This is one of the finest productions I've heard in years!!! Poetry...just poetry and above all, GENIUS!!!!!!!!!!!!!

This is so much better than the rap version

“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 - The Dream (feat. Low) [Clip]

Bestfriends 2014 Refine EP

Written, recorded, preformed, engineered, produced, mixed and mastered by Bestfriends.

http://thisisbestfriends.com

www.facebook.com/thisisbestfriends

https://twitter.com/bstfrndsmusic

bstfrndsmusic@gmail.com


Bestfriends | Lyra

Buy the album 'Black Sands' now on:

Ninjashop: http://bit.ly/LWm3Uz
iTunes: http://itun.es/ib66T8
Amazon: http://glnk.it/1d6


Black Sands Remixed

Bonobo - 'Eyesdown' (Preview Edit)

Balearic flavoured remix of the song originally lifted from American songwriter Kurt Vile's brillant 2011-album "Smoke Ring For My Halo".

Kurt Vile - Runner Ups (Rødsten & Jesper Rummenigge Remix)

‚....Even Though You‘re With Another Girl‘ is the amazing second single to be taken from Trentemøller‘s stunning new album ‚Into The Great Wide Yonder‘. After the huge reaction to the beautiful longplayer, which mixes classic Trentemøller production mastery with more of an analogue, song based, indie-feel, it’s time to carry on with this intriguing set of remixes.

Firstly the original version of ‚... Even Though You‘re With Another Girl‘ chimes and drifts across. This hauntingly moving love song features spine-tingling vocals by Josephine Philip, and could perhaps be Trentemøller‘s most touching recording yet. Josphine is the singer &amp; keyboard player in the new promising Copenhagen based indie rock band Darkness Falls. Apart from that Josephine joined Trentemøller on the spectacular liveshow at Roskilde last year.

Mikael Simpson‘s version, which simply allows pianos, strings and tape overdubs to bring out the beauty in the vocal. Simpson is one of Denmarks most popular singer/songwriters and already contributed a very special version of “Moan” from Trentemøller’s debut “The Last Resort” for which he also wrote the lyrics. Mikael also joins Trentemøller Live in Concert and we’re looking forward to see him on the upcoming tourdates in October. 

Further remixes by Kollektiv Turmstrasse and Pantha Du Prince. The Kollektive‘s half of the record slaps a heavy dose of deep, dark funk into the mix, with this ingenious lo-slung version. Post-minimal-punk electronic drums meet warbling synths and reduced, subliminal use of the vocals in a delicate and stylish mixture of pop-meets-deepest-electronica.

Dial‘s man of the hour Pantha Du Prince creates a typically high-end remix based on his trademark twinkling melodies and warmly grooving understated beats. The Dub version twists and turns with unpredictable laid-back intensity as a rousing chorus of strings and harmonic elements fuse under dubbed out vocal elements.

Also included as digital bonus track is a rare 'Alternative Instrumental' version by Trentemøller himself!

...Even Though You're With Another Girl (Mikael Simpson Version)

Feeling Good (Boom Bap Instrumental) FPAW

Ebb & Flow EP by Luo.

Featuring three tracks off our upcoming full-length album, this EP marks the first of our recordings as a full band and is hopefully our most successful attempt at blending IDM with live instrumentation yet.

Written & produced by Josh Trinnaman
Additional writing & guitars by Jake Keeble
Bass by Rik Coe
Live drums by Sam Hughes

Live drums tracked by Small Pond Recordings 
Artwork by Nick Hewetson

Special thanks to:
Vlad Matveikov
Sam Coveney
Chris Allen

www.facebook.com/herebeluo
www.luomusic.bandcamp.com
www.smallpondrec.co.uk

Sleep Spindles

Pre-order: https://LifeAndDeath.lnk.to/Displaced

Various Artists - Displaced Soundtracks

Release Date: November 3rd, 2017
Label: Life and Death
Format: Vinyl / digital
Cat #: LAD030

A1 Artefakt - Magnetic Midnight
A2 Black Merlin - OPI
A3 Appleblim - Sacred Rowan Grove
B1 Stimming x Lambert - Trafic Aérien
B2 Kink - Megadrop
B3 Fango - Nung
C1 Axel Boman - Just Imagine (Part I & II)
C2 Duncan Gray - Smelly Little Man
D1 Simian Mobile Disco - Hades Rocket
D2 Redshape - Theme
D3 Danny Daze - Orb

Seven years into its celebrated journey, Life and Death assembles its third and most adventurous compilation to date - Displaced Soundtracks.

For the first instalment in a new series, DJ Tennis has given free rein to some of his most trusted contemporaries, enabling many of today’s most respected dance music producers to display their hidden talents as composers. Gathering music from a long-aborted film, the collection stands as another bastion of Life and Death’s perpetual evolution.

Duncan Gray embraces dissonance, Black Merlin, Appleblim and Artefakt go interstellar and Fango channels post-punk squat music. Hades Rocket showcases the expertly-sequenced synth work that has graced Simian Mobile Disco’s illustrious career, while Redshape revisits all the right sides of 80’s Wave and Library music. Danny Daze and synth-savant KINK embrace non-standard tempi with great success, while Axel Boman delivers sitar-laced gospelhouse without a bass drum. Elsewhere, your favourite producer’s favourite producer, Stimming, team’s up with pianist Lambert and the pair learn to fly.

Inspired and challenging, Life and Death ventures into their eighth year confidently, constantly evolving without compromise.

Pre-order

Stimming x Lambert - Trafic Aérien (Displaced Soundtracks)

from 'Facades' [CD|10''|DIGITAL]
Denovali Records · den290
available on all formats at [http://www.denovali.com/orsonhentschel]

Only six months after his sophomore album, which has showcased a "tense repetition of short phrases, often building big, dramatic pieces starting with a single stuck-in-the-machine sound" (Decoder) and an "analogue cyber trip-hop of an impressive depth of focus as an acoustic furniture for an apocalypse lounge" (Groove), Hentschel returns with a two-piece EP showcasing yet another aspect of his musical spectrum. While the first two albums featured only instrumental tracks, "Facades" are the first two pieces in which Orson Hentschel works with text as a main musical element for his composition, although he approaches vocals from a rather particular perspective.

For Hentschel, the spoken word is always music and thus not different than any other instrumental input or sound layer. Consequently, he is only interested in the sound of the spoken words on Facades, but not in any content they convey. The idea for Facades was born at a time when Hentschel was struggling with a writer's block for several days in a row. He realised that just writing about nothing was the only honest way for him to express himself through text as a medium. After doing some research on the subject he found John Cage's "Lecture on nothing" which has appeared in the book "Silence" (1961). This encouraged him to work out his idea and he wrote a German text which then Danhee Joe, an accidental acquaintance of his, translated into Korean and spoke with her warm voice. Thus Orson Hentschel used the text in the same way as he uses any sound material - it is transformed into something else, it is being alienated. The spoken words are embedded in repetitive and minimal-minded electronic sound layers which even penetrate primordial technoid territories. However, sticking to his trademark long arcs of suspense, the listener has to wait until the last two minutes of the second track for the first, cathartic beat.

Facades

Orson Hentschel - Facade I

Follow me here : http://www.facebook.com/RyanVailMusic?ref=hl#

Out on Itunes on the 26/09/12
Mastered by Matt Colton Air Studios London
Champion Sound Music
Elastic Artists for Bookings

Ryan Vail - Sunlight (Original)

Mull EP

B u y

Waiting Like A Wolf

Ninja Tune has established itself as one of the world’s leading independent record labels. Now a bonafide global music institution, synonymous with diverse, uncompromising releases and equally visionary artists—from breaking-through to GRAMMY-winning, internationally acclaimed acts—committed to pushing the boundaries of music.

Bonobo - 'Eyesdown' (Preview Edit)

Ninja Tune

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