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

Grattis på födelsedagen. En remix gjord 2013-11-04. Blod och tårar.
Happy birthday to me. A remix made 2013-11-04. Blood and tears.

"howling at me howling at you"

thanks to

G/R/E/M/L/I/N/S ~~ C/H/R/O/M/A/T/I/C/S ~~ C/A/TPOWER ~~ A/I/RFRANCE ~~ B/E/S/TCOAST

Cat Power - Manhattan (Goes Calypsos Manhattan, MT Remix)

Pre-order 'ALL LOVE'S LEGAL', album: http://smarturl.it/u7bsq9

Human Drama / Lyrics

Been burning up inside day to today
trying to find the words to explain my sexuality
it's liquid, it's living, a moving love defined by itself
there's no rules, no convention
this love can go where ever it wants

Gimme a human drama
and understand that gender's just a game
gimme a human drama
all sexuality is not the same
gimme a human drama
the personal is so political
gimme a human drama
again, again

Gimme a human drama
we break a box to find a hundred more
gimme a human drama
there's lots to learn but so much more to unlearn
gimme a human drama
the personal is so political
gimme a human drama
it kinda feels like genders just a lie
genders just a lie

Human Drama - Planningtorock

Burial & Four Tet & Thom Yorke - Mirror

Stories From The City, Stories From The Sea

Good Fortune

Buy on iTunes

Taken from Melanie's second album 'No Deal'. Out now and available to order below.

iTunes: http://smarturl.it/nodealitunes
CD: http://smarturl.it/nodealcd

No Deal

The Flow

From the upcoming album 'instrument' out 21 July 2014 on City Slang
Preorder the album via iTunes: glnk.it/2io
on Amazon: glnk.it/2ir
or direct from the label: glnk.it/2iq


Instrument

Preorder 'instrument'

to rococo rot - Many descriptions (featuring Arto Lindsay)

The only place on Soundcloud to hear this sublime Nina Simon cover from one of our favourite new jazz/soul singers @melanie-de-biasio. Taken from her debut album 'No Deal' out now on Play It Again Sam (@pias)

More info at: http://www.stampthewax.com/2014/09/01/soundcloud-exclusive-melanie-de-biasio-im-gonna-leave-you/

Melanie De Biasio - I'm Gonna Leave You

The Contino Sessions

Aisha

"Crisis" / ANOHNI / HOPELESSNESS

'Quazarz: Born on a Gangster Star' (release date: July 14, 2017) 
Order Now - Sub Pop Mega Mart  http://u.subpop.com/2oZIUq6

Song contains material from “I REALLY LOVE YOU” performed by Dee Dee Sharp on ABKCO Records

Shabazz Palaces https://shabazzpalaces.com/
Facebook https://www.facebook.com/shabazzpalaces
Twitter https://twitter.com/shabazzpalaces 
Instagram https://www.instagram.com/shabazzpalaces 
On Tour https://www.subpop.com/tours/shabazz_palaces

Shabazz Palaces - Shine A Light (feat. Thaddillac)

Wild Beasts - Two Dancers

YOUNG GALAXY 'Shoreless Kid' b/w 'Youth Is Wasted On The Young' - Out JUNE 5th as a 7" single (only 300 copies worldwide) and digital download.
Order here: http://shop.paperbagrecords.com/products/shoreless-kid

Listen to 'Youth Is Wasted On The Young' here: http://soundcloud.com/paper-bag-records/young-galaxy-youth-is-wasted

YOUNG GALAXY 'Shoreless Kid'

Air - Electronic Performer

Massive Attack - Three (Maeg remix)

Atoms For Peace "Other Side - Stuck Together Remix" (50WEAPONSXTR01) Out August 10

Matthew E. White 
"Big Inner" LP/CD/DIG
Out January 2013 in Europe on Hometapes and Spacebomb.
www.matthewewhite.com
www.home-tapes.com
www.spacebombrecords.com

Like all of us, Matthew E. White was born into a constructed world. His unfolded out of the mingled sands of Virginia Beach and Manila, the youngest son in a family that raised him barefoot between the blurred racket of that far eastern jungle city and the backyard lightning-bug-hum of a trimmed southern lawn. His first moves, from picking up a basketball to picking up a guitar, were cast in the dual glow of these latitudes. Something between them taught him to love. Something between them taught him to time travel. Here began the lessons of Big Inner.

On that day in August, when the earth shifted into the shape of Matthew E. White, there was so much to listen to, so much to put your heart into, already. The dusts of the Delta had swirled into Rock and Roll. Alan Lomax's recordings sat in a big building in Washington, DC. Lee Perry had built The Black Ark in his backyard in Kingston. Somebody else lived in Big Pink. Mac Rebennack was Dr. John. King Tubby was dubbing. Terry Riley was overdubbing. Sly Stone had hit #1. Randy Newman's Sail Away was a decade old. Caetano Veloso had just turned 40. Muddy Waters was just about gone. Jimmy Cliff had sung "Many Rivers to Cross." So had Harry Nilsson. White shared this common inheritance. He stitched his own flag out of it.

And so it begins with "One of These Days," looking in, up, and over in its declarations of love. It's waking up next to someone. It's feeling the wood of the church pew on your back. This is your introduction to Matthew E. White and the world of Spacebomb; he's convincing you to stay the night. You give me joy like a fountain deep down in my soul. You can hear him breathe in. The first time around, White only hums the chorus. Hums it. Plants it in your head as it blooms in his. Strings enter like a siren. The guitar only talks when it has something to say. The choir lets you know you're not alone. Overdubbed woodwinds and muted brass like it on top, dancing around the embers of the bass line. Whether you're a woman or man, White's mournful, get-it-on voice may be all you can hear: I don’t want to live a day longer than you, so let’s meet the Lord together. You can call it soul music if you want. It's his soul and it's his music. 

Big Inner is told in seven songs that mingle memory with the rawness of any given human moment. The references — from the lyrics that echo the common conditions of love, death, seeking, and finding, to open tributes to artists like Washington Phillips, Allen Toussaint, Jorge Ben, Jimmy Cliff, and Randy Newman — are their own scavenger hunt through history and through White's place in it. "Big Love," the album's whopping second track, evolves the serenade of the opener into an all-out field holler. The vibe is farmed by Trey Pollard's cinematic string arrangement, Megafaun's Phil Cook on near-frantic keys, baritone sax squawks, pacemaking congas, and the first appearance of a burning White guitar solo. I am a barracuda, I am a hurricane. You don't need the seven-voice choir chasing White's voice to make you believe it, but it sure doesn't hurt.

For a record so personal, built on such code, it's never been a secret. Inseparable from Matthew E. White is Spacebomb — the process, the sound, the spirit, and the record label which White's debut launches. A gifted jazz arranger and exceptional guitarist, White is joined by bassist Cameron Ralston (the Wise) and drummer Pinson Chanselle (the Mighty) in the formation of the Spacebomb House Band. You won't forget those names. This core group, multiplied by horns, strings, and a choir (all culled from and roused by the venerable landscape of Richmond, Virginia), was captured to tape in White's own tricked-out attic on the west side of town. This is Spacebomb: an inimitable House Band, a producer, and a unified crew of arrangers and musicians join with an artist and cut a record — with staggering results. White assumed the actor-director role for Big Inner; it's the first Spacebomb album, the playbook and the highlight reel all at once, for a colossal series of upcoming albums from Natalie Prass, Karl Blau, Joe Westerlund (Megafaun), and Ivan Howard (The Rosebuds, Gayngs). A conductor in every sense of the word, an ambitious new label and a solo album were an easy segue from White's well-known post as the leader of the avant-garde jazz band Fight the Big Bull. 

As you swing into "Will You Love Me," you're a goner. Big Inner is an album of firsts, for White and for our place in time. He trades his guitar in for piano. He coos into the piano mic on the first take, a hunch that turns into an ice-breaker for the tingling dirge of "Gone Away." Written on the night of his young cousin's death, it walks the line between worldly gloom and heavenly lightness — and questions the validity of both. As on the rest of the album, White arranged the horns; they speak volumes beyond the limitation of his earthbound vocabulary.

The album culminates in the riverbed of "Brazos," a parable for the whole of Big Inner. Take every story you've heard, every note that's shaken your bones, every sunrise, and every friend you've got — and run. Like the rest of Big Inner, this closing track stands at full attention, the Spacebomb House Band, Horns, Strings, and Choir waiting their turn to kindle a flame that lights up the endless desert. Like every man before him, Matthew E. White is leaving a mark on the landscape. It's there, on records. It's there, on stage. But, like rare few, what Big Inner has brought to its glistening surface is what very well might be right inside of you.

-Sara Padgett Heathcott, Hometapes

Matthew E. White "Big Love"

from the album "Sixteen F**king Years Of G-Stone Recordings"

Peace Orchestra-Sional

Change Of Heart

Follow them : http://facebook.com/tristessecontemporaine / http://twitter.com/tristessemusic
Get your vinyl copy here : http://bit.ly/dmslqA

A stateless trio (Japan, UK, Sweden), Tristesse Contemporaine chose Paris as their battleground. The sound of their first album, produced by Pilooski (Discodeine) in 2012, was immediately praised among the music scene and critics – raw and minimal, catchy yet mesmerizing, both poppy and spleen-heavy. Equally inspired by the ghosts of shoegaze, krautrock and Madchester, they aimed to write the soundtrack of an era that got lost into the nights. Songs like « I Didn’t Know », « Daytime Nighttime », « In the Wake », or « Hell is Other People » set catwalks (Chanel) on fire along with the music press and live venues, as much in France (where they recently opened for Pulp at the Olympia) as elsewhere, including Russia and Eastern Europe.

The Woodwork E.P. is the second episode of the Tristesse Contemporaine story. This is a definition of their DNA in four new tracks :

Waiting : obsessive, haunted, elegiac – the art of making dead people dance.

Vampires : in the shadow of new wave giants, a minimal prayer to make ghosts go away.

Woodwork : sun-drenched and languid, this is Tristesse Contemporaine’s very own version of a hymn for patience.

Low Tide : back on the dance floor for a perverted, drug-induced nursery rhyme. Higher than the sun.

After lurking at the edges of the clubs, Tristesse Contemporaine now is crawling out of the woodwork. A new album is to be released in September on Record Makers/Dirty. No one will survive...

http://tristessecontemporaine.com
http://recordmakers.com
http://d-i-r-t-y.com

Portis

Laura Wiederanders