From Denmark Anders Trentemøller has been gaining respect from critics and the public and making personal sound, today from his own label In My Room publishes her third studio album, a new demonstration of the quality of this musician, an evolution in his compositions, 12 new compositions, with several guests on the album, an album that is published after a tour with Depeche Mode, with the Danish teacher we had the opportunity to talk about the album and other aspects of music … . do not miss
10 years, and ‘Lost’ your third album, how do you see the evolution of your compositions during this period?
For me there has been some changes but you know I could also see
ten years ago since my first album came out and hopefully as an artist you develope your sound and then was also what I was doing so for me it was a quite natural development not something that i’ve really planned but just something that happened.
You are a connoisseur and a collector of musical instruments, How that influence you at the time of creating / composing your music?
For me Inspiration is always, i mean at some point, in one specific thing or one thing that really inspire me but this time my focus on melodic side
i was trying to do even stronger melodies and chord progressions, because many of the sounds it turn out to be sounds that also had how ended up and that was maybe the difference from my old albums, this time the focus was not only on the sound and the production but even more on the melodic side.
‘Lost’ is presented as a mature album, with clear ideas, with a Trentemoller atmosphere and environment, and a sound different from the usual in your music, how was the album’s creative process?
This album was created in my studio and this time also less time when i did into the ‘Into The Great Wide Yonder’ that i all play myself all instruments so for me it’s kind of natural development of what i have been doing earlier and still there is some similarities to my first album and my second album cause there some electronic development but there are very often mixable some kind of indie work elements noisy kitch side elements this is what how it just ended up it was not something that i’ve really planned it was just happened very slowly i think half of this working process i could definitely see that this album would sound different compared to my earlier stuff so I’ve just tried to follow that path.
The album ‘Lost’ is full of details, does the album has needed a tough final production?
It was really quite easy because i was kind of carring a quite clear vision on how the album should sound when i was in the first working process so actually was quite easy for me to do it but of course still doing a great work also was a lot of struggle because it was only me at the studio im all alone and its a very kind of lonely process so if something is not working or something is not going on the right direction that’s only me to blame it so of course there were some times where not that easy but it was quite funcional because i was able to have good time going back in the studio after being play too many concerts for the last two years.
In ‘Lost’ is has a large number of collaborations in the voices, How was the selection process?
All those track that ended up with all those vocals actually kind of demand it to be with the vocals, so again it was not something that i’ve plan but very quickly in the working process i could hear that this songs will really fit with those vocals oh them and then i was writing for these especific vocalist like Kazu Makino of Blonde Redhead or Sune Rose Wagner of the Raveonettes so it was fantastic for me writing music for them.
This album will you live shows?
Yes, we actually already played live four or five new songs of this album because we were doing the support act for Depeche Mode and some festivals this last summer we also going back to play in november again, I don’t think we’re going to play in Spain actually but I’m really crossing my fingers that we’re also gonna go there.
How you to prepare the live performances of the songs with the band? And the DJ sets, how do you prepare?
That is a whole difference compared to the work in the studio but it’s a process that I really like after sitting alone doing this album for fourteen months so it’s really great actually to see other people in the band.
How could you explain your experience with Depeche Mode live performance?
It was super fan to get along with one of my heros when I was a teenager, so standing on the same stage was really great.
What would be your main musical influences, and what producers from today that you find most interesting?
There’s a lot of different very good stuff coming out specially cominh out from the UK. Also the Nick Cave and The Bad Sees new album is fantastic. A lot of new music coming out this year from old a new artists and very high quality.
What do you think is due the high quality and quantity of the musicians in the Nordic countries?
Maybe its because we now trust on our sound much more. I think than ten years ago every Nordic or Scandinavian artist was copying the sound the heros from the States or UK but now for the last four or five years they’re trusting their sound much more and definitely also we are coming out of Scandinavia to show their sound.
What do you think of piracy in the music industry? Do you think it affects the market for labels?
I think that is pretty bad that even before my album went out I could found several links with the whole album and even with the cover art and that’s sad because we as artists are living only by the sales or by playing live because the physical sales are droping and it’s really hard to survive as an artist so if people just say f*ck you by putting on the whole album that is really bad and it really hurts music so i think it would be totally cool if the people just place one track on a blog or one track at youtube but putting up the whole album with the cover art and everything is not good for the artist. People are not buying CD’s anymore and things like Spotify doesn’t left you any money as an artist. So if people that upload our music totally for free are despising our work as artists and that’s not a good thing because they are lowering our money to make our livings and the freedom to make the music that we want to do.
How do you see the current music scene in Spain?
Not so much actually.
Thank you very much Anders Trentemøller, Bruno Garcia and Freelastica
And Kali ModernFacker, Manel Simone and Fernando Dimare for conducting and translation / transcription of the interview.