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Slow Movement

(EN) Trentemøller: Into the Obverse

En Music, Entrevistas, Slow Movement 21 November, 2019

Alejandro Serrano

Alejandro Serrano

PERFIL

Born from a creative rethinking, after months of stagnation in the studio, and influenced by the discovery that he was going to be a father, Trentemøller’s latest work, Obverse, is a project built from passion and love towards music, loser challenges and changes that one suffers in life. The result is an atmospheric and dreamlike mix prized by introspective synthesizers, which recognizes unique and mysterious sound passages, while the Danish artist recreates sensual emotional journeys.

It is about an artist who has managed to be so authentic and personal in his work, that music speaks for itself. Anders stated it because, for him, each album is like a snapshot of where it is in the emptying. It is really difficult to find the specificity of what is successful in my life, instead, I found it more than expressing a general feeling of the atmosphere and the environment, because it is to the point that it reflects different parts of the world.

For him, the music compartment allows him to find a balance between darkness and light. Music is a very, very nice platform to express my feelings. It was much harder for me than to write, paint or hacker, or something else. Music is an art that conspires to speak directly to your heart. Think we are always working with the mind, but the art of music is purer for the heart. That is also an instrumental music performer, it does not do more than contain dictates what theme is going in question, but you can create your own internal images.

Trentemøller takes his passion for nocturnal and sinister sounds to a whole new level.

Music as a means of expression has been an important part of Trentemøller’s life since that young time, his teenage influences have helped shape his identity and inspired him with his own voice. Music was always my invisible friend with whom I could trust and go whenever I wanted, they say. Fortunately, over time, he was able to find that place of interpretation in music that the project projected his creative spirit, until culminating with obverse, thereby taking an unexpected but coherent turn, like nature, from which he was inspired.

For me, I am really surgical because in the middle of my creative process, my girlfriend and I discovered that we were going to be parents. I had a son about 6 weeks ago, and this has been crazy, something really fantastic. As soon as I had the As a child, I decided that I didn’t want to go on another world tour, and be back sitting on a tourist bus for many, many days. I remember that when we released the last album we were playing in more than 120 shows in a year, it’s days off, he spent them traveling… However, this turn has led him to discover the infinite possibilities of his study, something we had in front of us for so many, so many years.

In contrast, Trentemøller takes his passion for nocturnal and sinister sounds to a whole new level. It was much better than the story of an artist who overcame the usual artistic routine, to create something truly authentic and personal. As a result, this album feels like everything synthetic.

This evasion to answer the questions that were raised in the disco is both a strength and a weakness. There is a virtue in letting these feelings be fulfilled endlessly, because ultimately, their feelings that they do not make gestures to anything else that has them and, emotionally, may seem aimlessly, far from structures and expectations, feeling like purer incarnation of The Sound of Trentemøller. This is a new starting point, as hypnotic as it is stimulating. It is perhaps the best achievement of the album, where his other works try to encapsulate and summarize this type of emotional travel, the way in which thought disintegrates at 3 am and we we are forced to take cold air to walk, reflect, worry and collapse, obverse does the same, but its inside.

Faithful knew the word, Trentemøller used the study as an instrument, with the mezzo and great sensitivity, always in perspective with the instrumental and the voice. The fate of the past, the artist was never destined for the dance floor, since each Trentemøller album is far from any rigid stylistic limitation, beyond all limits, or as an affirmation: It is in the subtle clashes of feelings and contradictions of often pure inspiration.

By Alejandro Serrano & José Llop.

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