Alt-pop singer-songwriter Trevor Drury released his latest single, “Chapter 4,” only moments ago. “Chapter 4” is from his forthcoming EP, Alice, It’s All In Your Head. On Trevor Drury’s latest single, the hypno-symphonic power pop-rock ballad “Chapter 4,” the multi-talented singer-songwriter intimately chronicles the closing of a special romantic chapter in his life. Though the song laments an impending breakup, he offers a glimmer of hope that he may see her again in the mysterious next chapter the song title refers to.

The song articulates the exquisitely complex emotions surrounding the cessation of a romantic liaison. Yet even as one chapter ends, another may open.

Drury explains “Chapter 4, “I am a big fan of sounds that have movement to them and records that evolve and tell a story. I don’t like creating generic pop stuff, and feel bored with the idea of doing that. If I hear a pop song, even if it’s a big hit, I’ll think what if they had made it bigger and added a choir or took their vocal and crunched it into guitar grittiness.

These things jump out at me as a way to make the song cooler and more interesting.”The turning pages of the multi-talented 23-year old’s ever-evolving life story create a perfect metaphor for his burgeoning career as an
indie artist creating hip, contemporary alt pop flavored with indie rock, jazz and a distinct retro flair. The infectious “Chapter 4” represents the promising next phase of a dynamic journey that began in 2016 with the release of his stripped-down piano and vocal only debut The Start.

Over the past few years, Trevor has released a handful critically acclaimed tracks that have received hundreds of thousands of views on Spotify, including “I Know You From the 70’s,” “Jealousy,” “Snowy Nights” and “Trip to the Water.” His most recent single, “Head on the Tracks,” a dramatic look at anxiety and self-absorption, recently premiered in Clash Magazine in the UK. In addition to receiving great reviews, it’s playing on multiple US radio stations from Maine to Hawaii.

“Head on the Tracks” will join “Chapter 4” as part of the singer’s highly anticipated soon to drop new multi-track project,
the quirkily titled Alice It’s All In Your Head – whose title track is a fascinating, trippy glam pop-grunge song whose title popped
into his consciousness as graffiti on an abandoned train at a station near the U.S.-Mexico border in San Diego during the filming of the provocative video (now on YouTube) of “Head on the Tracks.” Each track is a large-scale production featuring cello and string arrangements by Dave Eggar, whose hundreds of pop superstar credits include “Viva La Vida” by Coldplay.

While The Start offered a dynamic showcase for Trevor’s gorgeous balladry, spirited piano pounding, powerful vocals and insightful, emotional storytelling, he has taken his artistry and sonic dimensions of his artistry to a fresh, inspiring level since hooking up for
“Jealousy” with veteran producer and two time Grammy winning songwriter Marc Swersky. While perhaps best known for prominent songs recorded by Joe Cocker and Hillary Duff, Swersky has become the go-to guy behind the boards for a wide range of independent artists, including The Chordaes, Ashley Delima and DR King. The Swersky-produced tracks are mixed by 11-time Grammy nominee Mark Needham, who has worked with everyone from Fleetwood Mac and The Killers to Elton John, Pink and Imagine Dragons.

Though Trevor is credited as songwriter and Swersky as producer on the singer’s tracks, they are truly collaborative efforts. “I don’t think the songs would sound anywhere as powerful and impactful as they do without Marc,” Trevor says. “This is the first time I have worked with other musicians, and Marc instinctively knew who to bring in to flesh out my piano oriented demos into full productions – including the opera singer who sang with me on ‘Alice.’  “A great producer is one who knows how to reach into you as an artist and pull out the essence of your idea,” he adds, “honoring what you want from the song while offering new insights on where it can go sonically. Its really cool to hear these tunes I create on the piano suddenly come to life with this massive sound. I can sit back and listen to them as if they’re someone else’s work but every track represents my final vision. Marc works his magic, but they always feel like me.”

Born in Tucson and raised in San Diego, Trevor began playing piano at 8 years of age, developing his offbeat musical aesthetic with a passion throughout his formative years while soaking in everything from Elvis and Queen to Radiohead. After a year at San Diego State, he
moved to NYC to pursue a modeling career while writing and producing music on the side. The men’s face of Tom Ford in the 2016 fall
campaign, Trevor has worked with such notable designers as Hermes, Robert Geller, Timo Weiland and Malan Breton, and has graced the pages of Details Magazine. Trevor currently is with Ken Harvey Management, New York Models (NYC), Sight Models (Spain), Core Models (Germany), D’Man (Italy) and State Models (Los Angeles).While enjoying great success in the modeling world, Trevor has  continued to develop his musical vision and hone his artistry. In 2018, he moved the UK to study vocal performance at the British Irish Modern Music (BIMM) Institute. Trevor recently had the opportunity to tour Europe and Japan as the opening act for Ramin Karimloo, a well-known Broadway and West End performer. He is currently gearing up to return to NYC, where he plans to resume his modeling while focusing on creating more music and performing live.

“I am a big fan of sounds that have movement to them and records that evolve and tell a story,” he says. “I don’t like creating generic pop stuff, and feel bored with the idea of doing that. If I hear a pop song, even if it’s a big hit, I’ll think, what if they had made it bigger and added a choir or took their vocal and crunched it into guitar grittiness. These things jump out at me as a way to make the song cooler and more interesting. Marc is totally on the same page as I am in that respect. We like creating things we have never heard before. To that end, for every track we’re doing together now, we will have three versions: the one on the recording, a live version with a band and an acoustic version. It’s fun to try different arrangements to play with the emotions of a song. Like with ‘Head on the Tracks,’ it’s a big massive anthem type tune which I can then play acoustically as a slow ballad to offer a totally unique perspective.”

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