Obverse
by Trentemøller
yanntouret
yanntouret
Une tuerie comme d'habitude.
godwina
godwina
dreamy and melancholic, haunting yet comforting melodies. love his choice of guest singers, adding to songs so beautifully.
perfect release timing for the end of summer... one of my favourite 2019 albums. Favorite track: In The Garden.
perfect release timing for the end of summer... one of my favourite 2019 albums. Favorite track: In The Garden.
misikm
laughing_reaper
Maxwel
deathghidorah
fmbrussels
melissajhartley
Peshoo
manu
kohunui
A_L_
nrz0
mickbellinello
Mister G
de_wynter
Ziggy47
ESHAZET
CuttlePhish
hannsooo
Mephiles
friesen_dm
Psychonaut
DjLaZaRuS
kd
Samojed
megamega
Duc-Thi Bui
Aleksei Goldbergs
michaelappeltrath
topherdrum
bohun
Savagelogic
)(
Space_agaiN
observer_hh
Liquid Barbed Wire
winopunk
thylacoleon
monopol
Valphira
Carsten Agthe
nico sandri
osSSya
andyp63
arren86
mesclape
hapsys
SPATJE
shlomiaber
dirk (skotty) wahle
djmattd70
georges69
popculturescie
ZaxProxy
Boorhïn
Jens Kasten
Chicken Paradise
Carousel
benjhardy
djoismit01
duckbeatz
-
Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
€9.99 EUR or more
-
Compact Disc (CD) + Digital AlbumIncludes unlimited streaming of Obverse via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 1 dayPurchasable with gift card
€6.99 EUR or more
-
-
Record/Vinyl + Digital AlbumIncludes unlimited streaming of Obverse via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 daysPurchasable with gift card
€17.99 EUR or more
-
1. |
Cold Comfort
08:30
|
|||
|
Do we heed this cold shore
To paint this coast black
Cold comfort
Can you crawl through this mire
To take the fear away
When you’re through I’ll hold you
Lost the way
Lost the way
You’ve lost the way
Can we heal this cold day
And paint these hills green again
Can you crawl through this mire
To take the fear away
When you’re through I’ll hold you
Lost the way
Lost the way
You lost the way
You lost the way
You lost the way
|
||||
2. |
Church Of Trees
06:38
|
|||
3. |
||||
|
Golden like someone you knew before
Born out of rage
Look inside the door at what is waiting now
How could you respond to this somehow
I'm in the field
I'll walk around
In the garden
I ask permission
To be silent
Always listening
Now i can hear it
Now i can hear it
I will deconstruct
Gravity is me it’s leaking out
Of my identity
In the golden tide
On the beach where i
See a smoking gun
I cover up my eyes
It is not
It is not
But what is it
Take it apart
It’s a song you heard
It is not
It is not
But what is it
Take it apart
It’s a song you heard
Paint it white
What will i do
If i’ve got nothing to lose
What will i do
I’ve got nothing to lose
|
||||
4. |
Foggy Figures
07:23
|
|||
5. |
||||
|
Blue September
You got me thinking
And loose my temper
Do you remember
Not so long ago
The endless summer
Mmm...
Bright nights are ending
Now it’s closing in
But I’m still here
Feeling the fire burning
My bones are cold but
The world is turning
Sugarcoated Memories
Of long lost days
Flying high on fantasies
In mysterious ways
Mmm...
|
||||
6. |
Trnt
08:06
|
|||
7. |
||||
|
Dive in to the dark dark yonder
No tears to cry, only thunder
Just one last kiss to remember
Just one last kiss
Move slowly through the drowning waves
I close my eyes
The walls crash down
Sink deep in the night of tomorrow
I sing the song of sorrow
Too many tears
Too many fears
Remembering
All dressed in white
I fade away
Just one last kiss to remember
Just one last kiss to remember
|
||||
8. |
||||
9. |
||||
|
Sit me down baby
Tell me that you’re crazy
Cause I’ve lost my mind
Enough times
For you
Solitude is what you do
When you think it’s over
Walk in time
W the beat I gave you
Love lies
Under it all
Under it all
Under it all
Chorus
Try a little
Work a little
Be a little
But more for me
Try a little
Work a little
Be a little
bit more for me
2nd verse
As I reflect on the time
Seems like I knew it
All then
Why would I wonder why
Why would I
Why would I
Solitude is what you do
When you think it’s over
As I reflect on the time
Love lies under it all
Under it all
Chorus
Try a little
Work a little
Be a little bit
More for me
Try a little
Work a little
Be a little
Bit more for me
Try a little harder
Be a little bit more for me
Be a little bit more for me
Be a little bit
Be a little bit
Be a little bit
More for me
|
||||
10. |
Giants
05:03
|
|||
about
Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he’s most adept at is the studio itself. Obverse is the result of him expanding that skill even further.
It often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges.
What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal?
Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new.
“The only thing I knew from the beginning was that this didn’t absolutely have to be an album I should be able to play live, with a band. That’s been a consideration on every record since The Last Resort. Obverse was always going to be about exploring the possibilities in my studio, with no consideration of how it could be performed on a stage, and it was completely liberating.”
It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche.
When you take the leap of faith, and jump into the river, you often drift in unintended directions, however. If something about a particular instrumental reminds you of Slowdive, the only reasonable thing to do is get Rachel Goswell on the phone to ask her if she’d like to have a go at singing on it. Trentemøller’s music has often given a respectful nod to shoegaze, and now a bonafide pioneer of the genre was in the mix on “Cold Comfort.”
So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop.
Like all great instrumentals, songs on Obverse told their own stories long before the idea of adding words to them was considered.
Music is often impelled by lyrics. In this case, the lyrics were undoubtedly compelled by the music.
While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion left off.
"Church Of Trees" may come out of the gate sounding like a minimalist film score, but when the heavily modulated synths finally arrive, bathed in reverb, and the warped record effects kick in, it leaves no doubt that this is a Trentemøller concoction. Motifs take their time to develop, and are followed by a pleasantly jarring non sequitur. As with its companion songs, its narrative is succinctly contained in the title of the album.
Obverse: an alternative to what your perception is. The flip side of the coin.
For the past decade Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks.
“I have always worked with contrasts in my music and in my sound. And Obverse is no exception. It’s in the subtle clashes of feelings and tonal contradictions that I often find the pure inspiration. It’s most interesting for me when I essentially don’t know where a piece of music will take me. It may begin with a chord progression that seemingly came out of nowhere, or contemplating direct confrontations between digital and analog, organic and sterile, darkness vs. light. When I navigate those musical minefields things start to happen.”
The packaging of a Trentemøller record is intrinsically linked to the songs contained therein, though it’s never been more the case than with this release. Los Angeles based artist Jesse Draxler has contributed a cornerstone in the form of original art, which examines the black and the white, the dynamic vs. the serene, the big picture vs. the minutiae. It’s a case study in complementary contrasts, like the album itself.
While any Trentemøller song is more than capable of standing on its own, as with past projects, companion films are forthcoming, completing the artistic triune Anders has explored in recent releases. The bass driven, loping, “In The Garden,” the urgently rhythmic “Try A Little,” the kinetic, neo-ambient-meets-drum-and-bass “Foggy Figures,” the deeply narcotic “Blue September,” and the airy “Sleeper” will all get video treatments.
By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own.
It often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges.
What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal?
Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new.
“The only thing I knew from the beginning was that this didn’t absolutely have to be an album I should be able to play live, with a band. That’s been a consideration on every record since The Last Resort. Obverse was always going to be about exploring the possibilities in my studio, with no consideration of how it could be performed on a stage, and it was completely liberating.”
It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche.
When you take the leap of faith, and jump into the river, you often drift in unintended directions, however. If something about a particular instrumental reminds you of Slowdive, the only reasonable thing to do is get Rachel Goswell on the phone to ask her if she’d like to have a go at singing on it. Trentemøller’s music has often given a respectful nod to shoegaze, and now a bonafide pioneer of the genre was in the mix on “Cold Comfort.”
So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop.
Like all great instrumentals, songs on Obverse told their own stories long before the idea of adding words to them was considered.
Music is often impelled by lyrics. In this case, the lyrics were undoubtedly compelled by the music.
While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion left off.
"Church Of Trees" may come out of the gate sounding like a minimalist film score, but when the heavily modulated synths finally arrive, bathed in reverb, and the warped record effects kick in, it leaves no doubt that this is a Trentemøller concoction. Motifs take their time to develop, and are followed by a pleasantly jarring non sequitur. As with its companion songs, its narrative is succinctly contained in the title of the album.
Obverse: an alternative to what your perception is. The flip side of the coin.
For the past decade Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks.
“I have always worked with contrasts in my music and in my sound. And Obverse is no exception. It’s in the subtle clashes of feelings and tonal contradictions that I often find the pure inspiration. It’s most interesting for me when I essentially don’t know where a piece of music will take me. It may begin with a chord progression that seemingly came out of nowhere, or contemplating direct confrontations between digital and analog, organic and sterile, darkness vs. light. When I navigate those musical minefields things start to happen.”
The packaging of a Trentemøller record is intrinsically linked to the songs contained therein, though it’s never been more the case than with this release. Los Angeles based artist Jesse Draxler has contributed a cornerstone in the form of original art, which examines the black and the white, the dynamic vs. the serene, the big picture vs. the minutiae. It’s a case study in complementary contrasts, like the album itself.
While any Trentemøller song is more than capable of standing on its own, as with past projects, companion films are forthcoming, completing the artistic triune Anders has explored in recent releases. The bass driven, loping, “In The Garden,” the urgently rhythmic “Try A Little,” the kinetic, neo-ambient-meets-drum-and-bass “Foggy Figures,” the deeply narcotic “Blue September,” and the airy “Sleeper” will all get video treatments.
By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own.
credits
released September 27, 2019
written, produced and mixed by anders trentemøller.
all instruments played by anders trentemøller.
additional guitar on ‘cold comfort’ and ‘foggy figures’ played by jeppe brix, on ‘one last kiss to remember’ and ‘cold comfort’ played by manoj ramdas, on ‘in the garden’ played by silas tinglef.
additional bass on ‘try a little’ by jakob falgren, on ‘in the garden’ by silas tinglef.
additional drums on ‘foggy figures’ and ‘try a little’ by jakob høyer.
vocals and lyrics performed and written on ‘cold comfort’ by rachel goswell, on ‘in the garden’ by lina tullgren, on ‘blue september’ by lisbet fritze, on ‘one last kiss to remember’ vocals and lyrics written by anders trentemøller, performed by lisbet fritze, on ‘try a little’ by jennylee.
vocals on ‘cold comfort’ engineered by steve clarke.
mastered by bo kondren at calyx.
artwork by jesse draxler — jessedraxler.com
art direction by thomas høedholt — thomashoedholt.com and anders trentemøller.
published by anders trentemøller administered by ed. babelfish/freibank, except ‘cold comfort’, ‘blue september’ and ‘one last kiss to remember’ published by anders trentemøller administered by ed. babelfish/freibank and copyright control, ‘in the garden’ published by anders trentemøller administered by ed. babelfish/freibank and no other music, ‘try a little’ by anders trentemøller administered by ed. babelfish/freibank and jennylee music [ascap], administered by kobalt songs music publishing.
lina tullgren appears courtesy of captured tracks, jennylee appears courtesy of caroline international.
written, produced and mixed by anders trentemøller.
all instruments played by anders trentemøller.
additional guitar on ‘cold comfort’ and ‘foggy figures’ played by jeppe brix, on ‘one last kiss to remember’ and ‘cold comfort’ played by manoj ramdas, on ‘in the garden’ played by silas tinglef.
additional bass on ‘try a little’ by jakob falgren, on ‘in the garden’ by silas tinglef.
additional drums on ‘foggy figures’ and ‘try a little’ by jakob høyer.
vocals and lyrics performed and written on ‘cold comfort’ by rachel goswell, on ‘in the garden’ by lina tullgren, on ‘blue september’ by lisbet fritze, on ‘one last kiss to remember’ vocals and lyrics written by anders trentemøller, performed by lisbet fritze, on ‘try a little’ by jennylee.
vocals on ‘cold comfort’ engineered by steve clarke.
mastered by bo kondren at calyx.
artwork by jesse draxler — jessedraxler.com
art direction by thomas høedholt — thomashoedholt.com and anders trentemøller.
published by anders trentemøller administered by ed. babelfish/freibank, except ‘cold comfort’, ‘blue september’ and ‘one last kiss to remember’ published by anders trentemøller administered by ed. babelfish/freibank and copyright control, ‘in the garden’ published by anders trentemøller administered by ed. babelfish/freibank and no other music, ‘try a little’ by anders trentemøller administered by ed. babelfish/freibank and jennylee music [ascap], administered by kobalt songs music publishing.
lina tullgren appears courtesy of captured tracks, jennylee appears courtesy of caroline international.
license
all rights reserved
tags
about
Trentemøller Copenhagen, Denmark
Anders Trentemøller´s talent for melodic moments and exceptional productions, fused with his trademark sound between indie and electronic, has established him as one of the most respected and admired artists and remixers. With ‘Fixion’ he crafted a logical successor to ‘Lost’ - a record that managed to truly capture the visceral live experience of Trentemøller as a full-band. ... more
shows
-
Oct 09Ljubljana, Slovenia
-
Oct 10Vienna, Austria
-
Oct 11Bern, Switzerland
-
Oct 12Geneva, Switzerland
-
Oct 13Istanbul, Turkey
-
Oct 14Thessaloníki, Greece
-
Oct 15Athens, Greece
-
Nov 02Reykjavík, Iceland
discography
-
Sep 2022 -
Feb 2022 -
Jan 2022 -
Nov 2021
contact / help
If you like Trentemøller, you may also like:
-
supported by 70 fans who also own “Obverse”
So incredibly haunting and beautiful. I could listen forever.
go to album -
Promises
by Floating Points, Pharoah Sanders & The London Symphony Orchestra -
supported by 62 fans who also own “Obverse”
So hard to choose just one favourite, and I hover between this, Baby, School, and Teenage Birdsong. All absolutely banging in all the right (or left) places.
go to album -
Funk
by Baron Rétif & Concepción Perezfeatured on Bandcamp Radio May 16, 2023
go to album -
featured on Bandcamp Radio Apr 25, 2023
go to album -
The songs on “Gallery” are inspired by various works of art, lovingly translated into goth-tinged indie pop.
go to album -
supported by 60 fans who also own “Obverse”
This is an excellent album! It's filled with amazing songs that you'll love. The music is catchy and the lyrics are powerful. Give it a listen, you won't be disappointed!
go to album
