Trentemoller - 'The Last Resort' (Poker Flat) Released 09/10/06

Steadily over the past few years Anders Trentemøller has been building himself an almost unparalleled reputation for his mind-bendingly brilliant productions. A true talent, the esteemed Dane’s trademark brew of wonky minimal techno has become the staple of the best clubs across the globe, while his remixes for the likes of Royksopp, The Knife, Fred Everything and even the Pet Shop Boys have perhaps surpassed his own work, such is their flawless genius. It’s little wonder then that there’s a weight of expectation on his debut long-player. Luckily though, he far from disappoints.

Just as Sasha did with ‘Airdrawndagger’ four years ago, Trentemøller has resisted the temptation to assault the listener’s senses with 75 minutes of throbbing club music and has decided to go all introverted on us. True, ‘The Last Resort’ may draw criticism from some quarters for not delivering the presumed aural carnage, but Trentemøller is clearly in it for the long haul – this is an album that will last. An intensely personal work, the thirteen songs embody Trentemøller’s endeavour to create his every human emotion simply through the electronic-based music and devoid of words. And what an intriguing mind space he takes us to. Opener ‘Take Me Into Your Skin’ perfectly transports the listener into this world – a sprawling labyrinth of intricate, soft electronic sounds drawing you in before our man unleashes voluminous beats and almost otherworldly atmospherics. Breathtaking.

Fortunately, ‘The Last Resort’ is by no means a selfish and over-indulgent work. Trentemøller has adopted the use of live instruments throughout, giving it an organic and cohesive feel far removed from the detached noises of computers. ‘Vamp’ centres on an imposing bass guitar line, while despite its title ‘Evil Dub’ flourishes with the introduction of live guitars over the mechanical foundation. Later, the sublime ‘Like Two Strangers’ makes use of haunting glockenspiel and musicbox, amidst a cacophony of sweeping violins, cellos and crashing gongs. In fact, it’s more post-rock than techno.