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Trentemøller - Into The Great Wide Yonder (new album) (pg. 2)
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| d-miurge |
This album is very Trentemollerish, indeed more in the vein of "Take Me Into Your Skin" than "Kink", but still, it's far from post-rock/shoegaze, because he explores much more aspects of his own sound.
For instance, to put "Neverglade" after "Silver Surfer Ghost Rider Go" shows well that he took the time to "stretch" his sound to all the available horizons.
My favourite track of the album is "The Mash & the Furry". I really like how he add layers of sounds and melodies.
Oh and, I am the only one to think that Metamorphis sounds like an ambient Burial track (at least the first minute)? :p |
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| Kismet7 |
| quote: | Originally posted by KrisA
He hasn't mentioned that as far as I know. He said that this album 'just happened' and he didn't have a sort of plan of how it should be shaped. He's also learned to play a lot of instruments which became a part of the record. That and the fact that he has been a part of a rock band in the past, probably has a lot to do with how it turned out stylewize. |
Does he need to mention it? If you are a Producer, it is objective that making club music limits artistic expression. Dancefloor producers have to think about the dancefloor as much as they think about the listener, otherwise the music becomes innaccessible and there is no reason for it to be a club music. So, it is impossible to express some things artistically through music while tailoring it to a club environment, AND tailoring it for the listener, its two different environments, two completely different rooms the music has to be envisioned for. For much of club music, the art is in making people want to dance. Sometimes the artist is talented to tailor it for both the club and listening, DJ Koze's music is a good example of this.
To preface, before you start saying "buh 4/4 club music can be art too" I agree, and i'm not saying it can't. I'm saying club music has a limiting structure to express through, because of the goal to make people dance. Which permeates the goal to express, create emotion or make the listener feel something, diffusing and watering down intended artistic expression. This is why I applaud the producers who manage to blur the line between artistic expression and dancefloor viability. Trentemoller often does it well through his singles and remixes. |
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| KrisA |
| quote: | Originally posted by Kismet7
Does he need to mention it? |
No, he doesn't. I know it's fairly common for people to say that the 4/4 structure limit themselves artistically - I'm just saying that he didn't mention it as a reason for doing something else and that his next album might sound more like the first one. |
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| Kismet7 |
| quote: | Originally posted by KrisA
No, he doesn't. I know it's fairly common for people to say that the 4/4 structure limit themselves artistically - I'm just saying that he didn't mention it as a reason for doing something else and that his next album might sound more like the first one. |
although a bit different in aesthetic, this new album seems to be in the non club intended vein as the first one. It will rely on remixes, whether by himself or others to reach the clubs. 4/4 is not the limiter, the intention to make music for clubs that limits artistic expression, if the music has to account for DJs, the market, clubs. The best producers/artists like Trentemoller, with his remixes and singles seem to find a way around these limitations. |
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| LoveHate |
| quote: | Originally posted by KrisA
Ah sorry. I was referring to national media. Various newspapers, magazines and major websites/portals have generally given it some positive reviews.
He was interviewed about the album among other things last week. He talked about saying "no" to perform with Kanye West, stepping back from doing club remixes and the title of the album. |
where can i read that interview? |
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| KrisA |
| quote: | Originally posted by LoveHate
where can i read that interview? |
Danish video interview on national TV - sorry :( |
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| Morphology |
| I think Nöjesguiden (a swedish culture magazine, pretty good one too) mentioned it, it was something recent by Trentemoller anyway. Looking forward to hearing it, although beating The Last Resort will be tough as hell. |
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| PhilBxR |
| Sounds no bad. I still adore Harbour Boat Trips though, always go back to it. |
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| Guest |
Its going to be tough to gauge this album from the samples. Trentemoller tracks are beautifully arranged and sometimes hearing a 2 minute clip does not allow for that to come through. The music crashes, changes direction and momentum so often.
Based on how unbelievably good "The Last Resort" was I'm going to take a somewhat blind buy on this one and trust in the man's musical ability. I have no reason to doubt him at this point
Edit: and from the samples I can hear that classic trentemoller percussion seeping through my speakers. I can picture him doing the percussion for a Cirque Du Solei show....like a one man percussion unit. Talent |
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| Kismet7 |
| whatpeopleplay has full samples. |
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| SYSTEM-J |
| Second listen through and it's growing on me some more. Seems to me the first few tracks are more classic Trentemoller and as it goes on the beats go out in favour of guitars. Tide is a lovely track to close on. |
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