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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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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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HFN 085LP
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Double LP version. Gatefold Sleeve; Includes download code. For Harbour Boat Trips Vol. 02: Copenhagen, Trentemøller curated and crafted sixteen songs into a heavy, hazy mix. The music on this mix ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic "Transformer Man". Trentemøller's newest project is the second volume of the Harbour Boat Trips mix series. The mix sees him pick up a thread he left off earlier in his career: in 2009 he put together Harbour Boat Trips 01: Copenhagen (HFN 001CD, 2009), a compilation mix comprised of his favorite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbor. Closing in on a decade later, the second edition has arrived. "Sometimes, it's nice to take a break from my own stuff and present some of the music that I like and music that inspires me", says Trentemøller. The diversity of his musical knowledge and taste is reflected in the variety of places and times the tracks are sourced from, from old Danish cult classics to some of the best new artists to surface in recent years like Paris' Pyrit and Posh Isolation's CTM. What perhaps unites the songs on the mix is their sense of heaviness, of artistic depth. There's nothing throwaway or frivolous here, a mix stretching from industrial to shoegaze instead hitting the listener in the hard places. Trentemøller's mixing highlights the qualities the songs share, their darkness but also their strange, cold beauty and ability to captivate. Despite the songs being pulled from very different places, they share a certain spirit and form a coherent artistic unit for an hour-long musical journey. Also features: The Raveonettes, How Do I, Kira Skov, The Lollipops, Tropic Of Cancer, Black Marble, John Maus, Moon Duo, The KVB, and Levin Goes Lightly.
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CD
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HFN 085CD
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For Harbour Boat Trips Vol. 02: Copenhagen, Trentemøller curated and crafted sixteen songs into a heavy, hazy mix. The music on this mix ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic "Transformer Man". Trentemøller's newest project is the second volume of the Harbour Boat Trips mix series. The mix sees him pick up a thread he left off earlier in his career: in 2009 he put together Harbour Boat Trips 01: Copenhagen (HFN 001CD, 2009), a compilation mix comprised of his favorite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbor. Closing in on a decade later, the second edition has arrived. "Sometimes, it's nice to take a break from my own stuff and present some of the music that I like and music that inspires me", says Trentemøller. The diversity of his musical knowledge and taste is reflected in the variety of places and times the tracks are sourced from, from old Danish cult classics to some of the best new artists to surface in recent years like Paris' Pyrit and Posh Isolation's CTM. What perhaps unites the songs on the mix is their sense of heaviness, of artistic depth. There's nothing throwaway or frivolous here, a mix stretching from industrial to shoegaze instead hitting the listener in the hard places. Trentemøller's mixing highlights the qualities the songs share, their darkness but also their strange, cold beauty and ability to captivate. Despite the songs being pulled from very different places, they share a certain spirit and form a coherent artistic unit for an hour-long musical journey. Also features: The Raveonettes, How Do I, Kira Skov, The Lollipops, Tropic Of Cancer, Black Marble, John Maus, Moon Duo, The KVB, and Levin Goes Lightly. Digipak, 12 page booklet.
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3LP
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PFR 018X-LP
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2021 restock. Special vinyl reissue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Trentemøller's debut album remains one of the few genre-defining and groundbreaking albums in many regards. It's still being praised for its composition and sound design alike, and sounds as fresh and breathtaking today as it did when it was originally released in 2006. The Last Resort is a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks, and driving groove-excursions. An ever-changing kaleidoscope of colors and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass, and other acoustic instruments like celesta, glockenspiel, melodica, and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade -- alongside an array of awards for best production or best album. Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to "public demand", and simply because this album deserves a proper vinyl release, Poker Flat present, for the first time, the full album on vinyl. The recut has been carefully crafted from first generation, original masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No "digital remastering" or any other alterations have been applied. Triple-LP edition comes in a gatefold sleeve; Includes download code.
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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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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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