Danish post-punk maestro Anders Trentemøller needs no introduction. His seventh full-length album, Dreamweaver (In My Room, 2024), is a 10-track journey through electroacoustic textures, enveloped in his signature hypnotic and atmospheric soundscapes, with vocals by Dísa. Amid his European tour, which kicked off at Hamburg's stunning Elbphilharmonie, we delved into a conversation about life, death, and the spaces in between. As he heads to the UK this autumn, plans for Australian dates and Tokyo just confirmed for 2025, marking his debut in Japan.
Congrats on the new album! The number seven holds special significance in metaphysical philosophy, symbolising self-awareness, truth, insight, and a positive impact on life. Do you feel Dreamweaver resonates with these themes?
Yes and no. To be honest, I didn't think about that when I wrote this album. Every album deeply impacts me because it's like a snapshot of where I am in my life. This time, it came a little easier than usual. After a big world tour, I often feel quite empty. The shift from touring to starting a new album can be intimidating, and I always worry if I'll find inspiration again.
Is it the fear of not having more to express after such a long career?
Not quite. It’s more about doubting whether I can translate my feelings into music. There’s a stark contrast between playing for large audiences and then suddenly doing mundane things, like grocery shopping or playing in the park with my five-year-old son. It’s important to have that balance.
I understand. So, you must still be feeling quite inspired, right?
Yes, I was back in the studio two days after we came home from the tour and for some reason I was extra, extra inspired this time.
I am really enjoying listening to the new album, especially its exploration of electro-acoustic textures set by the first single A Different Light. Could you share more about the creative direction behind this electroacoustic approach?
That was actually the first song I wrote for the album. I had a melody and chord progressions that I initially played on synths, but it felt too cold. I wanted something more fragile and human, so I switched to an acoustic guitar, which worked really well. At the time, I was listening to a lot of Nick Drake, and his sound and fingerpicking style felt like a natural fit. I also wanted to create a contrast by bringing in synths midway, blending the acoustic and digital elements. Interestingly, the first song I write for an album often becomes the opening track, as it sets the tone and direction for the rest.
That’s interesting. When you have a new idea, what's your go-to instrument, keyboard or guitar?
Most of the time it is actually my upright piano that is just next door here in my studio because I really like to just not sit with my computer or with my synths because they are so technical. I really want to focus on songwriting first, starting with strong melodies and chord progressions. It’s easier to build production around them later. I often sit at my upright piano and record ideas on my iPhone.
I'd also love to hear about your collaboration with Dísa on vocals. I think you guys previously worked together with The Raveonettes?
Yeah, we actually did one cover song of The Raveonettes together because their first album turned 25 years old. The Raveonettes asked us if we could do a cover and they are one of my favourite bands, so I was just like, yes, yes, I would love to do that.
Are you still in contact with them?
Actually, I'm working on a new song together with Sune [Rose Wagner] for my next album. So it's gonna be fun.
That's fantastic! What was your vision for the vocals when working with Dísa this time?
I wrote all the songs with Dísa's voice in mind, knowing what she was capable of from our shows. I spent time alone in my studio crafting the melodies and lyrics, then reached out to her, suggesting we make the album. She loved the idea and brought the songs to life in the studio, adding her own touch and even refining some lyrics. Though I laid the foundation, she truly made them shine.
In past interviews, you mentioned not usually writing lyrics. Has that changed?
That's right. Memoria was the first time I wrote all the lyrics. Previously, I worked with different vocalists, which felt a bit impersonal since listeners had to connect with multiple voices. But with my last album, collaborating solely with Lisbet Fritze, I had a great opportunity to delve into lyric writing. It took me twice as long as composing the music because I'm not used to writing lyrics, especially in English, as my native language is Danish.
Were there any specific themes that inspired your approach to writing lyrics?
Yeah, it actually came out of a need of having the lyrics fitting the music even better than before. I didn't want the lyrics to stand alone; they had to be integral, with their meaning visually and sonically intertwined with the sound, rather than just an addition. I’m drawn to open and abstract lyrics that focus on atmosphere and emotion rather than a linear story. This inspired me to write similar lyrics because I knew what I wanted to express.
Did you have a specific melody in mind?
Kind of. I started with some keywords and a jumble of nonsensical words, just fake English. Gradually, I built a story around those keywords, letting the music guide the themes. I always begin with the music and develop the lyrics afterwards.
It sounds very cinematic, as if the music evokes visual images alongside the lyrics.
It wasn’t anything particularly visual going on. I don’t really have any visual concepts in mind; it’s more of a gut feeling I want to express. I’ve found that music is the best way for me to convey my emotions. That’s also why I like to include instrumental tracks on my albums. There’s something magical about music without lyrics, allowing listeners to interpret it freely without words dictating its meaning. It was definitely out of my comfort zone.
I’d like to continue exploring the album in more detail. Nightfall really stands out on first listen, with its beautifully crafted melodies and a Chris Isaak-like presence. Dísa's vocals, especially in the final section with the added orchestrations, lift it to another level. Could you walk me through the writing process? Did you start with the guitar and build up from there?
Interestingly, that song was the second one I wrote for the album, following A Different Light, creating a nice flow of energy. The third song I wrote, Dreamweavers, ended up as the third track on the album. I've never aligned the order of my songs with the order I wrote them, but these just fit together. I aimed for a melodic yet dreamy vibe, with a touch of melancholy. It has a slightly folky, spacey feel, inspired by Mazzy Star and some seventies psych rock, while still sounding fresh and uniquely mine. I started with a guitar riff and built the drums and bass around it, often writing the melody alongside the guitar part. The bridge was tricky; I spent a lot of time finding something that connected the verses and chorus. Overall, it was a joy to create, as the process felt effortless, which isn’t always the case for me. Very often I have a writer's block and get frustrated and yell (laughs).
While the album maintains cohesion and your signature style, you’re exploring various sonic directions, such as more synth-driven and acoustic elements, alongside influences from the 70s and 80s. Could you reflect on these influences?
I'm turning 52 this week, actually.
Oh happy birthday!
Thank you! So you know, I draw inspiration from bands like The Smiths and The Cure, which are part of my musical DNA. My sound reflects these influences, along with classical music and folk. I love Prince, though I don’t incorporate his style into my work. While writing an album, I avoid listening to other artists to prevent confusion and the urge to imitate. Instead, I focus on being present in the moment, though you can still hear influences from post-rock and bands like The Velvet Underground, I love The Velvet Underground, especially Venus in Furs.
Empty Beaches is one of my favourite songs on the album at the moment, from its title to its more progressive structure. The song seems like it would be quite enjoyable to play live, is it included in the current set?
We have so many songs we want to perform, including tracks from my older albums. Our set runs about 100 minutes, almost two hours. We’re considering rehearsing that song and potentially adding it later in the tour because playing the same songs repeatedly can get tiring. We've discussed including some fresh tracks for fun, so I'll definitely keep that in mind.
I’ll take credit for that then.
(Laughs) Do it! It's such a fun song to perform live.
You usually like to work on your own when you come to mix or even master the album. Have you recorded and mixed Dreamweaver at your studio as well?
Yes, everything is actually done here. Some of the early mixes were done in my basement at home, where I have a small setup. It's convenient to work there sometimes since I have a son and my wife. Maybe one hour in the night I can go down into my basement, it makes it easier. Working for me in the quiet early morning until three o'clock is really good for me because then I can pick my son up from kindergarten. It’s a different life compared to when I started making records.
This is the third time I’ve had the pleasure of interviewing you. I remember our first interview in 2013, around the release of Lost, when you toured with Depeche Mode. I wanted to take a moment to show my respect. Have you had the chance to connect with the band after Andy Fletcher's passing?
No, unfortunately not. And I was super sad to hear that because he was, of course, a big part of the band. I haven't talked to them after that. I was pretty shocked that he passed away so early. And that was too early, definitely.
And looking back, how do you reflect on that experience now, knowing it’s a chapter that can never be revisited?
It’s very strange but I’m also very grateful at the same time for having the chance to do that because they were and still are my big heroes. I really love the way Martin Gore writes music. For me, he's the main character of that band. Of course, Dave Gahan is the singer. But as a writer, I really think he writes some fantastic music. And I'm just looking back on being able to support them and also hanging out with them. We ate dinner together sometimes before the shows. We were hanging out backstage. It was really fun. They were such sweet guys. Really down to earth, actually.
Speaking of Depeche Mode, I really like the aesthetics of your artworks. Dreamweaver's album cover reminds me of Violator trentemøllerized. Do you work with the same artist for your artworks or does it vary?
That was something that I really didn't think about. This flower and Violator, there are some similarities. It was actually not something that I thought about when I did talk about the cover with the guy who did it. But it definitely has some similarities. I think it's kind of the same aesthetic in a way that we share, maybe, a bit of dark stuff. There was a guy that I just saw his photos on Instagram and I thought these are cool photos. I asked him to use them for my album, and he was like, yes, actually, I'm living in Copenhagen. It happened to be a Danish architect taking photos just as his hobby. He was happy that I asked him, this beautiful flower trying to be stabilised with the wires. I find something beautiful in that contrast like you can’t really tame the wild and the beautiful stuff.
At the beginning of the year, we sadly lost a mutual colleague, Luis Vasquez, also known as The Soft Moon. His passing, alongside friend Silent Servant and Silent Servant’s wife Simone Ling, was a deeply tragic event. While I don't want to delve too personally, I’d like to ask about your perspective on balancing life’s challenges. How do you approach the topic of drugs, and what is your philosophy on staying connected to the things we love and enjoy in life?
That death was truly tragic and a shock for me. I didn’t know him well personally; we had worked together a bit. Unfortunately, [Luis Vasquez] wasn’t the only one, his friend and friend’s wife also died, making it even more heartbreaking. As far as I know, he didn’t normally use drugs, so it was something unexpected. So it was just something that could happen also to me, not because I'm using drugs all the time or anything, but, you know, it reminds me how fragile life can be; we really need to take care of ourselves. Tragedies can strike at any moment, whether from an accident or otherwise. This loss feels especially tragic because three lives were lost. He was a talented artist who created beautiful music, and it’s such a waste to lose someone so early. At the same time, we have to live our lives to the fullest. I’ve heard that drugs in the States might be becoming stronger, and perhaps the best choice is to avoid them altogether.
Dreamweaver is your second single music video. I think you used to work with Swedish artist Andreas Emenius directing the music videos but not this time. If you could please tell me briefly about the collaboration with Andreas and this new work.
We are definitely still talking. For this video, I didn't really think about him because I wanted to try something else and he’s in New York doing very well with his art exhibitions and very busy with his paintings. Actually it’s a really good idea for my next album, perhaps to make something in the future. He’s a very easy going guy and he also understands my music and universe. I was very happy working with him like kids playing together.
Closure beautifully wraps up the album and feels like the most cinematic track. As you evolve musically, do you find yourself more drawn towards score composition as a potential future direction?
Not exactly. Years ago, I composed a score for a Danish film, and I realised that working on films often feels like being part of a big machine, with lots of compromises and I’m not good at compromise (laughs). Soundtracks can take a year or more to complete, and I’d rather focus on my own music, writing albums and going on tour. That’s where I’m in my element, and it doesn’t leave much time for anything else.
You're known for your collection of FX pedals. I remember the Particle by Red Panda being one of your favourites. Did it make its way onto this album too?
Oh, you remember well (laughs). I actually used it for the intro of the song Dreamweavers, and some more stuff for sure.
This new tour kicked off at Hamburg’s Elbphilharmonie. How was the experience?
It was fantastic, but also a bit chaotic, as it was the first show of the tour. We had rehearsed for a few festivals beforehand, but only for a handful of dates. This time, we played about five new songs, which made us quite nervous. The venue was sold out, with around 2,000 people, and had these beautiful balconies overlooking the stage. It felt really special, especially since the audience was seated and fully focused on us, unlike the more casual atmosphere of a festival. That inspired us to craft a more cinematic, listening-friendly set to match the theatrical vibe. We also played Nightfall for the very first time, which was fun but definitely nerve-racking (laughs).
You have some dates confirmed in 2025 to Australia. Any other dates added or plans in Asia or America?
We're heading out on a tour across 25 cities in Europe, followed by shows in Japan and China. Playing in Japan has always been a dream of mine; it's such a unique and fascinating place. I spent four weeks there after meeting my wife, along with a Japanese friend, up in the mountains. We were the first Westerners to pass through that area in twenty years. It’s an incredibly beautiful experience.