening to people and what they think of your sound…Well, that’s not for me.” -Trentemøller.
“Lost” boasts a dozen tracks with something of interest for anyone who’s ever been a fan of the Copenhagen based producer. You can’t really compare it to “The Last Resort”, but the club elements are there. It definitely isn’t “Into the Great Wide Yonder” either, even if it’s equally guitar driven. It’s as original as it is classic, mixing the tried and tested with all sorts of sonic surprises. And making it look easy in the process.
Differing from “Into The Great Wide Yonder”, which was a rather bold cinematic landscape, “Lost” is definitely a far more streamlined affair and way more “song structured”. It’s the kind of record one can only produce after endless months of studio isolation. Just where his creativity flourishes best.
That said Trentemøller has also found a new home – and it’s on stage with a band. “Lost” relays this epiphany in pitch perfect circumstances, finally merging the extrovert and introvert qualities the man has in his command.
Of course, none of his productions would be complete without those unique guest appearances, spanning a multitude of musical categories. They’re all given equal treatment when they’re dropped bang center into the middle of Trentemøller’s very own musical universe, having to harness the potential of their talent on Trentemøller’s terms. It certainly isn’t that many folks who are capable of convincing Jonny Pierce (The Drums) or Sune Wagner (The Raveonettes) to appear on a club track and even fewer who are able to pull it off. Anders is in the top percentile of that lot.
”I think it’s fun to take people out of their own musical comfort zone” he exclaimed to VICE earlier in the year when explaining his seemingly erratic choices. ”Actually, when I begun writing the songs, I had their voices in my mind all along. They just didn’t know it.”
Aside from Sune and Jonny, Trentemøller has managed to bring on board a whole rake of fantastic peers, personal influences and sprouting talent. Co-conspirators such as Kazu Makino (Blonde Redhead), Jana Hunter (Lower Dens), Marie Fisker, Ghost Society and none other than the legendary slow-core pioneers Low are all to be found on the record.
That trademark haunting feeling that defined both ”The Last Resort” and ”Into the Great Wide Yonder” hasn’t been neglected on “Lost”. It’s just been redefined and made way more ferocious, the signature glitchy bass being replaced by sub woofer frequencies far more pounding. Almost punk rock. Instantly conjuring up thoughts of the more droning SUICIDE tracks or even contemporaries like The Soft Moon.
”Lost” documents an artist really hitting his stride. An intricate musical tapestry woven over countless sleepless nights in his Copenhagen studio. Nights invested in instrument experimentation and trashed analog consoles. You can without a shadow of doubt call this release a genuine study in the art of attention to detail. No matter how many times you press play on this one you’re going to find something you missed the previous time around. Something that suddenly shines a whole new light on what you’re listening to.
Is this the record you expected from Trentemøller? No.
But would it be a Trentemøller record if you got what you expected? I doubt it.
01. The Dream (feat. Low)
02. Gravity (feat. Jana Hunter of Lower Dens)
03. Still On Fire
04. Candy Tongue (feat. Marie Fisker)
06. Never Stop Running (feat. Jonny Pierce of The Drums)
07. River Of Life (feat. Ghost Society)
09. Come Undone (feat. Kazu Makino of Blonde Redhead)
10. Deceive (feat. Sune Rose Wagner of The Raveonettes)
"Lost is likely to be the most cohesive album by a solo music producer you'll hear this year….An expansive, cerebral record that exposes itself with careful attention. This is powerful stuff, showing that not only is Anders Trentemøller one of the best in his field but also a master of the album craft. One for the long haul." (Drowned In Sound)
"There is nothing better than hearing an artist reaching the apex of his power. Trentemøller arrives at that point with this album taking its rightful place amongst the best electronic albums released this year with comparative ease." (The Line Of Best Fit)
"Showcasing a little black book of contacts including Low, The Drums’ Jonny Pierce and The Raveonettes’ Sune Rose Wagner, this collection is beautifully executedThis collection is beautifully executed…" (Clash Magazine)
"Trentemøller did it again, he wrote the record to your personal movie." (Nothing But Hope And Passion)
"Lost is a fully functioning collection that shows an impressive breadth…this is a collection filled with highly complex sounds, more theatrical, more organic, less synthetic and at many points, really rather beautiful." (The Line Of Best Fit)
"His new LP, Lost, delivers those goods, and takes his music to the whole new heigths. Lost is certainly a record that never stops running." (Under The Radar)
“Never Stop Running” is mostly a tastefully eerie electro exercise, though it modulates into a hook with a soaring feel and vocal, the sort of bittersweetly sweeping and dramatic harmonic movement that seems to be the birthright of fellow Danes like Mew and Under Byen.” (Stereogum)
“Suffice to say it’s very haunting with little diminishing returns.” (BPM Mag)
“Never Stop Running” by Danish electronic master Trentemoller leaps from foreboding, to eerie, to soaring and light as quickly as the video leaps from staring eyes to staring eyes.” (MTV Iggy)
“Lost is definitely a more streamlined affair than other works and much more ‘song structured.’” (Magnetic Mag)
"Sweden has a lot of extremely talented musicians in the electronica genre but no one like the Copenhagen son Anders Trentemøller" (Gaffa Sweden)
"The album is a result of months of studio work, and it features a host of admired guest." (Under The Radar)
"With Lost, the artist exquisitely showcases Trentemøller's capability and craft as producer as well as offering the good stuff that can come with collaboration." (Seen Heard Known)
‘Candy Tongue’ is the second single taken from the upcoming third studio album ‘Lost’ by Trentemøller.
The beautiful song features the vocals of danish singer/songwriter Marie Fisker. Trentemøller already teamed up with Fisker on a song for the ‘Into The Great Wide Yonder’ LP and she’s also become a firm member of Trentemøller’s live band, who are touring the European summer festivals at the moment.
‘Candy Tongue’ slowly builds from whispered, emotional vocals into a rousing song with oversteering guitars and evoking chants.
Following on from the 1st single ‘Never Stop Running’, the new single also reveals more of the upcoming, curiously awaited new longplayer which breathes all aspects of the electronic years as well as the guitar driven second album - in a new, fresh and light-footed way with a wealth of fantastic songs, incredibly well produced.
The first single taken off the new album. ‘Never Stop Running’ is an empathetic, personal, evolving song, that perfectly melts with the expressive vocals of The Drums singer Jonny Pierce with that beautiful melancholia that warms your heart. The vibe of the song is captured in the video by director and cinematographer Frederik Jacobi. Both the song and the video comprehend the question ‘Who Am I?’. While Trentemøller’s song carefully carves out different shades and moods centered around the main motif, Jacobi took his camera to Los Angeles and used it to ‘listen’ to people and to create a visual space for the song, while the cover image appears courtesy of Asger Carlsen.