Trentemøller
Into The Great Wide Yonder

Silence can fill with impressions, like a glass overflowing with frozen mist, until it cracks slightly when a whisper meets the resistance of the crystal, shattering it into ten tiny fragments of noise. Trentmøller is the alchemist, he takes the particles and works them onto spectral synthetic grooves.

The minimal pulses of "The Mash And The Fury" tend to open up, the beats are pressing, on silicon-disguised strings, damp synths fill the voids, there is room for nothing but sound, then everything dries out, electric discharges, the beat becomes industrial, until the finale with electro-string departures. "Sycamore Feeling" is a spectral "folk" with a pulsating beat under the fairy wings of a synth that weaves a melody of single notes, launching the velvety voice of Marie Fisker, the guitars counterpoint the journey, a mix of open electric chords and acoustic accompaniment. Machines dormant for centuries come back to life in synth chokes on "Past The Beginning Of The End", the acoustic guitar approaches from afar, under unrelenting percussion, wooden-synthetic, and finally an opening with an electrogenic snare drum, without ever truly exploding, the sounds are dormant beasts waiting for something, a flash of carousel under the mechanical sobs, then a choir, spectral sirens from Denmark, leading to a finale with a spooky melodic weave and finally the beat opens up. Reminiscent of Depeche Mode remixes, we find "Shades Of Marble", the rhythm is subdued dance trying to break out and introducing plastic sounds, and again the electrogenic strums make an appearance. The gene of cheeky boldness emerges in the pulpdrumandbass of "Silver Surfer Ghost Rider Go", tex-cyborg-mex guitars pulp away on a Misirlouian rhythm, with distorted synth bass and inevitable clapclapclap.

Night is a purple color on my electric carpets.