Trentemøller The Last Re­sort

Poker Flat Record­ings, 2006

Future Music - - FILTER -

Trentemøller’s de­but al­bum plays like the sound­track to a movie that doesn’t ex­ist. It’s a dark, brood­ing, min­i­mal­ist master­piece that you could hap­pily lis­ten to on head­phones with a David Lynch flick play­ing away silently in the cor­ner of the room.

In fact, Lynch films were a huge in­flu­ence on the pro­ducer. Those, and the works of scor­ers like Mor­ri­cone, would ac­tu­ally sit next to the al­bum more com­fort­ably on the shelf than any of the straight-up techno Trentemøller would have been know for at the time.

Tracks like Snowflake are as frag­ile as their name­sakes, and ti­tles of pieces like While the Cold Win­ter Wait­ing fit the frosty sound­scapes he was dream­ing up in his tiny apart­ment stu­dio, late at night, and qui­etly so as not to wake the neigh­bours.

“I was def­i­nitely go­ing for some­thing with this al­bum that was less ‘techno’ than what I’d done in the past,” says Trentemøller. “I re­ally wanted it to be not so beat-ori­en­tated, but to have much more fo­cus on the melodies. And I re­ally wanted it to have an ‘al­bum feel­ing’: be­gin with a start, and then take peo­ple on some kind of trip.”

And over the 13 tracks he does just that, as well as re­ally flex­ing his pro­duc­tion mus­cles, show­ing you that he’s not just the guy who turns out bang­ing remixes – he can make per­sonal, in­tro­spec­tive mu­sic that might ac­tu­ally say some­thing about the hu­man con­di­tion.

“It was good for me to show an­other side of my com­pos­ing and sound mak­ing, and not just mu­sic for the dance­floor,” says Trentemøller. “I’d only been re­leas­ing 12" sin­gles up to that point, and I was a lit­tle tired of the whole ‘club scene’ back then.”

The Last Re­sort was a real turn­ing point, and some­thing he’s still very proud of to­day. “It was a very per­sonal al­bum,” he says. “It was mainly just done by me on my lit­tle stu­dio setup in my apart­ment on a lap­top I bought from Aldi.

“Lis­ten­ing back, for the first time in about ten years, it still feels very in­ti­mate, be­cause it was an in­ti­mate al­bum to make. It was my sound­track al­bum.”

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