you should check out nz band trust punks think you'd like them

the elevators aren't running

“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 - Gravity (feat. Jana Hunter of Lower Dens) [Clip]

Trentemøller - Come Undone (feat. Kazu Makino of Blonde Redhead) [Clip]

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

‘Gravity’ is the third single taken from the new third studio album ‘Lost’ by Trentemøller. With the drum setting inspired by early Krautrock this wonderful and mulitlayered song still breathes the Trentemøller signature. The vocals have been contributed by Jana Hunter, singer of Baltimore based band ‘Lower Dens’ and melt perfectly with ‘Gravity’.

On the B-side we’ll find a remix by Copenhagen & Berlin based band Pinkunoizu who are currently stirring a buzz with their new album ‘The Drop’. Their version puts the song in a new light with re-arranged drums and a hypnotic build.

Gravity (feat. Jana Hunter)

Trentemøller - Gravity (Pinkunoizu Rемiх) (feat. Jana Hunter of Lower Dens)

Illegal Fun

off the Mouse Sluts EP by Dan Melchior, Graham Lambkin, Letha Rodman-Melchior and Glen
on sale here:
http://bruit-direct.org/prod/mouse-sluts/

Mouse Sluts - Vaccanti

Pity Won EP

Marconi

Some excellent friends of mine and I, temporarily christened Sean Nelson & The Coastal Elite, made this recording to say Merry Christmas, Mr. Lawrence to the late, great Mr. Bowie, and to the now-staggering array of great artists and friends who died this year.

"Dead Man Walking" has been one of my favorite post-golden years Bowie numbers since I first heard the drum and bass arrangement on Earthling in 1997 and I've never understood how is has escaped being discovered as one of several lost classics in his repertoire.

The band is Eric Howk (Portugal the Man/Shelby Earl) and Lance Umble (Sloucher / bod/ Cumulus)on guitars, Jacob James (Ships, MANY others)on bass & harmonies, and Michael Lerner (Telekinesis) on drums. Can't ask for better. Michael also recorded and mixed it. (When we performed this arrangement earlier this year, Nouela O. Johnston of Bardot played keyboards and sang, so she's in the band, too, if she'll have us.)

Dead Man Walking

I noticed myself, I was breathing
And then there was rain in my vision

If I picked my colors yesterday
Then why must I bear my blue today?
I knew that place before
I mean oh yes, of course
How could I ever understand it?
It rained all day...

I noticed myself, I was breathing
And then there was rain in my vision

Why am I the person that I am?
If I could I wouldn't know a thing
And all this time to spare
Is stripped down to the air
How could I ever understand it?
It rained all day...

I noticed myself, I was breathing
And then there was rain in my vision

When will I change for the better?

and then there was rain

With one exception, these were all recorded in the apartment I inherited from Aaron and Mindy Huffman at 15th & Denny on Capitol Hill in Seattle between 2007 and 2011, when I moved out, which also constituted a period of intense misery and relentless writer's block. 

As many charlatans before me have done, I took up the time-honored rationalization that "learning" some of my favorite (morbid downer) songs would somehow impart the secret code that would allow me to start writing again. The culprits, unsurprisingly, included Pavement, John Prine, Blur, Leonard Cohen, Elvis Costello (x3), Big Star (Andy Hummel), Sebadoh, Randy Newman, Husker Du (Grant Hart), the Connells, and Stephin Merritt.

 I recorded them with the Voice Memo tool on my stupid iPhone, the lo-fi for people too lazy to find the power source to the cassette 4-track machine they never properly learned to use in the old days.

The gambit almost sort of worked once or twice. But what it mainly revealed were the limits of the autodidactic minimalism of my piano technique and, but, also, the sonority of my cheap 3/4-scale upright piano (the kind you find in a secondhand store) and the sweet acoustic of the little bedroom adjacent media closet. Also, thin walls demanded that I keep my voice down. Also, I did change that one chord in the John Prine song, just to see what would happen, and nothing did, so I reckon it's ok.

I'm not sure these merit "release" (or, indeed, that this qualifies as one), but believe it or not, these are the best of this little series. I find myself coming back to them quite a bit, the same way I always, always want to hear the demos on re-released versions of my favorite albums.

Bedroom Adjacent (solo piano covers)

Poor Napoleon

Stop Breathin'

Santolino’s latest set! A hot new recording streaming from the studio Magma Project in Madrid. High-fi trip, filled with basslines that heat up the space, a touch of minimalistic suspense popping up, tracks filled with a powerful energy that keeps growing and growing, undeniably top tracks with a high quality selection, definitely showing a new side and taste of this emergent artist.

*Watch it live here:
https://www.facebook.com/marianosantoli/videos/467568143843209/

Magma Project Madrid - Promo Set Sept. 2019

#indiepop #poprock #garagerock #postpunk #dancerock

I appreciate it - alun kenneth

anything by it

heart eyes demo

Established in 2008, How Scandinavian is the band/alias/project of Bryan Santizo. There's other people in it when it's live. This page is mostly used to highlight random demos, rarities, and "deep" cuts that probably will never be uploaded to "proper" streaming channels. So enjoy the obscurities if you are into that sort of thing.

Marconi

How Scandinavian

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