Album Review: Trentemoller - Lost

The third studio album from this Danish producer lacks a coherent vision, instead wavering between being a trip hop record in the vein of Portishead and a modern club album. Operatic, watery opener The Dream as well as Gravity and Candy Tongue each feature a different female vocalist (Low, Jana Hunter and Marie Fisker respectively) to the detriment of Trentemøller's style. This isn't to say the singers are bad in themselves; rather, their vocals dominate the tracks' structures while the music itself meanders in the place of his usual, sophisticated electronica. In fact, it's the instrumental sections of Lost that really shine.

For instance, sharp, echoing drum patterns give lengthy track Still On Fire an '80s electro flavour reminiscent of New Order. Its reverb-drenched, pulsating bassline creates the impression of a polyphonic ringtone being played underwater. It's a great, chaotic club song. Likewise Trails impresses with its Nintendo 64 aesthetic – shimmering chimes contributing to a busy, ecstatic sound. What these two tracks, as well the cinematic, tribal beat of Never Stop Running have in common is that they stray from gentle, minimal electronica, instead going all out in energy and texture.

While Lost isn't mind-blowing – it's too long and fairly disorganised – it'll be difficult to find someone who doesn't like at least a few songs on the album. Though previous fans may be unconvinced, more experimental tracks such as the spooky, oriental-influenced Morphine, which employs various percussion elements to great effect, burn brightly through the more regressive elements of the record.