Trentemøller shares entrancing single and video “No More Kissing In The Rain” from new album Memoria, out February 11 via In My Room.
The collection of songs on Trentemøller’s sixth studio album, Memoria (out February 11 via his own label, In My Room), traverses some ground fans will find familiar, but also digs deeper into themes of transience, and various forms of continuance.
His latest single & video “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. It 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?
With Memoria, Trentemøller continues to work with familiar themes of light and dark, turbulence and serenity, piercing chill and comforting warmth; clearly inspired by the inherent antipodal elements of the Nordic environment he calls home. He pushes deeper into this familiar territory, while simultaneously broadening his scope. His longest album yet, clocking in at 14 songs, it features somber, introspective pieces, motorik, shoegaze, noise rock, and electronic pop, featured in a previous run of singles including “Dead Or Alive,” “All Too Soon,” and “In The Gloaming.” As with 2019’s Obverse – which featured vocals from Warpaint’s Jenny Lee Lindberg, Lina Tullgren, and Slowdive’s Rachel Goswell – Memoria includes both instrumental and vocal songs, and for the first time, Trentemøller also composed all the vocal melodies and lyrics on the album, which are solely performed by Lisbet Fritze.
Copenhagen’s Anders Trentemøller has long been respected as a creator of extraordinarily memorable melodies and lush soundscapes, but for the last decade he’s been getting long overdue praise for being a producer with few rivals, as well.
While many artists follow a pattern of invention and reinvention, Anders’ arc has been a series of points along the same curve, playing the long game, with each release representing the next chapter in a constantly evolving series.
Contrasts and paradoxes are often explored, ultimately acknowledged in the title of his last album, Obverse. Other themes may revolve around reminiscence and remembrance, while eschewing nostalgia. Memoria digs in deeper, and honors the five canons of storytelling, including inventio, dispositio, elocutio and pronuntiatio.