Eyes of emerald green
Young lovers equipped with gasoline
In the sun
Covered in ashes
Saturated with desire
The ashes dancing
Falling asleep in the sun
Covered in ashes of what can’t be undone
I’ve seen love fade from lovers eyes
and dew evaporate at sunrise
Future ruins you said
That morning when she left your bed
Future ruins
Future ruins
Future
Dissolvable in water
Disappearing down vibrant streets dressed like the night’s beautifully troubled daughter
Future ruins
Future
I know a place
I know a place
Fine white sand is swirling up into the air
reminding me of pulverised bones
while tiny shadows are moving like secrets on the cobblestones
If you dare come with me I’ll take you there
Don’t you see
I wanna take you to this place
I wanna take you to this place
The Earth casts it’s shadow into space
while I wonder what stories you keep in the lines on your face
Fine white sand is swirling up into the air
reminding me of pulverised bones
while tiny shadows are moving like secrets on the cobblestones
If you dare come with me I’ll take you there
Don’t you see you’re the white sand everywhere?
you’re the white sand everywhere
Two years in the making, Future Ruins, TOM And His Computer’s debut album, will be released on Trentemøller’s In My Room label on October 16th.
As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all.
“I switch back and forth between the digital and the analog worlds. I’ll utilize old guitar pedals as well as the newest software,” says Thomas Bertelsen, producer behind TOM And His Computer. “It’s never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track.”
As a teenager he explored the limits of cassette tape machines, eventually assembling a small arsenal of classic noisemakers, ultimately releasing records from the music lab of his dreams. Better yet, he has been able to perform it live, headlining, as well as supporting Massive Attack, and Trentemøller on his European and North American tours.
Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered “electronic music,” including nods to dark wave, dream pop, krautrock and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer.
As with the Playing In The Night EP, Future Ruins once again features vocalist Roxy Jules, this time showcasing the more complex aspects of her talents on four tracks. “It’s the third time Roxy Jules and I have worked together. This time I tried to bring forward the more vulnerable and fragile textures in her voice. It has that dark, northern, Scandinavian coolness to it, combined with a little optimism, and even a hidden smile comes through. I also explored alternative ways of arranging the songs. I was less worried about finding the obvious chorus and focused more on experimenting with structure.”
The result is a genre-less collection of songs showcasing TOM’s obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his “commitment to fresh ideas with a clear sense of melodies,” according to Clash Magazine. “My tastes are eclectic and I like to flirt with many different sub genres,” says TOM. “The aim was to combine various styles while trying to maintain a common denominator,” which committing to a full-length offered as an opportunity.
Soundtracks have been a major source of inspiration. “I also use photos, or even the first chapter in a book to generate ideas. They can trigger certain emotions, and bring different feelings to the surface. The challenge is translating that into a recording on a computer workstation, but they offer a great starting point. For this album I’ve used anything from pictures of Ethiopian elephants in the desert, to ancient Mayan statues, or ‘80s Serbian brutalist architecture to get me going.”
As a result, Future Ruins displays many treasures and traits along its arc when listened to in its entirety, either on vinyl, download, or stream, starting October 16th, 2020.
I think this album it's changing me and my way to make music!
this is a big musical thing and also the best album to listen if u're a mermaid🧜♀️
Grazie amore mio per avermelo regalato per s. valentino!!!
I LOV U GIULIA💘
14/02/2024 jenesaispass
One of the most eclectic artist of recent decades, with endless skills in music production and a taste in music like no other. A kaleidoscope of musical genres compressed in a dark electronic mood, able to redife the concept of techno, dub, rock. the last resort his without doubt one of the most revolutionary album of the century. listen to trentemoller's essentilal mix to understand how far it took the world of djing. ivanminuti
The Bristol duo's debut smashes together acid beats, punishing hardcore, and harsh now into songs that are deliberately overwhelming and intense. Bandcamp Album of the Day Apr 28, 2022