Danish electronic artist Trentemøller contributes a remix to “Mixes Of A Lost World”, The Cure’s forthcoming remix album scheduled for release on June 13, 2025. His chosen track is “And Nothing Is Forever”.

“A few months ago, I got a pretty wild email,” said Anders Trentemøller. “Out of nowhere, I see ‘Robert Smith’ in my inbox. As a massive fan of The Cure, I almost fell off my chair. But sure enough… it was actually Robert Smith, writing to me directly, asking if I’d be up for remixing a track from the new Cure album ‘Songs Of A Lost World’.”

Trentemøller’s remix of The Cure’s “And Nothing Is Forever” is officially titled “And Nothing Is Forever (Trentemøller Rework)” on the forthcoming remix album “Mixes of a Lost World”. The remix appears as track 19 on the album’s 24-track listing of the deluxe 3CD and 3LP formats.

You will not find Trentemøller’s rework on the standard 2CD and 2LP versions which contain a selection of 16 tracks. ​You can order all versions here.

About The Cure’s ‘Mixes Of A Lost World’

The release was conceived and compiled by Robert Smith. The new remix collection from 2024’s “Songs Of A Lost World” features further remixes from Paul Oakenfold, Orbital, Daniel Avery, Meera, Âme, Danny Briottet & Rico Conning, Daybreakers, Four Tet, Mental Overdrive, Cosmodelica, Sally C, Gregor Tresher, Omid 16B, Anja Schneider, Shanti Celeste, Mura Masa, Craven Faults, JoyCut, Chino Moreno (of Deftones), Ex-Easter Island Head, 65daysofstatic, The Twilight Sad, and finally Mogwai.

The Cure will donate all royalties to “War Child”, at least €1,20 per physical product sold and €1,20 per download will be donated. War Child is a registered charity in England and Wales.

Tracklist:

CD1

1. I Can Never Say Goodbye (Paul Oakenfold “Cinematic” Remix)
2. Endsong (Orbital Remix)
3. Drone:NoDrone (Daniel Avery Remix)
4. All I Ever Am (Meera Remix)
5. A Fragile Thing (Âme Remix)
6. And Nothing Is Forever (Danny Briottet & Rico Conning Remix)
7. Warsong (Daybreakers Remix)
8. Alone (Four Tet Remix)

CD2

1. I Can Never Say Goodbye (Mental Overdrive Remix)
2. And Nothing Is Forever (Cosmodelica Electric Eden Remix)
3. A Fragile Thing (Sally C Remix)
4. Endsong (Gregor Tresher Remix)
5. Warsong (Omid 168 Remix)
6. Drone:NoDrone (Anja Schneider Remix)
7. Alone (Shanti Celeste “February Blues” Remix)
8. All I Ever Am (Mura Masa Remix)

CD 3 (Deluxe Only):

1. I Can Never Say Goodbye (Craven Faults Rework)
2. Drone:Nodrone (JoyCut ‘Anti-Gravitational’ Remix)
3. And Nothing Is Forever (Trentemøller Rework)
4. Warsong (Chino Moreno Remix)
5. Alone (Ex-Easter Island Head Remix)
6. All I Ever Am (65daysofstatic Remix)
7. A Fragile Thing (The Twilight Sad Remix)
8. Endsong (Mogwai Remix)

Upcoming Trentemøller tour dates in Europe

May 2025:

• May 16 – Stuttgart, Germany – About Pop Festival
• May 17 – Haarlem, Netherlands – Patronaat
• May 18 – Caen, France – Le Cargo
• May 19 – Lille, France – L’Aéronef
• May 20 – Nijmegen, Netherlands – Doornrosje
• May 21 – Antwerp, Belgium – De Roma

Summer 2025:

• July 13 – Berchidda, Italy – Time In Jazz
• July 17–19 – Göta, Faroe Islands – G! Festival
• August 15 – Le Juch, France – Chez Hubert Festival
• August 16 – Saint-Malo, France – La Route Du Rock

About Trentemøller

Trentemøller is the solo project of Copenhagen-based composer and producer Anders Trentemøller. He debuted with “The Last Resort” in 2006, a release that brought him international acclaim. His discography includes the albums “Into the Great Wide Yonder”, “Lost”, “Fixion”, “Obverse”, and “Memoria”. Known for weaving post-punk, shoegaze, and cinematic electronica into cohesive soundscapes, he performs with a live band and has toured extensively across Europe, the Americas, Asia, and Australia.

In addition to original works, Trentemøller has remixed and collaborated with artists such as Depeche Mode, Low, Savages, and now The Cure. His music is released through his own imprint, In My Room Records.

Trentemøller has a history of sonic experimentation. In December 2015, he premiered a unique sound project based on audio captured from melting icebergs, transforming environmental data into musical forms.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Depeche Mode has unveiled the lineup of support acts for their ‘Memento Mori’ European tour, set to begin next month. The duo, comprising Martin Gore and Dave Gahan, took to Instagram on April 12 to share the names of the five acts accompanying them during their 34-show run across Europe and the UK.

Cold Cave and Young Fathers are among the artists slated to join Depeche Mode on tour, along with Berlin-based band Hope, former Savages vocalist Jehnny Beth, and British trip-hop outfit Haelos (or Hælos).

The support acts for Depeche Mode

Here’s a short roundup of who these artists are. Cold Cave is a project by Wesley Eisold and blends darkwave, noise, and synthpop, drawing comparisons to Joy Division and New Order. Young Fathers is a Scottish group formed in 2008, who has won the Scottish Album of the Year Award twice and released a fourth album, “Heavy Heavy”, in 2023. Berlin-based band Hope, formerly Mamsell Zazou, creates dark, dystopian music influenced by their city’s art scene. Jehnny Beth, a French musician and former Savages frontwoman, has released solo albums and collaborated with numerous artists, including Trentemøller, Julian Casablancas, and Gorillaz. British trip-hop band Hælos, from London, released their second album, “Any Random Kindness”, in May 2019, showcasing their ‘dark euphoria’ sound.

The European leg of the tour will commence with two shows in the Netherlands on May 16 and 18. Following these performances, Depeche Mode will visit countries such as Sweden, Germany, France, Italy, the UK, and Austria before concluding the tour in Norway on August 11.

These tour dates promote the band’s 15th studio album, ‘Memento Mori’, which was released last month.

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For more on Depeche Mode, see Long lost Depeche Mode documentary goes online in the BBC Storyville… on Side-Line.

About Depeche Mode

Depeche Mode formed in Basildon, Essex, England, in 1980, initially under the name Composition of Sound. The lineup that became Depeche Mode came together that year around Vince Clarke (keyboards, guitars), Andy Fletcher (keyboards, bass) and Martin Gore (guitars, keyboards), with Dave Gahan joining shortly after as lead vocalist. The band adopted the name Depeche Mode at a gig at the Bridge House in Canning Town on 24 September 1980, where Mute Records founder Daniel Miller saw them and signed the group.

Depeche Mode’s debut single, “Dreaming of Me,” was recorded in December 1980 and released on Mute in February 1981, followed that October by the debut album “Speak & Spell.” Vince Clarke left the band that November, going on to form Yazoo and later Erasure; Alan Wilder joined on keyboards in 1982 and became an official member from the 1983 single “Get the Balance Right!” The band’s catalog through the 1980s includes “A Broken Frame” (1982), “Construction Time Again” (1983), “Some Great Reward” (1984), “Black Celebration” (1986) and “Music for the Masses” (1987), the latter turning the band into arena headliners in the US off the back of their Rose Bowl concert, later documented in the film “101.”

“Violator” (1990) and “Songs of Faith and Devotion” (1993) marked the band’s commercial peak, but Wilder departed in June 1995, continuing his own project Recoil, leaving Gahan, Gore and Fletcher as a trio. The band released “Ultra” (1997), “Exciter” (2001), “Playing the Angel” (2005), “Sounds of the Universe” (2009), “Delta Machine” (2013) and “Spirit” (2017) as a three-piece, touring with long-serving live members Christian Eigner (drums, keyboards, since 1997) and Peter Gordeno (keyboards, bass, since 1998). Alongside the band, Gahan released solo albums “Paper Monsters” (2003) and “Hourglass” (2007), and Gore released “Counterfeit²” (2003).

Depeche Mode was inducted into the Rock and Roll Hall of Fame on 7 November 2020. Andy Fletcher died on 26 May 2022, and Gahan and Gore continued as a duo, releasing “Memento Mori” in 2023 with Eigner and Gordeno again on the road. The band has sold more than 100 million records and placed 54 singles on the UK charts. The 2023 European tour supported “Memento Mori,” released that March as the band’s first album since Andy Fletcher’s death the previous year.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Depeche Mode are set to release their 15th studio album “Memento Mori” on March 17th. The album will be preceded by the lead single “Ghosts Again” which will be released on February 9th.

Depeche Mode’s 15th studio album “Memento Mori” was produced by James Ford and Marta Salogni. In case you might have forgotten James Ford produced the band’s previous album “Spirit”.

Here’s a first impression of some of the single.

And here’s a remixed unofficial version by Germany’s finest remixer Dominatrix of course.

Marta Salogni is an Italian record producer, mixer and recording engineer, who as a producer has worked with Björk, M.I.A., Groove Armada and Django Django to name but a few. As an engineer, Salogni worked with producers such as Danton Supple and David Wrench. Alongside Wrench, she has worked on projects with The xx, Goldfrapp, and Tracey Thorn’s 2018 Record alongside producer Ewan Pearson.

James Ford from his side is an English record producer, songwriter and musician, known for being a member of Simian Mobile Disco and The Last Shadow Puppets as well as his production work with the Arctic Monkeys, Foals, Florence and the Machine, Haim, Gorillaz, Klaxons, Jessie Ware and Kylie Minogue.

In further news, Dave Gahan and Kurt Uenala’s cover of The Raveonettes’ “Chains” is available now. The song originally appeared on The Raveonettes debut “Whip It On” from 2002 and the new version will be included on the re-worked version of the album “Rip It Off” out on vinyl later this year alongside other artists such as MØ, The Brian Jonestown Massacre, The Black Angels, Trentemøller and more.

Here is the track.

Side-Line also covered Depeche Mode’s ‘Ghosts Again’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Pete Burns started playing guitar when he was nine years old and has always retained a passion for creating music. He was the outsider kid at school who listened to alternative music and didn’t conform even at that age. Some things never change. Pete was (and still is) a big fan of Modern Eon’s “Fiction Tales” and that album epitomises Post-Punk for him. Other notable and influential releases from that time included “Quiet Life” and “Gentlemen Take Polaroids” by Japan, “Systems Of Romance” by Ultravox, “JuJu” and “Peek-A-Boo” by Siouxsie And The Banshees, “Black Celebration”, “Music For The Masses” and “Violator” by Depeche Mode, and the early Sister Of Mercy singles as well as “First And Last And Always”. Laterally bands like She Past Away, Trentemøller, The Soft Moon,  Soft Kill, M!R!M and the now disbanded Ascetic have all, amongst many others, played a part in refueling Pete’s for the genre. Kill Shelter stands for pure Cold-Wave music. A first album “Damage” got released in 2018 by Unknown Pleasures Records. Four years later he strikes back with “Asylum” –released by Manic Depression Records for Europe and Metropolis for the US. Pete Burns worked together with guest singers and accomplished a true masterpiece. I talked about Kill Shelter with this genius Scottish multi-instrumentalist and producer.

(Courtesy by Inferno Sound Diaries)

Q: You’re a so-called ‘multi-instrumentalist’ playing guitar, bass, e-bow, synths. Do you’ve a favourite instrument and is there a kind of hierarchy in the instruments when composing songs?

Pete: Definitely. I always start on the guitar. In some cases like “The Necklace”, it’s the bass but mainly my go-to instrument is the guitar. I’ll write the main riffs and themes first and once I’ve got those down, that forms the basis of the demo. In some cases those guitars will stay to the final edit or some may be completely removed. I’ll put down the bass after that and then start to work on the drums. Synths, guitar processing and textures come last. The vocals will always come in after the song has most of the parts written. I’ll then arrange the song around the vocals before doing final production work.

Q: I’m deeply impressed by your guitar play injecting a true, dark, spirit into your work. How do you see yourself as a guitarist? Who are your favorite guitar players and what do you especially like in their play?

Pete: Thank you so much. That really means a lot to me. I still see myself as a guitarist first but I think most people know me for my production work.

When it comes to guitar I will happily listen to a lot of stuff even if I don’t particularly like it from a style perspective. I’m always open to learning. I prefer guitarists who have tried to do something different like Christian Fennesz, Robert Fripp, Adrian Belew, Robin Simon, Rob Dean, Tony Iommi, Mick Karn, Andy Summers and John McGeoch. Gary Marx wasn’t a technical guitarist but he had a wonderful sense of melody and he’s one of my favourite guitarists because of it.

I’ve been working on something that isn’t for Kill Shelter which is mainly guitars. I’ve developed Dupuytren’s disease and arthritis in my hands so I’m keen to get as much recorded as possible before playing becomes impossible. I already struggle on some days but, whatever happens, I’ll find a way to make a noise in one way or another.

Q: Your new album “Asylum” comes four years after the great debut album “Damage”. How do you look back at “Damage” and how did the transition in between both albums happen? Did you focus on new/different elements of the production?

Pete: I was extremely fortunate with “Damage” to have the support and buy-in from so many like-minded people from around the world. I am still very grateful that they agreed to work with me, especially as I was (and still am to some extent) a totally unknown artist. I think I was finding my feet with Kill Shelter through “Damage” and the early remixes but I’ve had a plan for the trilogy of multi-collaboration albums from the outset.

At the time, “Damage” focussed solely on emerging talent. In contrast, I wanted “Asylum” to reflect the last four decades of Dark-Wave. At first I thought “Asylum” was going to be a double album but the delivery was fraught with difficulties as people who were scheduled to appear could no longer commit for one reason or another. It wasn’t straightforward and that’s one of the reasons it was four years in the making.

I think I was more confident and determined tackling “Asylum”. Adding my own vocals and having a guitar-only track (“Time Will Come”) were very conscious decisions that pushed me out of my comfort zone. I think working with others always pushes my production skills but I find that harder to achieve when I’m working on my own, especially when it comes to gauging if it’s good or not. I am undoubtedly my harshest critic.

Q: “Asylum” sounds like a dark and tormented title which is also reflected in the lyrical themes. What did you, together with the guest singers, try to express and/or eventually externalize? What is it all about?

Pete: I always work with an overriding concept when I tackle albums be it “Damage”, “A Haunted Place” or “Asylum”. It makes the collaborations more cohesive. The core approach with “Asylum” was to explore the duality of the meaning of the word, highlight global humanitarian issues such as human trafficking, domestic violence, exploitation and the plight of asylum seekers, as well as exploring themes of personal disillusionment and mental health. For example, domestic abuse has risen by 33% and over 75,000 migrant deaths have been recorded globally – these numbers speak for themselves.
Remembering that “Asylum” was written with the backdrop of a global pandemic, Brexit here in the UK, destructive international politics, Black Lives Matter, Me Too, increased effects of global warming and, more recently, the war in Ukraine.

We’ve seen a lot of things happen in the last few years. It’s not an overtly political album but these threads run through the overall themes and narrative and, as with many of my lyrics, they can be interpreted in various ways.

Q: Kill Shelter is much more than simply a solo-project as you’re working with guest singers –and even very famous ones like Ronny Moorings. What are your main criteria to work with a guest singer and how do the collaborations happen? The most surprising name among the list is for sure Stefan Netschio so how did you come to work together?

Pete: The starting place for me is always people with outstanding vocals and that have written songs that I think ‘I wish I’d written that’. I’m not a great singer and I also like to work with other people – it always takes the material in an unexpected direction and I can listen more objectively when someone else is involved.

I write demos with specific people in mind and I think that really helps the process. I don’t just write a track for the sake of it then try to desperately find someone to sing on it. It’s far from that. I’ll either have the demo ready or float the idea with the artist first. I always ensure that they are part of the process and that they are totally happy with the way that they are represented.
Stefan has an incredible voice and “Daisy Cutter” is one of my all time favourite songs. He is very personable and professional and is a producer’s dream to work with. I was delighted he was so open-minded as he hadn’t heard of Kill Shelter when I originally spoke to him so there was a big leap of faith on his part to work with me. We got on really well through the process and I had the absolute pleasure of meeting up with him recently. They say never meet your idols but in this case I would say that definitely doesn’t apply.

I was absolutely delighted when “In This Place” reached number one in the Deutsche Alternative Charts and I really hope we can work together again soon.

Q: In between “Damage” and “Asylum” you also released an album together with Antipole. I noticed a true chemistry between both of you, but how do you look back at this experience, which I think was inspired by personal themes like loss, addiction, isolation and remorse? Can we expect a new album? Any other plans in the pipeline?

Pete: Karl has become a really good friend of mine. After sharing the same label (UPR) for our debut albums, working on remixes together then Karl appearing on “Damage” we have kept in touch for years now. We got the chance to meet at the Cold Transmission Festival in 2019 where I did a Rule of Three DJ set. We got on incredibly well over that weekend and decided there and then we should do an album together. We are very like-minded. Troubled and sensitive but determined at the same time. We share a lot of ideals and philosophies.

Karl really supported the idea of me doing vocals on “A Haunted Place” even though it was originally going to be an instrumental album featuring mainly guitars. Because it was entirely my voice on the album, the songs had to be very personal to me. I always wear my heart on my sleeve and, in a way, writing the songs on “A Haunted Place” was a very cathartic process for me.
We still chat most days and I’m looking forward to the day I either head to Norway or he visits here. We do have plans to do another album together but there’s no immediate rush or pressure on that. I have the working title and concept and we have a few demos already so the process has started. I want it to be different from our last album though. It needs to feel like a development not more of the same.

I contracted Covid in August and have had some ongoing issues following that so, unfortunately, I’m having to take some time away. Both my hearing and voice have been affected so I need that to settle down before I begin that journey again. I’ve had to pull quite a few things from my schedule and it’s never great to have to let people down but things aren’t great at the moment.
I’m looking forward to things getting better all round for all of us…

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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2nd Blood aka Silas Tinglef is the drummer of Trentemøller’s new band touring Europe and North America this year. Having released an full EP on Trentemøller’s label some time ago we now have the label owner on remix duties. The Trentemøller remix of “Type 9000” will be out on August 5th.

2nd Blood is the project of Copenhagen based musician, producer and songwriter Silas Tinglef. Veering between punk rock, pop, ambi- ent and electronic, Tinglef has also been a backing musician for the likes of The Raveonettes or Jacob Bellens. Right now he joins Trentemøller’s band on his ‘Memoria Tour’ as a drummer.

2nd Blood’s debut EP has been released on Trentemøller’s label In My Room and this is the new Trentemøller Madchester edit of Type9000 taken from said EP.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Dream-Pop, Ambient-Pop, Cinematic.

Format: Digital, CD, Vinyl.

Background/Info: The sonic voyage and exploration of Danish composer/producer Anders Trentemøller moves on with “Memoria”. This is the sixth studio album (live and remix-works not included) by the Danish master.

Content: If you remember the debut album “The Last Resort” (2006) and you listen to “Memoria” you clearly will recognize common elements, but also major evolutions in sound and format. But the artist moves on with an explicit and very personal Electro-Ambient approach, which he transposed into Dream-Pop and Cinematic compositions. The debut song could be a new Soundtrack for “Twin Peaks” while most of the songs are getting us back to 80s Dream-Pop influences with extra Ambient arrangements on top. I even noticed a pure Shoegaze song made by electronics. The songs are mixing instrumentals and sung tracks.

+ + + : Trentemøller is not repeating himself, but sounds in constant evolution. This album is a great production for the way influences have been mixed, creating a new Dream-Pop dimension or a more accessible Ambient format. The songs are touched by graceful 80s influences, which are mainly coming through in the melodies. I also like the resonating bass lines. The Electro-Shoegaze “Dead Or Alive” is a surprising cut, but still a sonic pearl. I also recommend “When The Sun Explodes” for its warm synth lines. There also is a good balance between instrumental songs and sung pieces. Last, but not least I also salute the fact this album features 14 songs.

– – – : This work is featuring multiple influences, which makes it also a bit complex to listen. You really have to search for the common thread.

Conclusion: Trentemøller remains an invitation to dream away; a sonic voyage created by an experienced sound traveler. 

Best songs: “Dead Or Alive”, “When The Sun Explodes”, “No More Kissing In The Rain”, “Drifting Star”.

Rate: 8.

Artist & Label: www.trentemoller.com /  www.trentemoller.com/in-my-room / www.facebook.com/trentemoller Read the news on ‘Memoria’.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

(Photo by Sofie Nørregaard) Trentemøller’s latest single, “No More Kissing In The Rain”, will be out on Friday 14 January and features Lisbet Fritze on vocals. The single will include the following 3 tracks: “Dead Or Alive”, “All Too Soon” and “In The Gloaming”.

The single benefits from a brand new video which will be made available on Thursday at 8:00pm CET. Trentemøller will join the premiere and be available in the YouTube chat during the premiere and some short while afterwards.

The Danish composer, musician and producer will release his new studio album “Memoria” later on in February on his own label In My Room.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Sofie Nørregaard) Out now is Trentemøller’s newest single “All Too Soon”, the second single taken off the new album, which is scheduled for February of next year.

A while back the Danish composer, musician and producer announced his new studio album “Memoria” set for release in early 2022 on his own label In My Room. A first single, “In The Gloaming”, precede the “All Too Soon” single which is out now.

“Memoria” will be Anders Trentemøller’s sixth studio album. Read the review of ‘Memoria’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Sofie Nørregaard) Danish composer, musician and producer Trentemøller announces his new studio album “Memoria” which is set for release in early 2022 on his own label In My Room alongside the first single “In The Gloaming” which is released today.

This is Anders Trentemøller’s sixth studio album and was announced by a recent, unanticipated drop of four songs, in the form of two singles (“No One Quite Like You” and “Golden Sun”). The first single from the upcoming album, “In The Gloaming”, which is released today, is a song about a difficult, ambiguous relationship.

Anders: “It’s about the feeling of being in love with a person who unconsciously drags you down, and how you try to find a way out of these unhealthy patterns. I wanted the song to have some kind of epic sound that underlines the big dilemma. Therefore, the huge drums, the wavy guitars and the anthem-like synth theme. This was the first time for me writing the lyrics and the vocal melody myself and Lisbet Fritze’s haunting vocals bring it all to life so beautifully.”

Check out his new single.

And here is the video.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Sofie Nørregaard) The second and final stand-alone single of Trentemøller in 2021 has just been released on his label imprint In My Room last Friday. You’ll find UK legend Tricky on vocals here who Anders Trentemøller invited to recite a six word mantra over a five note passage. Also featured is Danish violinist Maria Jagd.

The B-side of the new single is the track “Vespertine”. You can listen to the new single below.

About Trentemøller

(Anders) Trentemøller is a Danish indie/electronic music composer, producer and multi-instrumentalist based in Copenhagen, Denmark.

He started music in the late 1990s with different indie rock projects. In 2006, following a line of more electronic orientated 12-inch EPs, Trentemøller released his debut album “The Last Resort” which was extremely well received. In 2009, The Trentemøller Chronicles, a double compilation of unreleased songs, non-album tracks and remixes for acts including Röyksopp, Moby and The Knife, was released.

After starting up his own record label, In My Room, Trentemøller’s second album “Into the Great Wide Yonder” was released in 2010. It was a move into a more analogue sound influenced by indie and post punk, and incorporating more live instrumentation and vocals. Following his second album, “Reworked/Remixed” was released, a compilation of Trentemøller’s remixes for other artists and other musicians’ reworking of his music including Modeselektor, UNKLE, Franz Ferdinand, Andrew Weatherall, Efterklang and Depeche Mode.

In September 2013, Trentemøller released his third full-length album “Lost”, including collaborations with Low, Jonny Pierce from The Drums, Marie Fisker, Kazu Makino of Blonde Redhead, Jana Hunter of Lower Dens, Ghost Society and Sune Wagner of The Raveonettes.

Trentemøller’s fourth album, “Fixion” was released on 16 September 2016 and featured vocals by Marie Fisker, Lisbet Fritze and Jehnny Beth. A fifth album, “Obverse”, was released in 2019.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Danish indie/electronic music composer Trentemøller has a brand new single out on his own label In My Room, “Golden Sun”. The single comes with the B-side “Shaded Moon” and is Trentemøller’s first release since 2019’s “Obverse” LP which was his fifth album.

You can check both songs below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Sun’s Spectrum is an Italian duo set up in 2016 by Livio Caenazzo and Daniele Iannacone. After having self-released their debut album they next got signed on Final Muzik unleashing at the end of 2020 their new album “Don’t Chase The Light”. The work features a selection of songs from the debut album plus new compositions. The sound is hard to define, definitely open-minded and mixing elements of Cold-Wave together with Techno, Industrial arrangements and even some Acid sequences. It’s an original opus featuring multiple noticeable songs. I got in touch with the band to get more info about their work and sound.

(Courtesy by Inferno Sound Diaries)

Q: How did Sun’s Spectrum saw the daylight and what kind of band and sound did you had in mind?

Sun’s Spectrum: The project was born in 2016 after an almost casual meeting. From the first minutes after we met, we immediately realized that we could have a very fruitful exchange of ideas for both of us. A few days later we started working together on a track that Daniele had sketched, without really intending to form a band. The idea was to produce something interesting, Dark-Wave melodies with the attention to detail of the finest Electronic music.

Q: What can you say about your newest album “Don’t Chase The Light”? What did you keep in mind from the writing-, recording and production process and how do you guys work together?

Sun’s Spectrum: “Don’t Chase The Light” is the natural continuation of our first album. Our intention was to create new songs trying to focus on a sound that makes us recognizable. We usually start from either one’s or the other’s idea, which can be a simple melodic line or a more structured track. Working in solitude is fundamental for each of us, both in the advanced phases of songwriting and in the technical ones, such as mixing. Meeting at least once a week to debate on what has been done and working together in order to produce something that is satisfying for both is crucial and creates a good syntony.

Q: I experienced your album as an offspring between different influences. How do you explain this eclecticism and what does it reveal about potential sources of inspiration?

Sun’s Spectrum: Our sources of inspiration range from dystopian novels to Detroit Techno. Between these two extremes we can include various musical genres in most of which the Electronic component is dominant. While this on the one hand can provide us with many interesting ideas, on the other it risks making us lose our bearings with the result of producing tracks that can be too different from each other. Aware of this fact, we always try to keep the contemporary scene as a reference, in particular artists such as Soft Moon, Trentemøller, Boy Harsher.

Q: I’ve been deeply impressed by the global sound production of the album, which is absolutely high-tech. What are your main criteria and references when it comes to sound production and what does it say about your studio equipment?

Sun’s Spectrum: We strive every day to improve both as a producer and as musicians in the strict sense. This prompts us to be curious about studio production techniques. Fortunately, nowadays there are many easily available resources, books, videos, it is up to the musicians to make the most of them. As for our equipment, when we produce we always try to give priority to the analog hardware we own. In addition to this, the guitar is almost always present in our songs, introducing a ‘human’ element that adds depth to the songs.

Q: I noticed you recently released a video so how do you choose the song for the clip and what did you try to express?

Sun’s Spectrum: The video is the result of our collaboration with the Mold Records label whose guys did a really great job and we are truly grateful for that. “Torch# 1” is probably the most aggressive track among those we produced however we believed it was very suitable for a video clip, because of its atmosphere and its immediacy. We didn’t want to give any constraints to the guys from Mold Records, neither on the subject nor on the style of the video. The product is therefore the result of the emotions that the song has created in them, a free association of images and sounds.

Q: Releasing an album during the ongoing pandemic is not an easy thing. How did you experience the impact of Covid-19 and especially on your artistic work?

Sun’s Spectrum: The album release was planned in Spring 2020, which as we all know was not going to be a good time. It would have been difficult for our label Final Muzik to distribute the CD and for us to promote the record with live gigs. We know that organizing concerts is still extremely difficult, but at least it was possible to launch a good web promotion. During the most difficult period of the pandemic, our production was also slowed down as Daniele found himself at the forefront as a nurse to tackle the problem. However, we managed to release a single, the cover of “Fade To Gray” and to create the basis for what will be the next album, which we can’t wait to let you listen to

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Wayne Hussey, frontman of The Mission, will soon have a new single out in support of key workers dealing with Covid-19 globally. He has remade the classic Mission anthem “Tower Of Strength”, joined by members of The Cure, Siouxsie & The Banshees, Slowdive, Bauhaus / Love and Rockets, The Smiths, The Twilight Sad, Depeche Mode, The Cult, The Wonder Stuff, Gary Numan, Evi Vine, Midge Ure (Ultravox), Spear of Destiny / Theatre Of Hate, Beauty In Chaos, The Soft Cavalry, All About Eve, Guns N’ Roses, Nine Inch Nails and Gene Loves Jezebel.

The actual collaborators include: Andy Rourke, Billy Duffy, Budgie, Evi Vine, Gary Numan, James Alexander Graham, Jay Aston, Julianne Regan, Kevin Haskins, Kirk Brandon, Lol Tolhurst, Martin Gore, Michael Aston, Michael Ciravolo, Midge Ure, Miles Hunt, Rachel Goswell, Richard Fortus, Robin Finck, Steve Clarke, Tim Palmer, Trentemøller

Produced by Wayne Hussey, this release features mixes by Tim Palmer and Trentemöller. This is also the first time brothers Jay and Michael Aston (of Gene Loves Jezebel) have recorded anything together since parting ways many years ago.

Here’s a preview of the song featuring for instance Martin Gore.

The single itself will be out on August 28 on all digital platforms followed by a 12” vinyl and CD on October 2.

Wayne Hussey: “When Covid-19 hit I started receiving messages asking ‘why don’t you re-issue Tower Of Strength for the front line workers?’ The song had apparently been adopted as an anthem by some NHS workers, and it got me thinking that I would like to contribute something to the greater cause at this unprecedented time and the only thing I could really contribute is music. So in conjunction with my good friend Michael Ciravolo, I came up with the idea of recording a new version of Tower Of Strength for charity by enlisting the help of musician friends and acquaintances. Tower Of Strength was first released by The Mission as single in 1988 and then again in 1994. It charted twice in the UK top 40 and has proved to be probably our biggest song and the one we generally close our shows with. It is anthemic. I wondered if recording a more well known song might have a greater reach but neither Michael or I could come up with any suggestions that seemed to fit lyrically without getting too corny. So Tower Of Strength it was then.

Usually I detest things that are done for charity that are also self-serving, but I came up with a plan that satisfied my conscience. I spoke with my fellow Mission band members who co-wrote the song – Craig Adams, Mick Brown and Simon Hinkler – and we agreed to give up any publishing income generated by the new version to nominated charities, including mechanical and performance royalties and 100% of any revenue raised by sales. TOS2020 has been renamed to divert funds from the original version, and the charities will all be personally nominated by the people involved in its recording and release. Because the musical contributions are global our idea is that the proceeds will be divided and distributed equally among all the beneficiaries.”

Tracklist for the vinyl:

Vinyl Side A

1. TOS2020 (Beholden To The Front Line Workers Of The World mix)
2. TOS2020 (single)

Vinyl Side B

1. TOS2020 (Trentemøller remix)*
2. TOS2020 (Albie Mischenzingerzen remix)**

Tracklist for the CD:

1. TOS2020 (Beholden To The Front Line Workers Of The World mix)
2. TOS2020 (Trentemøller remix)*
3. TOS2020 (Albie Mischenzingerzen remix)**
4. TOS2020 (single)

Tracklist for the digital bundle:

1. TOS2020 (single)
2. TOS2020 (Beholden To The Front Line Workers Of The World mix)
3. TOS2020 (Trentemøller remix)*
4. TOS2020 (Albie Mischenzingerzen remix)**
5. Tower Of Strength (original new remaster) – The Mission (free bonus track with bundle only)

Side-Line also covered Depeche Mode’s ‘s Martin Gore launches new solo track ’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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“Sleeper” is the new single by Trentemøller which has just been released. You can watch the video below. Trentemøller is the project by Anders Trentemøller, a Danish indie/electronic music composer, producer and multi-instrumentalist based in Copenhagen, Denmark.

“Sleeper” is the first new single since “Transformer Man” released last year.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Trentemøller has crafted a special cover of a Neil Young song as part of his upcoming “Harbour Boat Trips Vol. 2: Copenhagen” compilation due this Fall. “Transformer Man” is most notorious for being part of the 1982 album “Trans” that got Neil Young sued by his label for not sounding enough like himself, or in legal speak, being ‘musically uncharacteristic of Young’s previous recordings’.

When Trentemøller collaborator Marie Fisker suggested covering the song, it took him a while to get on board: “Although I’m a huge Neil Young fan, I actually didn’t know about this song until Marie Fisker played it to me when we sat down and thought about some songs that would be fun to cover for the new Harbour Boat Trip Mix that I was working on. I wasn’t a fan of the song and its sound in the first place, but the melody, especially the hook line, somehow caught me. The song is quite far away from what I normally would listen to and so it wasn’t an obvious choice. Instead I took it as a challenge to see in which direction we could take the song. I thought it could be interesting to get rid of all that disco/vocoder stuff and focus on the song itself and suddenly it shined in new splendor. Marie interprets the song in such a personal way that it feels like, for us at least, it’s nearly a brand new tune. That’s what she’s really good at. I also felt it fits perfectly into the whole mix.”

The single “Transformer Man” will be out on the 26th of October. Below is the original by Neil Young.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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