Extreme nervousness and insomnia. That's how I could describe the last days before the interview. This will be my first live interview with a star of international fame, whom I absolutely adore. The heart is breaking, the mind is in a thousand and one turns. And then 'poof'. All nervousness subsides when I finally meet Anders Trentemøller live. A humble man, smiling and good natured, very talkative and so very down to earth. Bingo. After the first somewhat awkward question (you know, we fans are always speechless), the conversation flows like clockwork and I am increasingly aware that I am talking to a true visionary.
Anders, I read somewhere that it is much easier for you to create dark, melancholic music, and that its opposite - i.e. happy, cheerful music - is a bigger challenge for you. Why, where is the reason?
For me, creating music or an album that will primarily satisfy me is never the easiest thing to do. Melancholic, darker music has more layers, it has a lot more emotions that I can relate to. It also has a therapeutic value for me, because writing music helps me to express certain emotions that I cannot otherwise. And while making a dark, melancholic album seems like more work, it's also a relief. It is healthy to face emotions.
And where does your new album Fixion fit in all this flood of emotions?
Fixion is a natural follow-up to my first album (op. a. The Last Resort) and I think it's my best album. Well, it's also because it best reflects my current life, the point I'm at. Among other things, on this album I use elements of music and aesthetics that I grew up with, but again I didn't want the album to sound too nostalgic. I wanted the album to look to the future, and then again, to be personal enough. That despite the darkness, there is some light, some hope. For example, the track Redefine, which isn't cool in itself, but has a more invigorating tempo.
On the last album, you collaborate with artists and singers, such as Savages singer Jehnny Beth. By what key did you choose them?
I already collaborated with the singer Marie Fisker on the previous album. Her voice just matches my music perfectly. And on this album too, she should be the one singing all the vocal parts. But it was at this time that Savages asked me if I could mix their new album. That's how I met Jehnny Beth, we connected quickly and the idea of just one singer was gone like a flash. Jehnny, who reminds me of Marie in many ways, has a bit more energetic vocals, while Marie is more dreamy. I recorded two songs with Jehnny in two days, which is relatively fast.
This is the first time that your voice was on the album. What led to this?
It was the result of circumstances. It was late at night and I didn't dare to call any of the vocalists. So I jumped right in myself. I'm not a good singer, but it was a pretty simple song - just two lines. The song thus remained on the album. I'm quite shy by nature, well don't get me wrong, 'rolling' in front of a crowd of thousands is no problem, but the microphone... performing this song live will definitely be a real challenge. This is also the reason why I would never do a piece where I have to sing all the way through.
Sometimes I wonder what it is that you are trying to create with the new album. What is your creative process like? When listening to your music, I often have the feeling that I am traveling through different (emotional) landscapes.
I basically make music for myself. When I write it, I never think that I will ever present it to the general public. It's hard to describe, but if I can't make music, I go crazy, I get very restless. It's my way of expressing myself, but that doesn't mean it's not exhausting at times. Music is the force that drives me forward, and I want no boundaries. I don't want anyone to tell me what my music should be, what emotions it should express, and because of that, my music often feels like a kind of journey. Different moods, different atmospheres, different emotions... This is also the most common criticism. Too many styles, people can't put my music in some kind of box - it's electronic music or indie. But I don't bother with that. I create music from myself and that's why I have my own label. There are no bosses above me dictating to me what it is that I need to create this time. And even if at the end of the day the album doesn't sell as well as you would like, nothing happens. I don't make music for money. This is my baby, and I'll be bringing it to live audiences countless times, so it has to sound good and I have to like it.
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What about the visual image? Is she still being looked after by the fashion designer who was also your drummer?
The Swedish artist Andreas Emenius, who prepares the stage, is responsible for the cover of the Fixion album and the last three music videos. I like that we have a kind of visual image of the music, something that goes with it but doesn't steal the spotlight. I still want the music to be the focus and after all there are five artists on stage, that's quite enough 'action'. Too often we get lost in some visual images and don't hear the music at all. It's the same with music videos, which, to be honest, I don't really like.
Your music has a certain cinematic quality to it. Do you also draw inspiration from movies? I understand you are a big fan of David Lynch…
It's true. Pretty funny, actually... Movies aren't exactly an inspiration for me. If I use them, I use them subconsciously. I think about the visual after the music is done. People should just close their eyes and let the music go. In doing so, they could create their own image of the music and let themselves be taken where the music takes them. I do realize how important music videos are, and ultimately I want to be a part of it, because music videos can be art in itself and not just something you create alongside music.
Do you ever get nervous before a performance? You say you are shy...
I am. If I had to go to a family dinner now and had to say something in front of ten people, I would sink to the ground. Another story is the performance in front of hundreds of people. It turns me on in a way, I like to show my music because I'm proud of it. Of course I'm a bit nervous, but I'm willing to face it. I like to invite the listeners of my music into my world and share my work with them.
Putting music aside a bit, what else in life improves you, what are your passions?
One of my passions is movies. When I was younger, I wanted to be a cameraman. So if I wasn't into music, I'd probably be into movies. Otherwise, I like to relax, enjoy the moment, hang out with friends for a drink... I'm actually quite normal. (laughs) I recently bought a camera and started shooting, but completely for myself. If something more comes out of this, it will, and if not, that's fine too.
I think (and your fans will be nodding now) that you are very successful in your journey. Do you already know where this is taking you?
It's, ugh… I'm nowhere near done, I still have a lot to learn. I've barely started exploring music. The challenge is that one day I will be good enough to turn my ideas into action. I think you never really reach a goal, you always move it, you want to achieve more, explore new things... I'm like a little kid in a toy store. But I can take this and that, how about this? There are countless possibilities in music. I'm very self-critical and that keeps me going.
INFOMAT //
Anders Trentemøller is a cult Danish multi-instrumentalist and music producer who rose to prominence in the electronic music world with his debut album The Last Resort (2006). This was followed by the albums Into the Great Wide Yonder (2010) and Lost (2013), where the genius songwriter combined the world of ambient, dub techno and alternative or indie pop/rock. The latest album Fixon was released last September and reflects the maturation of Trentemøller's musical creation, torn between the electronic and indie spheres, between futuristic music production and the melancholic retro atmosphere of the eighties.
