Ahead of the release of his fifth album, Fixion, the Copenhagen-based producer talks ambition, artistry and working alongside Almodóvar
Danish producer Anders Trentemøller has made a career from keeping people guessing; his four albums released to date have traversed genres and displayed an artistic range that shifts from minimalism to experimentalism via blissed-out balladry. He’s produced and remixed tracks for an equally broad array of acts, courted some of cinema’s biggest names – his work appearing in films by Oliver Stone, Pedro Almodóvar and Jacques Audiard – and now has a fifth album, Fixion, due out in September.
He recruited Savages' singer Jehnny Beth for lead single River In Me – a seductive slice of electronica that takes both artists' work in new directions – and appears keen to begin his tour next month. "My studio is a playground where I can try out ideas but I’m looking forward to giving these songs a new life on stage," he says, reflecting his reputation as a highly accomplished live performer. "It’s important to me not just to replicate the album live." Ahead of its release, AnOther spoke to Trentemøller about what to expect from
Ahead of its release, AnOther spoke to Trentemøller about what to expect from Fixion.
On honing a pared-back sound...
Normally when I start working on a new album I try not to think about what I’ve done before. The only rule I set this time was that I wanted to remove all the stuff that wasn’t necessary. I wanted it to sound spacey and minimalistic yet still have dramatic and romantic elements.
On guest vocalists...
The Jehnny Beth collaboration came after meeting [Savages producer] Johhny Hostile at Rock en Seine. We hung out and had a great time and we talked about doing something together. Her voice has a hidden energy to it – it’s not necessarily aggressive but somehow conjures so many feelings and I could see it fitting my music even though my music is so different to theirs.
On the evolution of his sound...
I remember some people seemed disappointed when my second album came out as it didn’t sound the same as my debut – it can be a struggle sometimes for artists to be allowed to develop. And after playing a lot of live shows, people from the so-called indie scene started showing up to our shows. People now know to expect anything from a new album, which is exactly where I want to be.
On working with cult film director Pedro Almodóvar...
I’ve been lucky that some great directors have asked to use my music in their movies. With Almodóvar [on The Skin I Live In, 2011] he not only wanted to use the song, but also asked for the separate parts to the track. The particular scene it’s used in is two-minutes long and he mixed the guitar part a little louder. It was good to see someone not only use my music but play with it and try to incorporate it into the visuals.
On scoring films...
I produced a score for a Danish movie six years ago but it’s not something that I’m eager to do again. You’re part of a team and everything has to fit together – it’s often about compromises and I’m not very good at that, I like to work alone and have control over everything. But if David Lynch calls, of course I’ll do it.
On Copenhagen's musical landscape...
I’ve always been a bit of an outsider, as I’m not really part of the electronic scene or the indie scene, but I can see some great things coming out of Denmark compared to ten years ago. People are daring to sound more like themselves and believe in a Scandinavian sound. Before a lot of artists wanted to sound like their UK or US idols – there’s a lot more confidence now.
Fixion by Trentemøller is out on September 26, 2016.
