En åben snak med producer Anders Trentemøller om hans passion for musik
En åben snak med producer Anders Trentemøller om hans passion for musik
Music. Welcome to the Museo Locale Podcast. My name is Peter Visti and I have been a musician for my entire life and I have lived my entire life of music in one or the other way. I am a musician and I have been very young. I have been sleeping with my headphones on and listening to music during my entire night sleep, something I actually still practice. Music is my passion, my drive, my mood and daily forms. And what changes music? Music has a unique ability to move emotions and connect people in different cultures. My goal is to find out how different people experience love for music and how it varies their lives. What is the purpose of the new guest? To talk about their relationship to music and how they live and influence music, insect inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Locale Podcast Music, my drive. And welcome to Anders Trennemöller, tejsker Ray.
Speaker 1:You say welcome to we are sitting in your studio. It actually makes me happy.
Speaker 2:I am happy for you to be here.
Speaker 1:Of course it is always nice to have a music studio. It is my great passion.
Speaker 2:And to live the way for the Tejsker. Our journey has been going on for 20 years. I remember it better than you.
Speaker 1:I remember a remix. It is a bit late.
Speaker 2:We met the first time you played with Thorsten and them playing bandside in Riedehus in the overhouse.
Speaker 1:I can't remember that. Yes, I can.
Speaker 2:We played a Danish music. It was a CD for electronic music in the outhouse in 2003.
Speaker 1:In my stools. I remember it in Miami.
Speaker 2:We played with. Røggetid and me with. All Night. I don't know what it was. You are a bit shy.
Speaker 1:Yes, I can't remember that. It was a bit blurry. I was sitting at home playing music. Suddenly I was attracted to some things. I was signed to a German company called Pokerflat. It was very electronic. I gave out some EP's. I made my debut album. It was very electronic. I remember that time it was cool to make something that wasn't only Danish music. I had so many other ideas that I didn't want to be shy. I got the opportunity to make a studio album with some EP's.
Speaker 2:I could show you some other things.
Speaker 1:It was a bit different. It was melodic and not so club-oriented. It was 18 years ago. It made me feel that my music was playing. I had friends in Copenhagen and Snedik. It was my first studio album. I had some songs that I had missed. It was six years ago. I had some songs that I had not played before. I couldn't play them when I was out, I was on my way there, it was not there.
Speaker 2:It was not there.
Speaker 1:I remember that the number was taken up. It was a quiet number. I was very proud of the number I made in the night. It was a melancholy, but a fine melody. I was happy that the number was taken up to the moment.
Speaker 2:It was a moon that was made in the other remix.
Speaker 1:It was fun. It was a simple number. It had a melancholy sound that I still remember. It was played in a different version. It was still a number. People have memories of it. There are great feelings in the whole world.
Speaker 2:I remember that we were used to the first things you made. That was the first thing you made.
Speaker 1:We had to use it as a DJ. When it came out it was on. Was it MySpace? It was on Facebook at the beginning.
Speaker 2:It was on Facebook in 2006.
Speaker 1:It was on Facebook at the beginning.
Speaker 2:I think it was MySpace.
Speaker 1:I got a lot of hate comments. When it came out I was like what the hell is this?
Speaker 2:We don't have time to talk.
Speaker 1:I'm actually sad because I hadn't seen myself as a artist.
Speaker 2:One song and then two.
Speaker 1:I hadn't seen myself as a club artist.
Speaker 2:It's a song I'm very fond of. Today. I'm also fond of it. We play.
Speaker 1:Mischo, we play Tick Min Toe. Skin Månen is a different version. We play live. It's a record that has filled me. I remember making something with it. I remember making something with it. I remember making something with it. I remember making something with it On 1 course.
Speaker 2:I'd seen a lot of botanical dramas about you.
Speaker 1:We played drums in the old.
Speaker 1:Radeahusen, the old Martin Rosbøl, who was a journalist who had a lot of influence in electronic music but also in underground music. We were invited to play drums in the old Celeste, a little tango instrument that was used by the symphonists, and I sat there all night and played some guitars. At that time I was wondering if there was a live instrument that I could always play because I was coming from the background and playing bass. It came back to me that God had a lot of good red thread from the old record to where I am now.
Speaker 2:You hear it clearly that it's finally a pozi. Now I'm going to play autop. There's more vocal now.
Speaker 1:Yes, of course More finished singing.
Speaker 2:But I was waiting for a half-six in the morning. The grids.
Speaker 1:No, no, no. It was fantastic With that daydream Like a daydream.
Speaker 2:Thank you. What is it about?
Speaker 1:It's about the number that was written quite fast, the number where I quickly come up with themes and melodies.
Speaker 2:Where.
Speaker 1:I keep something intuitive, something spontaneous in a way, and then it's easy for me to work with. So I always write the melody first and the chords and everything, and then I also started writing the sixes. So, I wrote the sixes for that number.
Speaker 2:That's why.
Speaker 1:It's just a daydream for me About being in a relationship and sometimes you want to. Sometimes it just goes up in practice and the kids we have a son and stuff. But it's about going back to the past, how it was to be new and loved, and just dream away and throw away everything. And that's not because I've had it for a long time, it's just because it's different.
Speaker 1:But for me it's quite exciting to go back to the basic feelings I don't know if I can say back, because there are just feelings that are in me as a person, I think, for some reason. And then the music is just for me a very cool, bright and very cool output to visit the feelings, because time can go up in a very practical way. So I love to be there and to sit with the music. And then I just went in, I just fought a lot with text.
Speaker 1:Because, I didn't expect to write texts. I had some ideas. It was quite scary Because it was the first sheet where I tried to cast me out and write texts. And then I was really out of my comfort zone Because what I have made has been sound and production and composing. I wrote the song and put the texts. It was so nice. I wish about it Because I thought maybe I should try, because I had some ideas Like next level.
Speaker 1:Yes, and I worked with some fantastic artists and other artists on my plate and it was really big, but sometimes I wanted to. If the texts now had, maybe I should be thinking about it. Sometimes I can like to write texts open and I can put your story in there. I like the ones in the frame, but there are also. I like to be, I like to be classed to that you can.
Speaker 2:Find your own thoughts and that's why I live in Morse. It's around 6. And then I wonder what the texts, or the texts or the music that made it, because I live up with a feeling that you have been away from each other, you have come back and you have had each other In the meantime, and that's what I like. I have to go back and hear it once. To be sure what the texts were.
Speaker 1:It was a pretty cool experience, but it's what it's about. It's what it's about. Music can be different. I have always been moved by music. I have never heard the first texts ever.
Speaker 2:The music has never been changed, and it's also because I have never registered. I have never, so you haven't noticed. The mood has done something really good.
Speaker 1:Yes, it hasn't, and in that way I can open the music and it's a scene For the whole number yes, 100%. And then I start to write texts, quite a lot with my scenes. I think it's fantastic If the music can hang together and raise the number.
Speaker 2:Higher.
Speaker 1:But it's still music and it's the one that's breaking me first, and where does it start?
Speaker 2:Did you grow up with music at home or did you get up there? Yes, I was there for three years.
Speaker 1:I was a potter and a telephone booth To the drum set. I played to what was on the radio. I bought my parents a piano. I was four years old. That was completely finished. But I sat there for hours and hours and I had a lot of music.
Speaker 2:Yes, because I had a hearing.
Speaker 1:If there was a pop number on the radio, I could actually play the number. If I heard it, sometimes I could play the number on the piano. So I sat down. I actually don't know what it was like to be on a show, but it was just live. It was really fun. I could sit in a team. My parents told me that if we had been on vacation I would have remembered myself. Then I would have been out on a trip and then I would come home and I would turn on one of the doors, not with a light, but with a light to the piano, and then I would play for like three or four hours to get those experiences out. I remember that I had influences and sometimes I felt like I was playing in a hurry. It sounded wild, but it was just a channel.
Speaker 1:I was just talking to myself and I was just playing a little, and it wasn't something that, as a child, you don't think about whether it's good for you or whether I should do this. It was just fun. It was just fun. And then my parents came to support me. They didn't play any instruments themselves, so they just played a few things like a cymbal and a gassolin.
Speaker 2:It's like we all grew up together.
Speaker 1:Exactly, but they actually bought drum sets for me there. I was like seven or eight years old and they had sleep habits right when I was in my world and I started playing drums. Around seven in the morning there was something called the Sunday Quiz. I remember I loved the theme melody that was for it and I just went with it. It started around seven in the morning and then I remember sitting and playing drums until it was a Sunday morning there.
Speaker 2:Fantastic, fantastic. I myself had drum sets in the same way in the same way or around the confirmation or sitting and playing drums.
Speaker 1:And it gives me a feeling. I don't play drums anymore, but it gives me a sense of rhythm. I think I have a feeling. But it was very clear that I was involved in the melody. And then I started quite early where the Borg Music School had a fantastic teacher, henry Christensen. David Davit, there is a guy who is burning for you in a lake right. Yes, he has to get up to.
Speaker 2:I give some advice to get on with it.
Speaker 1:Exactly, and he didn't have any collaboration with me. He had a collaboration where we played together on the stage and there was a lot of tunamers playing in Cashmere and one called.
Speaker 1:Søren Kock, who also played with Peter Bellig and so on. But there were quite a lot of us in that position who later came to work on music. There was also a guy called Thomas who also plays classical guitar. Now it was quite a wild thing. It was just one transition to that little position in Votingborg and we all were completely taken away by the music. We had it in the foreway, the passion, but he was good at shooting on the head and again it made it to a stage and we didn't have to learn anything. No, we Well, it was a lot of the guitar chords and that's what we did.
Speaker 1:But we got permission to remember something more, to turn on the lights, and then we played instruments and then I played bass, and then we got permission to play the guitar and some played and there was better guitar playing and then suddenly I suddenly thought, and then we were out playing with that band and I remember we were in the right music studio. That was also wild.
Speaker 2:Wow, that was cool.
Speaker 1:I was so nervous, you remember we played, it was coming number. It was a 20-year-old number we were supposed to play. We had a little keyboard solo and it went crazy. I actually had a feeling at home. I didn't have a keyboard myself, but I played it on the piano.
Speaker 2:But when we were supposed to, pick up the red button and play the solo.
Speaker 1:I was nervous, but just that I was standing with a cassette tape behind me and that's what I found out. Okay, that's pretty cool. It really is. It can be anything.
Speaker 2:I had to experience it in the same way. It's also that we had someone who played a lot of other things today also and made everything for Johnny Madsen and Lars Lillehold and things like that and had a studio with us where we played our young band and things like that and guided us, and we also had a teacher at the school. We had played together and it was just, it was the only thing you could do. It couldn't be after school, it could be enough.
Speaker 1:No, no, no, I had it in the same way and I can remember what was so wild when I was it was actually the fifth grade. What was the fifth grade? On that little school I went to in Nyråd, the little town outside of Votingborg. They were supposed to do school media and I was mega-genius as a child and I was very much involved and I think that's one of the reasons, you know. I had a lot of music as my room and go in, so I was pretty generous and I didn't go out and I couldn't overdo it. I was supposed to stand on a stage and shit man and remember.
Speaker 1:I had to do some dialogue, so I got a sportsman class teacher because we were supposed to do the Aula Frysnapper and I made music for that lecture. But then I asked could I perhaps promise to make some new music for it?
Speaker 2:because I thought I just do that, because then I just let it go and I said we can try that.
Speaker 1:Do you think you can do it? He was a little skeptical about it, but then I actually made new melodies for the teachers and then I fell super soft because they were actually quite catchy. And then I remember when we were like, when we were supposed to perform it for all the parents, I just played the piano and the marimba and then the other students got a bouquet of flowers and I was like what, I'm happy because I was just sitting down and playing. But then it was like, can you?
Speaker 2:pay for the cut.
Speaker 1:Yes, I would like that. But then it was more for me that, wow, I got seen, you know, and they thought about me that it was also a sight that I had made music for or something. I had mostly seen it as a thing to be able to come to the stage. So it was quite the rush in a way, and the teachers also clapped at me. And then there's something.
Speaker 2:I'm good at in a way. So it's there. You're up there maybe and get a little self-sufficiency it's actually just that.
Speaker 1:I think that's more. It actually happened before I started in the music school there, so it was quite clear a nod to the point in my life where I just thought, oh okay, that's actually pretty cool and I think it was actually fun to make that music and it felt so nice and it was fantastic.
Speaker 2:It's a pretty fine story because it's very, very smug and it's also because, as you say, that you're afraid of being a little bit back-handed or nervous and starting a little bit of a exciting situation.
Speaker 1:I remember my parents. They just came with a video camera or they just wanted to make a movie. They really didn't want to make a movie, but I was very I mean, I was very excited about it. I just didn't want to have it filmed. It was not up to date. I don't know what it was.
Speaker 2:I think I got stressed over it but it's that red-climbing thing, or maybe there's something else.
Speaker 1:I don't know, I haven't heard it. I can actually remember one of the melodic stages. It's so deep in my head but it's actually called the morning in the morning.
Speaker 2:Yes, exactly, and how do you get into it? And then you go on to play the bands after all these school works, or what else do you do?
Speaker 1:Yes, we play with, we make a major mass, we play in the cashmere, there in the mass of Tunebjerg, we make a band that has the cool name Quadratic Picnic which we don't have to have any fun names with.
Speaker 1:It's twelve years or something and then the next thing I really think about is that I just want the rest of my life. We actually make our own songs. We have four in the band bass, guitar, drums and my book but we don't have any songs, so it's instrumental music. And then we come to a young music festival called Varme Rohre, which is from Nykøbenfaldström, which is for us, that time, the shit.
Speaker 2:So it's a responsibility to play on orange or on pink.
Speaker 1:And then we simply get a promise because they hear we send a demo-band into it and then we get a promise to end it with a song on the last slot, which is around eleven or seven times more like, and then we went over to it so much and then I just stood there standing on stage and playing. You play both for the audience but also for many of the other bands that have been on it, Because it's a lot of young bands from both music schools and after school and also just the young ones who make their own bands. Yes, and I remember standing there and smelling it. It was the first time I thought about the smell of a vacuum cleaner and it was just great.
Speaker 2:And I remember standing there and there was someone who was making light on us.
Speaker 1:So after that I really started to. I haven't played music and it feels really good, but then I wanted to be a musician. That's what I wanted to be.
Speaker 2:Yes.
Speaker 1:And then short to a few years when we were playing with it and I met some people. Then I finished with the gymnasium. There was a whole blue wall where we also took some unknown blues numbers and then we actually got jobs in the so-called Red Hood crown which is now called Mojo, which is actually hardcore blues. Blue Sted was called Mitchell and played in the band Sandman. He's so dead now but he looks at it and thinks we're pretty brave. So he also started to look around Denmark for us where we play all kinds of strange places when we take around Because we play blues. We play some Morty Waters, some Johnny Hooker things and some more unknown things. And a little bit after that there was some Gary Moore. It couldn't be more clear. No, we wanted a sort of old cool blues that wasn't always just 4-4. But it was a bit weird. So it really taught me a lot to sit in a high-pitched and just play in the band.
Speaker 2:You get tired of it. You don't do that, you learn so much.
Speaker 1:It's hard to work in. You get tired of it and you have to be out and play, and when you're done you have to park down again and then you have to go out and play and then you have to go out and drink.
Speaker 2:It was mega fun.
Speaker 1:It was a bit of a dream at that time. Yeah, that's it. But then I found out that blues music isn't that way. I like it, but it's not that I'm burning, I'm burning completely. And then Britpop just started coming, and then we made a band together with Søren Kog, who sang and played guitar in the band called Flow. We actually got a deal on Virgin Records where we released our first album. So that's something. I came in and sat on the Virgin contours and we were very much on blues. It was a bit of an OS-like start. We were a bit on blues, the more Beatles-like vibe in a way. I don't remember the original number we made, but we're allowed to make one album there. So I went out and banded. I remember I was inspired by Manchester scene with Happy Mondays and Stone Roses.
Speaker 2:And.
Speaker 1:Happy Mondays, who also wrote break beats in their music. I think it's pretty cool to mix rock things with something electronic in a way, and they're a bit different. They do an R-Ride Sampler etc. It doesn't work. No, it doesn't. I went out and banded. They get a flat contact on the number 2 sheet. It's in Tamarind Studios in Sweden, but I can feel it doesn't work If I think it's that way.
Speaker 2:There's something else.
Speaker 1:And then I think why should I use the sample and just use it myself? I'm tired of standing in a studio. No, I'm standing in the practice room. We practice so much, Five times a week almost, and then the drum teachers forget the roundabout.
Speaker 2:And then they sing nice, play bass and sing wrong. We don't take it seriously. We take it seriously, we don't take it seriously.
Speaker 1:I think it was exciting to be able to make my own music on an old computer. It was a machine. I remember it was a max. But to be able to program drums and play all the instruments myself was fantastic. It was a bit like electronic music. I remember Porteset and Prodigy. I was in England at a studio tour. It was still in the gymnasium. I was down there listening to a sheet music. I heard Porteset, the first sheet. I thought it was so cool Because it was a bit like electronic music with the sample drum. It had a really good melody. It was really cool Melodically. It was super strong. And then there was Prodigy, who was also cool. It was more power and it was a cool energy thing and it mixed really well. But in a way it was like wow, they are cool.
Speaker 2:It was more artistic. Maybe it was a trip-hop thing.
Speaker 1:It was just me, because it had a melancholy feel.
Speaker 2:I always liked melancholy music.
Speaker 1:You are sitting in a leather chair. I'm sitting in a jolly-wissens. It's an old man.
Speaker 2:It's an old man in a black coat.
Speaker 1:It's a black coat. I thought so, yes, but then it is. You can't let go of it.
Speaker 2:It's the most important part. It's fun because you are a very, very what is it called Smiling?
Speaker 1:and happy people. Yes, it's pretty fun, because when I do foreign interviews, if there is a new sheet, then there are some people behind the station. We had the idea that you were a bit connected, but I have always seen it like this, because I have the music and I have the ventile that we are talking about, so I also have an output, for the more it's a heavy feeling, but after thinking about it and I'm not afraid to go into the layers, both through my music but in the whole sense there can be something beautiful to open up for that seat in itself A lot. I always had that. I remember when the school was a bit messy. Then there was something like you have to be so cool.
Speaker 1:Outside, there is the same with other outside.
Speaker 2:That's how it works. You find it in your own way.
Speaker 1:Yes, but it was also the way I started to do the tracks. There was also a street running around the corner, or it wasn't good for football.
Speaker 1:I was just sitting there waiting for the ball to come out. So I think I get some feelings about my music Because it's so intuitive and tender for me. I could also paint or do something else. It's not good for singing, I can't do that, and then you have to check it out and then it gets a bit late. But it's not the same for me. It's not the same little output as it is for me to write music. It just depends on the way I'm writing. I have things that blew into it so I can't really do anything about it.
Speaker 2:Yes, but it's your output. There's no difference. It's the way you come in with things.
Speaker 1:It's not like that.
Speaker 2:Especially if you've had, like many others in the youth, that you've been a little bit shy, like you say, to start with a little ball. It was a bit of a shame to start with a little ball. It was a shame.
Speaker 1:It made me feel like I didn't get my sister's permission. If I had an ISE, I could go and order it, because I can't get over it.
Speaker 1:I'm standing there. I was really embarrassed. And then I had, of course, a telepathic go that made it. It was in the 90s. I was born in 1982. He was born in 1989. He wasn't a telepathic go, he had some time to think about it. He was a telepathic go at the school and I remember he said he came down to the classroom and told the others here is Anders. I mean, they know me, of course, but Anders went to the telepathic go. I just wanted to know if he was a stoner or if he noticed. So every time you say something else, you have to be a telepathic go and keep your eyes on the stomach and then the others got angry.
Speaker 1:It was a telepathic go and it was the dumbest thing.
Speaker 2:It was almost the worst you could do it was because I was more special and unique.
Speaker 1:I was really embarrassed. I wasn't good at answering again and such. There was a bit of a back-up in that way.
Speaker 2:It was a trauma at some point. But it has also become true that he did it, and it was.
Speaker 1:And it was fun. I can notice when I have to do interviews in English. I start again. And it's enough, because there is something in the language I can press in a way, and it can also come if I'm tired and stressed. So it also comes in some places a little bit, but in a slightly different way. That was a hand-fight once, I can say in a certain way, but in that I could also feel it. It came in waves. I didn't always get it because it was a psychosomatic thing.
Speaker 1:It could also come with tiredness and some things, but I was sure it did it better that the child was also super rough.
Speaker 2:But it was so hard to keep up.
Speaker 1:In the school district. It was just hard.
Speaker 2:And then you have it with you for the children.
Speaker 1:Yes, but I think it's pretty wild. I have actually thought about it. I have thought about it. Now my sons are 5 years old, but he has to start in the school and I hope to not give up. I know that the opening is still a big thing and now it's also been pushed over to the social media and stuff.
Speaker 2:Exactly.
Speaker 1:Exactly. It's even more outside the parents' home and it's also difficult to get them up for it. It's just that it's in the children's nature to compete and to be out of the frame. It's difficult, but I can try to give them some value, to say that it shouldn't be fit and be up.
Speaker 2:I think it's better in the school than in the school. It's completely different now and then.
Speaker 1:It was not that there was anyone who was talking about it.
Speaker 2:There was really no tolerance for that kind of thing, but I have always had that when they have had a big and small child. And now they finally gave birth and then they turned to school, and then they went to school, and then they went to the big classes, and then they went to the gym and they were too old for me it's a new thing.
Speaker 1:I also got an introduction to the competition, because it's really serious. There can be something happening. I'm getting stuck in the loop. And also just small things. I have it well in the back room. I have it so all the time. It's really good. But there is, of course, that competition that has put a new layer and I have heard people talk about it. I have also been late. I have always had so much respect for the answer.
Speaker 2:It's a real answer. It's the biggest answer that fans have.
Speaker 1:It's your life's way. Of my musical sense, I have also waited for my child to be born. We have been together for a while, but both because I had a good time in music and we toured a lot, but also more than that, I tried to be a little bit scared. But then I will say that I am really happy for you now.
Speaker 2:It's the most impressive and awesome thing, but it's one big competition.
Speaker 1:It's coming back to me that it's so much. I can't imagine when he would start to go out first time. Alcohol, and no, I will get it back, I will get it back.
Speaker 2:I take it with me there has been a hell of a nightclub.
Speaker 1:So I stand and can hold my eyes.
Speaker 2:I am not the one who knows all the parents of the children.
Speaker 1:I have seen them before. It's not over yet.
Speaker 2:It's going fast. Do you pray with music? What do you say? Do you pray with music? Do you pray with music? Both with music and music.
Speaker 1:I think it's important to come to him, even if he doesn't want to. He is super interested in music. He is really interested in music. He has been sitting with his phone. He still knows how to get into a spotfire playlist. His number is called the Gloming. It's one of my latest plays. It's not something I know.
Speaker 2:I don't know if you hear it.
Speaker 1:I try to give him some old Bamsa Killing.
Speaker 2:He loves the number.
Speaker 1:He is really interested in music, the Gloming. It's really fun. He doesn't know me. He has a lot of rhythm. He starts with a number. I have had him in the studio. He has played drums. It's a really good thing. I hit something. He stood here and put the microphone up. He put the label on his voice. At the beginning he was scared.
Speaker 2:He heard his voice. I think it's really fun.
Speaker 1:I don't think it's that good when I sit in the studio all day. When I come home, I don't hear it. There is a lot of music. I'm sitting there, I hear a lot of talk. I sit with music all day. We hear music. I have heard a lot of things. I have a lot of music with a Swings, jazz, jan Johansson. He is fantastic. He is a great musician. I hear him when I come home. He can feel it.
Speaker 2:He will surely pray. He will surely pray. He will surely pray, he will surely pray, he will surely pray.
Speaker 1:I have a lot of music, a lot of music my life. I have a little home studio.
Speaker 2:The killer where he also does the tidigun. Fantastic, you are standing over a big tournament. Yes, you have been at many world tournaments, both solo. You have a big and big idea. It would be for me To warm up. It suits me, it was a wild thing.
Speaker 1:We were supposed to be on tour again, is it true? It is a bit embarrassing. We got a whole week tour In Madison Square Garden, but it was just so many jobs, so I said no, even my old idol or me, you are a bit different. It was really hard.
Speaker 2:First we went to some jobs and then it was fine.
Speaker 1:It was a good thing. It was fine. 20 jobs I think it was a lot Mexico and USA, but then there were even more jobs. I could just see with my son, my girlfriend and my son, the architect, who is really tired, how she would do it. I would be away from him for 3-4 months.
Speaker 2:There was no way to go home there were only 3 days, I could be home one day.
Speaker 1:It was hard and then we did it. I knew it was a big machinery, it was fantastic, but then I could see it would be too many jobs. We tried to hear their managers. If we could play half of the jobs, it was a bit sad. I don't think it was a good thing.
Speaker 2:I said no, and then we tried to go back there was a square garden.
Speaker 1:I just wanted to play. It was so fun to play. We got a message from Martin Gore. He was really angry. I talked a lot more about it when we played the last tour. I was shocked but the manager said it was both my American book. There was more him. He is so close to the manager but I think he is also 4 years old.
Speaker 2:He was supposed to live in Ambrice.
Speaker 1:It was a bit sad. It was very sad. It could have been cool. We were so far away. It was so difficult. My guitarist and my bassist they were just getting better. I had to find a place Both on bass and guitar. Our singer Could not get any jobs. She lived in Iceland and went to some exams. She would read to the cyclists.
Speaker 2:They just wanted to be there were too many no-go's, it was a big experience.
Speaker 1:I remember playing in Berlin the huge stage. We were so lucky. People were really good at our music. I was excited Everyone was coming. It was a big warm up. It was really good feedback. People were really on. It was a bit funny. We did not have to play so high, we only played 98dB. We did not have to use light. It is a big band. We only had a big band. We just had to play overshadow.
Speaker 2:We just had to play overshadow.
Speaker 1:Exactly. It was great to see how many great hits they made how they made the audience. Martin Gård has written the most popular songs. What we gave him is a fantastic showman that must be seen. The stage was always there Every time there are so many classics. We stood and saw the concert. We were so excited. It was fantastic to see the number I grew up with. It was a great experience.
Speaker 2:How different is it now that you have to be there? I think there must be more pressure. When it is there yourself, when it is the passion mode, I think there is a state that is filled. But to fly to the USA, I am sure there are more than 1000 people you have to sell all the tickets. How is it? It?
Speaker 1:is a pressure. Sometimes it is hard. We had a lot of people after Corona. It was hard. People went less People bought tickets. We had jobs in Italy. They were closed. In Denmark we had been in a European tour. I remember people were standing with masks. It was only half filled. They were coming from. There were hundreds of people. They died.
Speaker 2:Yes, In Italy there were special trains. It was really slow to buy tickets.
Speaker 1:It really was good. The same with the USA. It was hard. We had always been healthy, we could make games, we were out and over, but this time it was only half filled. We didn't know that it was with all the artists, but you were a big pop idol, it was just like that. It was a bit up and down. We had a lot of people. We had a tour. It was really close. It was open. We came back. We made our second part of the tour. We started to close in Europe. Then people came again. Now we have. It was still a tour. There were not many people. There were people. Before we hadn't played for five years. I thought have I lost it now? No, no, our book was really cool. Many artists have done it together. Who is it now? People should come back to the game. I can see that the new one sold really well. I think we are old now.
Speaker 1:It is a press, it is a band. It is my own music, it is me playing.
Speaker 2:I do interviews.
Speaker 1:We have a show after a while. That way I feel more pressure. It is also nice. It is a part of the game. After a tour I have a year or two to do the next album. It is a fast rhythm. I just play. I love it. It is really fun. I am not a pitchmode. I know the name.
Speaker 2:It has a fantastic opportunity.
Speaker 1:It has a great catering. It is a long tour. I have played it for half a year. They have been at home for three weeks, but it is still With a private jet. Some things are still. You are on stage Playing together.
Speaker 2:I love it.
Speaker 1:I could take a break One year or two and play it, because both parts are important. I am also a bit sensual. I am sitting here alone in the studio, so it is nice to come out and play.
Speaker 2:Exactly. You are quite. You have to say that I am wrong. I am not wrong, no, but that's how I think. I remember that we're going back to the old night in 2009,. I was on a stage in Belgium called Eskimo, where Casper Björke was, and then we went out with this song and said who should I remix it with? And then it was Henrik Schwartz who would do it. What about the trendy music? I said it could be super cool if he did it.
Speaker 1:So I said you can't get on. You can't get on. It's all too much.
Speaker 2:It's not what you do already in 2009. And then we play out in Köepvin. I play with Kelt, I think, the one where you're just out there, and then I've heard this song and you get to see it more.
Speaker 1:I would like to say that it's what Casper Björke likes. It's not about the record label.
Speaker 2:It's more about artists.
Speaker 1:You get to see it, but I've actually done quite a lot of it.
Speaker 2:It's a total sight for someone who's lying down so far down here compared to you.
Speaker 1:It means a lot to me.
Speaker 2:It's fantastic that you're here to to get rid of my music because he's down on the record. I think Anders would really like to say Hello, kelt, I'm proud to be here. I've actually done it with artists.
Speaker 1:I've made a trick remix for two or three years ago because he's the one who's been doing a remix I loved his stuff I'm telling you about Porta, Set and Tripop and it was a great number he had done, but instead of me we were sitting here, we were going to run through the record label and the manager said I need to get the money for it so we could maybe just do something about it and then I made a number for him because I was a single.
Speaker 1:That came out because I had the opportunity for it. I can enjoy it with some time and it was also because of your number.
Speaker 2:I think it was great there was a great sampling of old gospel music.
Speaker 1:Yes, and if you can see the music, that's great. Why not do it? I've always remixed some big names, but also the unknown names, and for me it's actually good and it opens up some doors to remix a big name. But the most important thing for me is a great number. I actually had a remix of the Pitch Mode and it was called Wrong because I honestly don't think the number was super strong, and it was one of the only times when I thought maybe it's actually a no, because I've always had the rule for myself that it should feel real. But then I immediately felt that there was something I could use to wait for my own sound, but I was sure about doing it. But I also sang the same thing with my label and said no, you have to do it.
Speaker 2:It's a Pitch Mode. You said no at the first time, or what?
Speaker 1:Yes, but I actually asked if I could get another number, but it was a single and it was like that. But I just know that for me, if I have to, when I have a remix, it's not just about new drums. I can also do it in a certain way, if there's a melody, and then make some new chords and then make it completely, just say the next convocation and then maybe a little theme.
Speaker 2:And if you have made some watery, watery remixes, I think, like Røyxop is still not the day today full-size watery. Yes, it's also glad that you've played French 40's in the last few remixes.
Speaker 1:Yes, I was actually a Grammy nomination for that.
Speaker 2:That time I was quite wild.
Speaker 1:Did you go there? No, because I knew. I mean, I knew I had. I must have really understood what that Grammy was.
Speaker 2:It's never really heard of no, no, I was so much with the other world that time.
Speaker 1:And then, simply, you became a Grammy nomination in the USA and I was like, oh, that was cool. I thought it was a party like I don't know, it was Røyxop. And then I won. I swear to God, but it was just. It was, of course, a super-flexible gift and I was happy for it. It was not that much, but it was just. I was just another place, I think, and I was again through my music world and so on, right.
Speaker 1:But I also found out when I made remixes. I really use it a lot, I use it as long as I do my own songs and therefore I actually, a little after the French 40's and a few years later, I said no to really really much myself, big, and also to myself. I think it was cool because I think it took I mean, it took me so long to work with my own number. I think that's where the impression is the most right.
Speaker 2:Yes, that's why I'm good. And you actually use it as an idea from a song to yourself. Can you say to another background, right? Yes, but it's what he's saying.
Speaker 1:And now, I have things. If there's been a remix, oh fuck. If I just mute the vocal here, then it's a cool new name because I've obviously made a melody line in the local but now it still makes it a simple start.
Speaker 1:If there's something I really think is cool, right, and then I sometimes do it for free, or I made it for some, a cool band called Place to Burry Strangers, which I really like, and they asked me and they make some fantastic guitar pedals. Oliver is a musician and guitarist and I asked him instead of getting some money, because I know you don't have any money so. I just stick with three cool pedals and I was like, how cool is this?
Speaker 2:I don't want to do that I don't want to do that. I think it's a really cool relationship to the whole thing because you have to be there.
Speaker 1:But that's the music.
Speaker 2:That's why I've always been there right, I think today, when I'm about to book something for the club. And you've been there, you've been there and come down and play, and you've also been in a single fire or just been in and out and you can't tell which people are thinking what the hell is going on.
Speaker 1:I can remember there was a pub and you'd say is it?
Speaker 2:any different. It's not that different. I've been in this little bar where there are 50 people but if we're to book a young artist, I can't call myself, even though I know someone who's out there. If I call myself, you have to talk to a manager. You have to play three acoustic songs on the terrace. It costs 100.000. It's where it's stuck a little bit.
Speaker 1:I don't know about that but it's where it's stuck a little bit. And it's also where it's stuck a little bit because it can also be hard. But come on, I'll just play a little bit and I'll be free. I also have the feeling that there's no money for it, but it can also be, on which Now I can see the entire indie scene, for example, and Jazz scene, because Jacob, who I'm part of, is a studio mate who we're sitting in now. He is a fantastic piece of jazz drummer and they're really good at helping each other playing on each other's boards, and the same is with indie rock. I think in Copenhagen there are really I mean, people help each other you know, and now I'm just a part of the electronic scene more.
Speaker 1:But I had a little, I think, that time when I was I had a little leg in it. I think we were so good maybe.
Speaker 2:It was really bad for them.
Speaker 1:Yes, it was very competitive.
Speaker 2:Especially that period from 2003 to yes, I have to say, 10 years from a certain point where I looked a lot at Noe with Prince Thomas and Tartaria and they were helping each other helping each other on their own and at home.
Speaker 1:it was one's own fight, yes, and it was a lot. And then you were what was it called? Resident on one club and then you couldn't, you couldn't play anywhere else. I mean, I don't know, it's probably different now, but I could just say, on indie scene has there always been a different openness Also because that was the way you overlaid, I think, and it has the same amount of money. In that genre. I can also see what I'm doing now. I could probably pay a lot more if I made some music that was in a different way. But I'm just doing what I want to and it's just that there's not the same amount of money that we get to help each other, and then it just doesn't get better.
Speaker 1:No, no, it's just that there's also something creative, that there's just a cool vibe at it, sometimes if it's something you do or don't want to do because of the money. But of course, if there's a great festival that says, would you like to play there? And maybe some of the others don't play my style, so I'm really happy because it's good money. It gives me some freedom and stuff. We don't have the big art, no exactly. They also have houses here and kids that need to be able to live.
Speaker 2:It's also one of their lifestyles. I think it's okay. It's okay, anders. What's going on with Anders Trenlemøller in the future?
Speaker 1:Right now, as I've actually just sent my record to Mastering in New York a hip-hop group called Hibaketry, which is a fantastic mastering woman who has made Slowdiver Björk and Afex Twin and stuff. She's really talented. Who just puts her last hand? Mastering is the last step before the record is pushed, so I've mixed it up and produced it, but she gets too close to me that there's something with the bottom that needs to be trimmed up and the top is a bit too hard.
Speaker 1:So this is a bit of a shame, because I'm working on it Actually one of the hardest records I've made because we finished with the last tour in November. We played at Iceland, where our last job was, and I started working on the record while we were still on tour, when we were at home again. But I was super inspired in that way because it was just through the hole, so it came out as the fastest record ever because it was just nearly gone. I think it was the second record, I think it was.
Speaker 2:No, it was the second, it was the second year, or the 23rd or something.
Speaker 1:Yes, it was the 22nd year, but the record says it goes on for about three years before the next record is released. So this time, or I've released it now I'm thinking about the music video and all that. I think it's a bit boring. I just want to make music and I've already released it. I've released it yesterday and I'll release it tomorrow with a new record for the next record. Oh fantastic. Yes, I've just been sitting around with this so much so I've always been on my way to make something new.
Speaker 2:And have you made your style? I remember in the old days you sat mostly at night watching the day. Now you have children. How does it work?
Speaker 1:every day now. It's completely different now, but it was actually also before I got the child. I've been more and more morning people in that way so I sit over there. I asked if we could meet at 9 or 9, or whatever.
Speaker 2:Yes, that's true.
Speaker 1:It's because I have something to see with myself, but I've been sitting here for about half an hour already and then I've got my child and we're talking about the shift. When I talk about it, I talk about it around 8 or 9, I'm not even before 9, but I can enjoy it. I'm actually the most fresh, maybe in my old days. Do you think that's why you're so excited about the record?
Speaker 2:Yes, it can be good, but I'm more focused maybe.
Speaker 1:I found out that I have it here at 3, so I have this window and then I can't. I mean then I can't get any more, because then I have to get my son, and it's actually been pretty good for my creative process, I think. I've also been sitting there at night just driving out there. But I also do it sometimes, I promise you that, but it's mostly there. I mean after 12 or so, I think it's 30.
Speaker 2:So I'm the best here in the morning you know, yes, but I started going at 9 in the morning with the bed and then at 7 in the morning, but with my life I haven't done it all my life. It's fantastic, you have a whole other energy, I think.
Speaker 1:And then I can also relax in the morning because there are no calls, no emails. I have to get up to the point now, and then I can sit there doing the business, control-like aftermiddling, just where I am 30, head down, and so on.
Speaker 2:And then it should be possible for Evid to make music right.
Speaker 1:Yes, I think so, because it's If I get tired that day I have to stop. But I have almost gone. If there has been a real hard time on tour, I have been tired, and sometimes we have played around 11 to 12, and then we have had a flight around 4, because we were supposed to at least remember Istanbul, and then we had to play in Switzerland after a while and so on, and it's the hardest. Some of them, where it's really tight pressed, I thought, fuck, now I'm just in the studio and I don't want to tour anymore.
Speaker 2:But then I miss coming out.
Speaker 1:Yes, it's a bit of a mess. Yes, it's my big passion. I will always be with it.
Speaker 2:I think so. No one has ever had a time where you were tired? No, but I've had.
Speaker 1:I had a really great Writers' Blog. I was really not able to get through it. It was really terrible and I have done that some time. I'm sure I'm coming over and I'm just making sounds just one and boring, but I'm a little bit of a challenge for me. I want to be better at playing other instruments, because when you have another instrument in your hand that you can't go to, then you have the same overview and that can actually be really cool the point is that it's a bit of a surprise because it's like with keyboard.
Speaker 1:It's the same way I take chords on my ears that you've become good at yes, and then sometimes I can be completely lost by some of the lack of self-confidence. I have a lot of that in mind. But then I'm also lost. And then I get to know I think I've been lost for too long. It kills the love. It's a pretty good thing and I've been better at it. I've been better at it. People like me. I can still be lost. We get lost and say there's something in this idea and that's there, but sometimes it just needs to be lost. And then I do it. I'm losing it. So people ask me I've been sitting around for a long time and then I get so lost and I've tried everything and it won't work out for a year and it doesn't work out.
Speaker 2:I've made music, I don't have anything to lose. I don't have a gift to give, because if I don't lose, it's just getting lost. It's only what I think is lost and the rest is just getting lost. Do you still make music?
Speaker 1:No, I don't, I think.
Speaker 2:I have something that's where I could and I think that's a pretty cool recognition and say I have something with that you're doing pretty well. I think you're also very willing so you don't miss, you still have the passion for music you still have the passion, you still play, but you make music. I don't think I was so good at it.
Speaker 1:I think it was good. You also made some cool edits and you also did that.
Speaker 2:It felt pretty fun, but that Bruce Springsteen we didn't have anything to talk about, it was actually good I did it.
Speaker 1:It was actually something I did because I played on the weekend with Thomas. We had the early slots. We didn't do so well, we just had a total party and that's what we did all the time. So we were just standing there warming up and then I can just go with Bruce. He's called Nebraska, he's a cassette player that I have in the studio and a lot of things are recorded on it. So it's very minimalistic. It's just his vocals and the guitar and that's it. And then there's a number called St Trooper, which I think was pretty cool. It could be fun. Maybe you could do something with it.
Speaker 1:But it's not an instrument, it's not a rhythm so I was going to sit and play every time it was two in the evening, it was just something I did, or an afternoon something I did before we started the week. I was in the afternoon and then I was at 7-8pm or something like that, and then I thought you just had to go down to the show and play for Thomas. I was surprised we played in the evening and it turned out really well that we played it. And then there are some references he has used it a lot to the stage that I have been up to since Suicide, which I am completely wild with. There were some early pioneers in electronics. I have some kind of a punk electronic thing. There was Kraftwerk and Suicide for me.
Speaker 1:Suicide is more of my style and he actually played the number. While Suicide played their game, oumbo, he played Studio 1 and then he played Studio 2 as a demo thing and then he heard I have a little Elvis where he roars and that's what he does on this number. I think it was pretty cool that there was a connection to Suicide that I like, and then there was just a number in a way. So I overstepped his vocal a little and put a big drum down under some keyboards and then it didn't happen anymore with that. And then there was one other thing. I don't know how it ended. I actually didn't know myself, but I gave it to some people.
Speaker 2:I have also been so cold, and then there was this thing that was on YouTube and stuff.
Speaker 1:I hadn't been allowed to do it. And then there were some years and then there was a mail from Bruce Springsteen's advocate and I thought, oh, that's a lawyer. When they had got news about this remix, because there was a French movie called the Russian Bone, a pretty fantastic movie which I would like to use a number in a pretty long scene it was actually three minutes long scene without dialogues, where they just use the number under a pretty wild scene, and it's one of those hundred slavs words I remember. And then Bruce Springsteen has never known anything like that. He has probably known a certain thing an edit or a remix but right with this, he's really happy about it as a single person and it's been a single person for the last time he's actually known that they can use it for this movie. So we would like to use it for this movie.
Speaker 2:Is it good?
Speaker 1:I said yes so even if we can give it a try. No, he's not fresh about it. He's not fresh about whether the head is made of edits or other artists going in and, like you, might as well make a cover of a number but not his voice. That's what the politicians have to say, but I was just happy that we didn't get any say on the topic.
Speaker 2:So it's simply that movie there.
Speaker 1:It's not that movie but it's a pretty fantastic movie. The Russian Bone French movie really really cool movie. So I was also proud that it came along there, and it was actually a movie that I couldn't miss out on Some fantastic instructors also did so when I heard that it was that movie where I was like yes, it was nice.
Speaker 2:And we weren't shocked, or I wasn't shocked. Fantastic story, I would just have it on the spot, but I really went out with it Otherwise, to the end. I have asked everyone when we die at some point, we will look at it closely.
Speaker 1:But I still have hope.
Speaker 2:I hope it's long-term. Do you want to be a?
Speaker 1:musician for your funeral. Yes, it's worth it.
Speaker 2:I have a question about one number, If you want to know more Actually whether it's you who has to decide or the family who has to decide?
Speaker 1:Yes, but I still have a question about it. But there is a number that I think is incredibly beautiful. It's called Intodust. As a massive star, I have always thought if I have to choose one number for my funeral, then it has to be that number, because it's just the most beautiful number. It's an acceptance that we will be big and earth. It has both a melancholy atmosphere but also some ending, in a way in a very beautiful way, except that it gets too heavy on the head. I'm just a huge, massive star. I hope you'll like it.
Speaker 2:It just wants to fit well, so it's a number all the time.
Speaker 1:Yes, that's what we are? I don't really think so. I think it's scary. I also have some feelings that I have not had much as a living place. I'm still thinking damn, it's 80 years. Now it's closer to me when I'm afraid, I take my phone, my parents or my mother or something so in that way, I'm a little overconfident.
Speaker 2:You don't think so. It's not that we hope to still live for a long time.
Speaker 1:Intodust is also very beautiful. You can also be a massive star. Thank you for being with us. Thank you very much for a nice conversation. Thank you very much.
Speaker 2:Thank you for joining us at this week's Music Local podcast, music Mit Druck. I hope you have enjoyed the music of the Trillene Universe and found inspiration for your own musical journey. If you would like to listen to today's guest list over the youth songs, you can find the list on the Music Local Spotify list on Spotify. I look forward to exploring more aspects of the future episodes that you can find on Spotify and Polymob. Until next time, let the music continue to be your most trusted lead series. If you want to listen to good music and good music in the real world, you can find Music Local right under the Nightclub Museum in the little king's garden in the København region.