Batcave

OBSCURE 00_10⏃ darkwave | gothic | industrial | witch house ⏃

See also <a href="spotify:playlist:3rAOglz1cj5SqqUJbUdSmn">Intro</a>, <a href="spotify:playlist:5z55c3qs34Mw4lkgTe9s0k">Pulse</a>, <a href="spotify:playlist:2DBeoWHsX1eHOtVxANgUj6">Edge</a>, <a href="spotify:playlist:1YaoBjBmOjznucP0lntHg7">♀Filter</a> 

The Sound of Dance-Punk

MASH

mash2

lineofsightsoundtrack

“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.

Lost

Trentemøller - Deceive (feat. Sune Rose Wagner of The Raveonettes) [Clip]

Album - No Shouts, No Calls. Music by http://www.electrelane.com/

The Lighthouse By Electrelane

6. THE SLEW : ROBBIN BANKS ( DOING TIME )

KID KOALA : DYNOMITE D : LSDJ

AS HEARD ON THE SONS OF ANARCHY SECOND SEASON TRAILER

6.THE SLEW : ROBBING BANKS ( DOIN' TIME ) : 100% : KID KOALA / DYNOMITE D / JORGEN E. STEEN : NINJA TUNE RECORDS / PUGET SOUND RECORDINGS

Majic Ship - Nightmare

Who's Next

Baba O'Riley

Myths Of The Near Future

Golden Skans

Best of Volume 1

Eruption

Fuckin A

Our Trip

Parallel Lines

Hanging On The Telephone (Remastered)

The Passion of Lovers

In the Flat Field

Double Dare

Dark Entries

Mask

Kick in the Eye

Advaitic Songs

Gethsemane

Om - Gethsemane

Deeper

Black

In the Grace of Your Love

It Takes Time to Be a Man

Exploding Head

Everything Always Goes Wrong

Hammered

The Game

Thr!!!er

Even When The Water's Cold

Freeze Me

Written by Robert Alfons
Produced by Robert Alfons and Damian Taylor
Mixed by Damian Taylor
Additional live drums by Lia Braswell
Mastered by Emily Lazar
Artwork by Martin Falck

Bicep

Wet From Birth

I Disappear

Music: Sun's Spectrum
Lyrics: Livio Caenazzo

Arranged, mixed and mastered by Sun's Spectrum

Sun's Spectrum are:
Daniele Iannacone: synth, programming
Livio Caenazzo: guitars, vocals, programming

Artwork: Matteo Passalacqua

Sun's Spectrum 2019

It Was Like Autumn

Om - Thebes

Real Life - Send Me An Angel  [ #83 version]
I Love The 80s (Official Playlist)
https://soundcloud.com/cleopatra-recs/sets/ilovethe80s

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#newwave #postpunk #punkrock #1980

Real Life - Send Me An Angel   ('83 version)

In 2003, Brooklyn’s A Place To Bury Strangers emerged on the scene out of Oliver Ackermann’s psychotropic vision.  Often cited as ‘ the loudest band in New York’,  APTBS is known for their vicious live performances overloaded with all-consuming visuals, experimental sonic warfare, and treacherous stage antics.  

2021 welcomes a lineup change for A Place To Bury Strangers. New members John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast cement the most sensational version of the band to date.  John and Oliver were childhood friends who had played in the legendary underground shoegaze band Skywave, crafting futuristic punk music together. This next phase is a sonic return to APTBS’s most raw and unhinged endeavors, pushed even further into a new chaotically apocalyptic incarnation.

During the on-going global pandemic, Ackermann spent his time building this new band, raising money and awareness for those in need, establishing the record label Dedstrange, designing futuristic space synthesizers for his company Death By Audio, and producing a brand new A Place To Bury Strangers EP.  The new EP, Hologram will be released July 16, 2021, on Dedstrange.  Watch out.

Everything Always Goes Wrong

aplacetoburystrangers