2013 release from the Danish musician, live performer, producer, remixer and DJ. Anders Trentemoller 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 Trentemoller's career. Trentemoller 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).
Review:
With his early work being club-aimed music that was still musically rich
enough for headphone listening, Danish producer Trentemøller came on like a
composition student with a dark streak, plus a love of progressive house music
and techno. His debut album, 2006's The Last Resort, was a deep, dark, and
delicious overabundance of bass and reverb, thumping away like Berlin or Detroit
techno but then layering melodies that touched upon pop, all while the producer
side of the artist dropped every glitchy trick in the book. It would seem like
he was showing off if those plentiful edits and layers-upon-layers didn't work,
but when he went indie pop and soundtrack-esque on 2010's The Great White
Yonder, the results varied. The album jumped from indie song to
house-music-all-night-long with a Duane Eddy-styled guitar rave-up in the
middle, and while this third effort does essentially the same thing (the rave-up
now replaced with a twangy, dusty, “Personal Jesus”-type cut called
“Trails”), Lost is where all the pieces fall into place. Blame the superior
songwriting or the natural flow of the compositions as the indie group Low join
for “The Dream,” a song that's wistful and ruminates about life on the
level of a beloved Pink Floyd deep track.“Gravity,” with Jana Hunter,
suggests the soaring My Bloody Valentine anchored by the tick-tock of Kraftwerk,
although the swaying melody and the swollen melancholy are entirely
Trentemøller. “Candy Tongue,” with Marie Fisker, is a gentle mix of electro
and acoustic that plays to the producer's love of wonder and mystery, while
both “Come Undone” with Kazu Makino and “Deceive” with Sune Rose Wagner
border on house music for Goths, even if they come with a refinement the
electro-industrial crowd rarely offers. As on his previous effort, the
instrumental numbers cross over from clubland with the great “Still on Fire”
thumping its majestic New Order-like bass, while “Morphine” flirts with
drone and world music on a cut that feels like a dangerous journey to buy the
drug, but “Hazed” and the hidden coda that complete that album bring
reminders of The Last Resort's endless, echoing nightscape. It's an ironic
title for an album that's so sure, and even if his early fans frown as their
dancing shoes collect dust, complaining about what doesn't happen on Lost seems
silly when compared to the wonderful and intoxicating things that actually
do.
All Music Guide – David Jeffries