TRENTMØLLER RELEASES NEW SINGLE ’NO MORE KISSING THE RAIN’ + VIDEO
THE DANISH COMPOSER, MUSICIAN AND PRODUCER RETURNS WITH SIXTH STUDIO ALBUM ‘MEMORIA’ NEXT MONTH
The collection of songs on Trentemøller’s sixth studio album traverses some ground fans will find familiar, but also digs deeper into themes of transience and various forms of continuance. His latest single, 'No More Kissing In The Rain' gives the impression that it’s easier to find comfort in the darkness when it feels like particles of light are only moments away from assembling, perhaps divulging a bright secret.
'No More Kissing In The Rain' announces itself with an overture to a synth opera shot on supersaturated film. Warm waves of sweeping, lush pads soon land to make space for vocalist Lisbet Fritze’s tone-setting proclamation:
“My dear, I am running out of time.” Concurrently, her heartfelt vocals are pushed and pulled by an almost playfully mephistophelean synth line. Each glistening guitar glissando bloom projects the feeling that a series of curtains are being drawn back, revealing the next act. The chorus arrives like an unexpected sun flare, overexposing halide crystals, and smearing the emulsion. “Is this the end of everything?” It feels like the end of a relationship, but is the relationship between two people, or the corporeal being and its earthbound existence? “You know I know we’re growing colder." The final orchestral tag of this pocket symphony signals its closure. There’s no hint of trepidation, only a sense of comfort, albeit a vague one.
Was the sun flare actually the light at the end of the tunnel?
Anders Trentemøller’s sixth studio album 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. Fully assembled, it presents itself as a new form of electronic space pop, complete with elements of longing and solemnity.
Trentemøller’s 2019 album ‘Obverse’ 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.
No comments:
Post a Comment