Despite the substantial departure from the minimum his sound remains coherent, yes kontinuin,. By a spherical sense burden with sadness, gloom and drama that again drunken Blödel settings or discoid engine breakdown can be obsolete Again Yet Trentemøller working on Into The Great White Yonder completely different: although he programmed course, everything still in its laptops (a plural is now in its success and thus its balance, unterstellbar probably), but the multi-instrumentalist who does not tired is to emphasize to have played for years in rock bands in Denmark and ergo not be a classic techno DJ who has mastered only that profession, this multi-instrumentalist therefore took this time the time and played many instruments a, led dissolute, to pulling through the entire, opulent work twang guitars, but also piano parts and real drums.
Of course I did not take the first album again. Thus, the second is a logical development of The Last Resort for me. The only thing I knew was that the music sound organic and analog should. Why all the pieces were played at the end of equalizer and preamp on analog tapes and thus creating a warm, saturated sound, the pure computer productions massively different and the whole thing, much real power in an instrumental sense. So far, so organic. Now even introduced opulence and pomp in the arrangement of the piece productions and there goes your Trentemøller capita cinema version 2.0. Synth soundscapes, swirling sounds and thumping, constantly broken beats umschleichend the thread laying guitar chords, as in the opener The Mash And The Fury raised and repeatedly applied in the further course. The Single Sycamore Feeling allows vocal, vocally fit performed by the Danish singer Marie Fisker and driven with real drums. Also Fyfe Dangerfield of Guillemots and the Danish singing duo Darkness Falls acting in the course with vocally.
One, perhaps the most dramatic climax on Trentemøller second album is the most complex and engaging Shades Of Marble, in the Surf Guitar aesthetics mix with minimal debt (as already tested on several remixes to songs of his country colleagues Raveonettes from him and apparently for good found), grow into an opera-esque structures, culminating brilliantly. Although the rear part of the album anmutet a bit weaker, which means here: a little less great, with slow-motion reverb trails which seem like final goodbyes and the only up-tempo piece Silver Surfer, Ghost Rider Go !!! is Anders Trentemøller conclusion again succeeded in a piece of music by time and inventory.
In 2006 he escaped and the Swedish duo The Knife to once again deadlocked Techno and extended him an almost complete lack of emotion: the soul pain. Before that, he stuck with the Berliner on Steve Bug's label released singles Audiomatique Polar Shift, Sunstroke, and Nam Nam fertile agricultural fields from, of which minimum consumed today. The level icon Blacksouled, dark minimal techno is back so and basically knew you, if not terrible things get between them, the result is dangerously good. Trentemøller Into The Great White Yonder has become a cinematic journey that demanded attention, exhaustive acts and established intimacy. Big cinema.
MQ
