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Cassette
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IMR 052CS
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Cassette version.In 2024, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, In My Room now presents Dreamweaver. Featuring ten tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour. Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst. With the hatch blown off of the portal, the noisy "I Give My Tears,' driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant. A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure."
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CD
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IMR 052CD
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In 2024, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, In My Room now presents Dreamweaver. Featuring ten tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour. Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst. With the hatch blown off of the portal, the noisy "I Give My Tears,' driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant. A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
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LP
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IMR 052LP
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LP version. In 2024, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, In My Room now presents Dreamweaver. Featuring ten tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour. Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst. With the hatch blown off of the portal, the noisy "I Give My Tears,' driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant. A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure."
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Cassette
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IMR 045CS
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Cassette version. Includes two bonus tracks: "Golden Sun" and "Shaded Moon". Danish composer, musician and producer Trentemøller announces his new studio album Memoria which is set for release in early 2022 on his own label In My Room. Anders Trentemøller's sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural. A recent, unanticipated drop of four songs, in the form of two singles ("No One Quite Like You", and "Golden Sun"), might leave one surprised to find that a full album's worth of material was also waiting in the wings. As with most Trentemøller releases, it's a body of songs that are thematically linked by many melodic threads. The first single from the upcoming album, In The Gloaming, which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne's dawning. Stars emerge in the form of percussive arpeggios. 2019's Trentemøller album Obverse (IMR 033CD/LP) was an exercise in what could be done if the prospect of performing the songs onstage wasn't a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.
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2LP
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IMR 045LP
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Double LP version. Gatefold sleeve. Danish composer, musician and producer Trentemøller announces his new studio album Memoria which is set for release in early 2022 on his own label In My Room. Anders Trentemøller's sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural. A recent, unanticipated drop of four songs, in the form of two singles ("No One Quite Like You", and "Golden Sun"), might leave one surprised to find that a full album's worth of material was also waiting in the wings. As with most Trentemøller releases, it's a body of songs that are thematically linked by many melodic threads. The first single from the upcoming album, In The Gloaming, which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne's dawning. Stars emerge in the form of percussive arpeggios. 2019's Trentemøller album Obverse (IMR 033CD/LP) was an exercise in what could be done if the prospect of performing the songs onstage wasn't a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.
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CD
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IMR 045CD
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Danish composer, musician and producer Trentemøller announces his new studio album Memoria which is set for release in early 2022 on his own label In My Room. Anders Trentemøller's sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural. A recent, unanticipated drop of four songs, in the form of two singles ("No One Quite Like You", and "Golden Sun"), might leave one surprised to find that a full album's worth of material was also waiting in the wings. As with most Trentemøller releases, it's a body of songs that are thematically linked by many melodic threads. The first single from the upcoming album, In The Gloaming, which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne's dawning. Stars emerge in the form of percussive arpeggios. 2019's Trentemøller album Obverse (IMR 033CD/LP) was an exercise in what could be done if the prospect of performing the songs onstage wasn't a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.
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LP
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IMR 038LP
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Two years in the making, Future Ruins, Tom And His Computer's debut album, will be released on Trentemøller's In My Room. As a 20-year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of Tom And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that's not only obsolete, sometimes it's barely functioning at all. "I switch back and forth between the digital and the analog worlds. I'll utilize old guitar pedals as well as the newest software," says Thomas Bertelsen, producer behind Tom And His Computer. "It's never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track." Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered "electronic music," including nods to dark wave, dream pop, krautrock, and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer. The result is a genre-less collection of songs showcasing Tom's obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his "commitment to fresh ideas with a clear sense of melodies," according to Clash Magazine. "My tastes are eclectic and I like to flirt with many different sub genres," says Tom. "The aim was to combine various styles while trying to maintain a common denominator," which committing to a full-length offered as an opportunity. Features Roxy Jules. Includes download.
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2LP
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IMR 033LP
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Double LP version. Gatefold sleeve; includes printed inner sleeves; ; Includes a black and a white color vinyl. Trentemøller returns with his fifth studio album, Obverse. Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he's most adept at is the studio itself. Obverse is the result of him expanding that skill even further. Obverse often feels like an instrumental album because it started life as one, the driving philosophy being "what if the pressure of having to perform these songs live is removed entirely?" Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It's a work method that yielded great results for the legendary German kosmiche/motorik experimentalists of the 1970s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche. So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion (IMR 021LP/021LTD-CD/021LTD-LP, 2016) left off. For the past decade, Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks. By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own.
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CD
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IMR 033CD
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Trentemøller returns with his fifth studio album, Obverse. Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he's most adept at is the studio itself. Obverse is the result of him expanding that skill even further. Obverse often feels like an instrumental album because it started life as one, the driving philosophy being "what if the pressure of having to perform these songs live is removed entirely?" Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It's a work method that yielded great results for the legendary German kosmiche/motorik experimentalists of the 1970s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche. So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion (IMR 021LP/021LTD-CD/021LTD-LP, 2016) left off. For the past decade, Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks. By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own. CD version comes in a digipac.
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2LP
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IMR 021LP
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Double LP version in standard sleeve; includes download code. In My Room presents Fixion, the fourth full-length offering from Anders Trentemøller. With Fixion, Anders has crafted a logical successor to 2013's Lost (IMR 014CD/LP), a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full band. In much the same manner that Lost built on from the somber cinematic classic that was Into The Great Wide Yonder (IMR 002CD/LP, 2010), Fixion has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic. Rather than attempting to completely reinvent himself, Anders has used his latest outing as an opportunity to highlight certain granular aspects of his signature sound and refine them into a much more organic -- and at times perhaps more song-driven -- body of work. It's a record that on first listen may seem less detailed but, with Trentemøller, one should never be fooled by initial impressions. It's the kind of record that will over time repeatedly unlock new intricacies and offer the listener an opportunity to understand the work differently upon each listen. The album succeeds in traversing a swathe of influences and unassuming genres -- yet all the while holding true to Trentemøller's unique and sometimes challenging vernacular. From cascading minimalist synth-scapes to driving electro-punk, each and every track on Fixion is bound together with a contemplative melodic complexity. Vocals on "River In Me" and "Complicated" are by Jehnny Beth, singer of the UK band Savages, whose 2016 album Adore Life was mixed by Trentemøller. Marie Fisker, a mainstay of the Trentemøller live constellation, has also been a long-time studio collaborator of Anders and her four songs on Fixion mark their third musical partnership. Lisbet Fritze also features as a vocalist on "Where The Shadows Fall." Guest musicians include Jeppe Brix (Howl Baby Howl) on guitar, Lisbet Fritze on bass and guitar, and Jakob Høyer on drums and toms; all other instruments were played by Anders Trentemøller. The album was mastered by Grammy-nominee Emily Lazar at The Lodge (David Bowie, Foo Fighters, Lou Reed, Goldfrapp, Moby, Sonic Youth, Depeche Mode, The Velvet Underground).
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CD
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IMR 021LTD-CD
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In My Room presents Fixion, the fourth full-length offering from Anders Trentemøller. With Fixion, Anders has crafted a logical successor to 2013's Lost (IMR 014CD/LP), a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full band. In much the same manner that Lost built on from the somber cinematic classic that was Into The Great Wide Yonder (IMR 002CD/LP, 2010), Fixion has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic. Rather than attempting to completely reinvent himself, Anders has used his latest outing as an opportunity to highlight certain granular aspects of his signature sound and refine them into a much more organic -- and at times perhaps more song-driven -- body of work. It's a record that on first listen may seem less detailed but, with Trentemøller, one should never be fooled by initial impressions. It's the kind of record that will over time repeatedly unlock new intricacies and offer the listener an opportunity to understand the work differently upon each listen. The album succeeds in traversing a swathe of influences and unassuming genres -- yet all the while holding true to Trentemøller's unique and sometimes challenging vernacular. From cascading minimalist synth-scapes to driving electro-punk, each and every track on Fixion is bound together with a contemplative melodic complexity. Vocals on "River In Me" and "Complicated" are by Jehnny Beth, singer of the UK band Savages, whose 2016 album Adore Life was mixed by Trentemøller. Marie Fisker, a mainstay of the Trentemøller live constellation, has also been a long-time studio collaborator of Anders and her four songs on Fixion mark their third musical partnership. Lisbet Fritze also features as a vocalist on "Where The Shadows Fall." Guest musicians include Jeppe Brix (Howl Baby Howl) on guitar, Lisbet Fritze on bass and guitar, and Jakob Høyer on drums and toms; all other instruments were played by Anders Trentemøller. The album was mastered by Grammy-nominee Emily Lazar at The Lodge (David Bowie, Foo Fighters, Lou Reed, Goldfrapp, Moby, Sonic Youth, Depeche Mode, The Velvet Underground).
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2LP
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IMR 021LTD-LP
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Limited-edition 180-gram vinyl in gatefold sleeve; includes download code for exclusive bonus rework. In My Room presents Fixion, the fourth full-length offering from Anders Trentemøller. With Fixion, Anders has crafted a logical successor to 2013's Lost (IMR 014CD/LP), a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full band. In much the same manner that Lost built on from the somber cinematic classic that was Into The Great Wide Yonder (IMR 002CD/LP, 2010), Fixion has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic. Rather than attempting to completely reinvent himself, Anders has used his latest outing as an opportunity to highlight certain granular aspects of his signature sound and refine them into a much more organic -- and at times perhaps more song-driven -- body of work. It's a record that on first listen may seem less detailed but, with Trentemøller, one should never be fooled by initial impressions. It's the kind of record that will over time repeatedly unlock new intricacies and offer the listener an opportunity to understand the work differently upon each listen. The album succeeds in traversing a swathe of influences and unassuming genres -- yet all the while holding true to Trentemøller's unique and sometimes challenging vernacular. From cascading minimalist synth-scapes to driving electro-punk, each and every track on Fixion is bound together with a contemplative melodic complexity. Vocals on "River In Me" and "Complicated" are by Jehnny Beth, singer of the UK band Savages, whose 2016 album Adore Life was mixed by Trentemøller. Marie Fisker, a mainstay of the Trentemøller live constellation, has also been a long-time studio collaborator of Anders and her four songs on Fixion mark their third musical partnership. Lisbet Fritze also features as a vocalist on "Where The Shadows Fall." Guest musicians include Jeppe Brix (Howl Baby Howl) on guitar, Lisbet Fritze on bass and guitar, and Jakob Høyer on drums and toms; all other instruments were played by Anders Trentemøller. The album was mastered by Grammy-nominee Emily Lazar at The Lodge (David Bowie, Foo Fighters, Lou Reed, Goldfrapp, Moby, Sonic Youth, Depeche Mode, The Velvet Underground).
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7"
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IMR 022EP
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Redefine is the second single taken from Trentemøller's new album Fixion (IMR 021LP/LTD-CD/LTD-LP) and features Marie Fisker on vocals. Trentemøller on working with Fisker: "Marie has such a powerful and unique voice that fits my music quite naturally. I had her in mind as soon as I started writing. She ended up singing on four of the songs so she's definitely the voice that kind of leads you through the album." Thomas Bertelsen, aka T.O.M. And His Computer, contributes a brilliant remix that underlines the song's dark tones and moves it into the fields of electronica.
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7"
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IMR 020EP
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River In Me is the first single taken from Trentemøller?s new album Fixion. It features Jehnny Beth of Savages on vocals, while Trentemøller contributed his own rework for the B-side. Swedish director Åsa Riton and Swedish artist Andreas Emenius created an outstanding video for ?River In Me? which will be published upon the release of the single.
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12"
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IMR 019EP
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Copenhagen producer and DJ Thomas Bertelsen presents the debut EP of his TOM And His Computer alias on Trentemøller's In My Room label, following Bertelsen's 2015 tour with Trentemøller. "Organ" rides along on a crunchy rhythm with psychedelic organs, howling electronics, and fizzing guitars. The raw driving beat and bass hits of "Girl A Go Go" precede an aggressive, surf guitar riff and a climax of distortion. "Tectonic (feat. Fraser McGuinness)" keeps the dark energy flowing, drenched in reverb and noisy layers. "La Fountaine" perfectly fuses diverse elements from across the musical spectrum -- choral sounds, new wave edginess, and plenty of effects.
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LP
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IMR 018LP
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Trentemøller's recent album opus Lost already served as the logical continuation of his varied work and delivered his signature sound intact, yet it really didn't sound like anything he'd ever produced before. Streamlined, song-structured and guitar-driven, Lost boasted a dozen tracks, each offering something of interest for anyone who has ever been a fan of the Copenhagen producer. Now the new Lost Re-Works release gleefully rips up the rule book again, as Trentemøller is joined by some carefully-chosen conspirators -- Toydrum (aka James Lavelle and Pablo Clements of UNKLE), Jenny Wilson, T.O.M. And His Computer, Unkwon and Trentemøller -- in dismantling the intricate musical tapestry of the album, recontextualizing the instrumental experimentation, the trashed analog consoles, and the entire sweep of influences, from Krautrock to classical. The original version of "River of Life" abandons its throbbing guitars and soaring strings for dark and retro electroclash tones on Trentemøller's own remix, and introspective, electro-gaze in the hands of T.O.M. And His Computer. "Come Undone" stalked at a slow and measured pace, and Trentemøller's steamy new version recalls vintage Goldfrapp in marrying sultry vocals and seductive machine music, while Toydrum beefs up the raw, spiky electro-rock elements. The melancholic pop beauty of "Candy Tongue" is re-made with ghostly atmospherics and evocative, exotic instrumentation via Jenny Wilson's version, and while one remix of "Deceive" made its debut in a stunning EP package from earlier this year -- Unkwon's misty, dusty broken-beat version -- it is counterbalanced by Trentemøller's own glitchy, cinematic "Lost & Found" remix. Remixes by: Toydrum - Toydrum is the moniker of no one else than James Lavelle and Pablo Clements aka UNKLE, one of the most influential bands of our time. Jenny Wilson - Swedish icon Jenny Wilson's career started with her first appearance on The Knife's label. Since then she has released four successful albums. T.O.M. And His Computer - is Thomas Bertelsen, who is one-half of the Danish band Lulu Rouge, who released their second album on Universal. Unkwon - is multi-artist Anders Dixon, who most recently remixed Rumpistol and CTM. Includes mp3 download code.
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10"
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IMR 016EP
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"Gravity" is the third single taken from the third studio album Lost by Trentemøller (IMR 014CD/LP). With the drum-setting inspired by early Krautrock, this wonderful and multilayered song still breathes the Trentemøller signature. The vocals come from Jana Hunter, singer of the Baltimore-based band Lower Dens. They melt perfectly with "Gravity." On the B-side you'll find a remix by Copenhagen- and Berlin-based band Pinkunoizu. Their version casts the song in a new light with re-arranged drums and a hypnotic build.
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2LP
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IMR 014LP
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Standard 2LP edition. In My Room presents Lost, the third full-length venture from Anders Trentemøller. Lost, much like its predecessor Into the Great Wide Yonder (IMR 002CD/LTD), 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. Featuring guest appearances by Jonny Pierce (of The Drums), legendary slow-core pioneers Low, Jana Hunter (of Lower Dens), Marie Fisker, Ghost Society, Kazu Makino (of Blonde Redhead) and Sune Wagner (of The Raveonettes).
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2LP
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IMR 015LP
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An instrumental vinyl version of Lost, the new Trentemøller album -- for those who want to explore the sound of Lost even further. This 2LP instrumental version comes in a black (instead of white sleeve) with white (instead of black) vinyl. Includes an MP3 download code.
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7"
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IMR 013EP
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"Candy Tongue" is the second single taken from the third studio album Lost (IMR 014CD/014LTD-EP) by Trentemøller, featuring vocals from Danish singer/songwriter Marie Fisker. "Candy Tongue" slowly builds from whispered, emotional vocals into a rousing song with over-steering guitars and evocative chants. This single reveals the essence of the third record, which covers all eras of electronic music, and also invokes aspects of the guitar-driven second album. This single will be accompanied by a beautiful music video, directed and produced by Thomas Jessen.
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CD
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IMR 014CD
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In My Room presents Lost, the third full-length venture from Anders Trentemøller. Lost, much like its predecessor Into the Great Wide Yonder (IMR 002CD/LTD), 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. 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. Danish musician, live performer, producer, remixer and DJ and Anders Trentemøller has risen to the heights of international success usually only connected with artists in more mainstream, pop realms. His outstanding skills and talent for heart-wrenching melodic moments, fused with his trademark sound, have helped him gain fans across the globe, and blur the boundaries between cutting-edge, underground quality and mass appreciation. The 12 songs on Lost mark yet another big step forward in Trentemøller's career. That trademark haunting feeling that defined both The Last Resort (PFR 018CD/LP) 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. Trentemøller has managed to bring on-board a whole rake of fantastic peers, personal influences and sprouting talent in the form of guest appearances by Johnny Pierce (of The Drums), legendary slow-core pioneers Low, Jana Hunter (of Lower Dens), Marie Fisker, Ghost Society, Kazu Makino (of Blonde Redhead) and Sune Wagner (of The Raveonettes). The initial edition of the CD will be released as a luxury "bookstyle" cardboard package including a full booklet.
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2LP
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IMR 014LTD-LP
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Gatefold double LP version on 180 gram vinyl. Includes download code. Last copies available in this deluxe format... In My Room presents Lost, the third full-length venture from Anders Trentemøller. Lost, much like its predecessor Into the Great Wide Yonder (IMR 002CD/LTD), 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. 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. Danish musician, live performer, producer, remixer and DJ and Anders Trentemøller has risen to the heights of international success usually only connected with artists in more mainstream, pop realms. His outstanding skills and talent for heart-wrenching melodic moments, fused with his trademark sound, have helped him gain fans across the globe, and blur the boundaries between cutting-edge, underground quality and mass appreciation. The 12 songs on Lost mark yet another big step forward in Trentemøller's career. That trademark haunting feeling that defined both The Last Resort (PFR 018CD/LP) 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. Trentemøller has managed to bring on-board a whole rake of fantastic peers, personal influences and sprouting talent in the form of guest appearances by Johnny Pierce (of The Drums), legendary slow-core pioneers Low, Jana Hunter (of Lower Dens), Marie Fisker, Ghost Society, Kazu Makino (of Blonde Redhead) and Sune Wagner (of The Raveonettes).
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7"
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IMR 012EP
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Trentemøller's label In My Room is proud to present the first single from his third album Lost, due for release in 2013. "Never Stop Running" is an empathetic, evolving song that perfectly melts with the expressive vocals of The Drums singer Jonny Pierce. The cover image appears courtesy of Asger Carlsen. "Never Stop Running" will be performed live for the first time in the spring of 2013 at the O2 Arena in London when Trentemøller will be supporting Depeche Mode.
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7"
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IMR 008EP
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In My Room presents a special Trentemøller version of Gun Club's "My Dreams," featuring the sultry vocal talents of Marie Fisker. With a heavy electronic approach and slow-burning tempo, the ingenious re-working takes pride of place on a lovely 7'' record, backed with a haunting live acoustic version. Marie Fisker, who is part of Trentemøller's live band, provides the urging, aching vocals as Trentemøller crafts a slowly thumping and evolving moment of wonder, inspired by the dramatic synths.
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2CD
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IMR 007CD
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Anders Trentemøller has become one of the most respected names in cutting-edge electronic music. His rise to notoriety was sparked by his early, techy releases for Poker Flat and Audiomatique and has since gone on to stellar highs with his own personal take on the genre, spanning, pop, rock, indie and classical. Now, this special double CD release celebrates some of the producer's favorite remixes he completed for other artists, and also some of his personal picks where other musicians have reworked his music. With over 20 super-slick productions to choose from, this is a real treat for any Trentemøller fan, or indeed a great introduction into his sound -- from crisp electronic beats, to atmospheric and filmic moments, to heavy post-rock mutations and beyond. All the reworked tracks are taken from 2010's Into The Great Wide Yonder album (IMR 002CD-LTD/LP), which fused melancholic, emotional melodies with a more indie/electro-rock studio focus. This double CD packs so many quality songs and productions, it's hard to list them all, yet highlights on CD1 include the introductory swathes of Marie Fisker's wonderfully contemplative version of "Sycamore Feeling," taking us into lazy, hazy hypnotic waves of neo-folk. "Tide" flows in as three different versions: Efterklang's beautiful new remix, a Trentemøller version, and Modeselektor's dirty ride with plenty of lo-fi synths fusing with high-end production. There's also a remix by Andrew Weatherall, and the main man's remixes of artists like UNKLE, The Dø, Franz Ferdinand or Modeselektor featuring Thom Yorke -- all must-have modern works, also including Kasper Bjørke's tender "Does Not Matter" which is re-shaped by Trentemøller. On CD2 we find even more electronic versions, kicking off with Trentemøller's foreboding new mix of his own "Neverglade," before we hear his interpretations of Efterklang's "Raincoats" or the heroic version of Depeche Mode's "Wrong." I Blame Coco provide their brilliantly different interpretation of "...Even Though You're With Another Girl," featuring the new recorded vocals of Coco Sumner. "Even Though..." is also reworked by Kollektiv Turmstrasse providing a stylish mixture of pop-meets-deepest-electronica. Furthermore, we discover brilliant reworks of bands like Mew, Giana Factory and Chimes And Bells. UNKLE, maverick UK producer James Lavelle's ambitious ongoing project, reaches out into filmic, spacey zones with their remix of Trentemøller's classic "Neverglade." Among UNKLE's version and the bristling, tense electronic remix by Trentemøller himself, this track also appears as an instrumental version. Trentemøller Reworked/Remixed is a beautiful journey into the musical world of one of the best producers and musicians today, enriched with reinterpretations by some of the most interesting artists.
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