chill out

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.

Lost

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

Radiohead/ Separator (Vinyl Rip)

Bitter Sweet (Instrumental)

From the Replica LP on Software Recording Co. / Mexican Summer (SFT010).
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Purchase here:
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Oneohtrix Point Never - Replica

From the self-titled album. Out January 31st, 2012 on Mexican Summer (MS106). 

www.mexicansummer.com



Everywhere, Everyone

BEAK> - Yatton

"Sign Of Age" is taken from the debut album "Life Is Short the Answer's Long" from The Beat Escape.  The album is due for release 27th April via Bella Union. 

Pre-order now: http://smarturl.it/TBE_LifeIsShort

Life Is Short The Answer Is Long

The Beat Escape - Sign Of Age

From the self-titled album (MS106) 

Available January 31st, 2012 on Mexican Summer. 

www.mexicansummer.com

Sensations

From Ava Luna's full album cover of Serge Gainsbourg's landmark album Histoire de Melody Nelson. Available exclusively from Turntable Kitchen's SOUNDS DELICIOUS vinyl subscription service: www.turntablekitchen.com/sounds-delicious/

Histoire de Melody Nelson

Ava Luna - Melody (Serge Gainsbourg Cover)

From <i>The Only Place</i> album. 

Available now from Mexican Summer. 
www.mexicansummer.com/shop/best-coast-the-only-place/

Best Coast - The Only Place

Taken from New Hymn To Freedom:
http://szunwaves.bandcamp.com/album/new-hymn-to-freedom

Szun Waves - Temple

'Fear Of Floating' is the second single from Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. The track, taken from Daniel's solo debut 'Lines of Sight', is a grand, transposing soundscape that places Daniel’s saxophone front-and-centre, allowing the abstract beauty of his meandering and contorting melody to breathe, amongst the chaotic backdrop of spiralling undulating effects. 'Fear Of Floating' perfectly encapsulates the atmosphere of the record; equal parts magnificent, unnerving, mind-bending and deeply satisfying.     
 
"Although the album wasn't written to follow a specific narrative, I felt it should have the feeling of a journey, leaving a place of chaos and noise and arriving somewhere both serene and unfamiliar. As the final track on the album, I wanted 'Fear of Floating' to be to be the opposite of the album’s beginning ('From Inside, Looking Out') by being much sparser, eschewing large dense textures and instead focusing on a single melodic 'voice' that gets bashed about by its surroundings, before finally washing up somewhere peaceful and alone." — Daniel Thorne
 
Praise for Lines Of Sight, out March 15th on Erased Tapes:
 
“Dizzying compositions that thrive on chaos and control.” Self-titled  

“Analogue and digital, improvisatory and programmed, tactile and gaseous, this ripples between worlds.” DJ Mag
 
Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles – effectively capturing what the birth (or death) of a planet might sound like.

Every strand is fresh, vital and purposeful. The description ‘seamless’ might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical and a touch of jazz come together, each occupying their own space while acquiescing with the whole.

Pre-order 'Lines of Sight' on LP/CD/DL: https://idol.lnk.to/LinesOfSight

Lines of Sight

Fear Of Floating

Daniel Thorne - Fear Of Floating

Your Warm Hand

"Something happens when you say 'I' in a song, that can't happen in a book," declares Jenny Hval, who's known in her native Norway both as a musician (both under her own name, the moniker Rockettothesky, and with the duo Nude on Sand) and as a published novelist and media commentator. Her songs -- featuring frequently explicit language -- explore subjectivity and sensuality and experiment with male perspectives and voices. But don't call her music "confessional," as that implies guilt and sinfulness, and Jenny makes no apology for who she is or what she's thinking. As she challenges: "How much subject can you take?" Jenny Hval's previous, acclaimed Rune Grammofon album Viscera (2011), recorded with her own free rock trio, overflowed with intimate detail and surrealistic bodily imagery. Innocence Is Kinky -- which also features a string section led by avant garde composer Ole-Henrik Moe -- was produced in Bristol, England by PJ Harvey collaborator John Parish, who helped bring out the intimate qualities of her lyrics and sharpened her improvisational tendencies. "It was a very easy collaboration..." Like contemporaries such as Julia Holter and Laurel Halo, she's weaving spellbinding new forms of intelligent, experimental pop with injections from mythology, theory, gender politics and improvisation. 

http://jennyhval.com/ 

Jenny Hval - Mephisto In The Water (taken from her forthcoming album, Innocence Is Kinky)

From the upcoming album, Wait To Pleasure, available on April 23, 2013.

"Hare Tarot Lies" is digitally available now from Mexican Summer.
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Everywhere, Everyone

Mexican Summer

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