It's a soaring trip into the unknown for a classically-weaned disco baby with a rock-n-roll soul.
Trevor's windswept voice and unusual sidekick, a beat-up cello, take you on a journey into the less-traveled corners of roots and rootlessness.
[+]It's a soaring trip into the unknown for a classically-weaned disco baby with a rock-n-roll soul.
Trevor's windswept voice and unusual sidekick, a beat-up cello, take you on a journey into the less-traveled corners of roots and rootlessness.
From Brooklyn to Berlin, Britain, Brazil, Buenos Aires and back, this runaway visits us with a sexy original sound and songs. He practically violates the cello as he sings, whispers and screams an imaginative repertoire of instant classics.
The whispered message: Give in to the sublime. It glides over a gently pulsing groove that's not quite bass, definitely not guitar - yet possesses a smooth resonance coveted by both.
BIO:
As a kid, he felt restless, but people judge an escape artist harshly: "Is nothing good enough for you?" they ask. But it's not about that. Trevor Exter had an itch that needed scratching and so he ran and ran, soon finding out that the itch was on the inside, not on the outside. A fascination with music propelled his journey.
This fascination brought him to lots of places. After leaving his beloved hometown of Ithaca, NY for spells in the Midwest and South America, he got lucky and "worked" in New York City for a few years, where his adaptability and unconventional taste brought him both glamour and surprises in a wide variety of venues and recording studios, large and small.
Early in 2004, shortly after relocating to London, he got run over by a cement truck while bicycling. He miraculously survived with no broken bones, but took the hint that his life had taken a wrong turn.
He spent the next year in and around Buenos Aires, Argentina assembling his first solo project, the CD entitled 637 Sounds.
This record features Trevor's guitar-like cello style as an accompaniment to his voice. It's his humble entry to the small but dedicated (and ever-growing) movement of cello-wielding musical pioneers: the Hank Robertses, Bonfire Madigans, et al. Guitarists are impressed by how far he can "bend" notes on the cello, while most normal cellists hear Trevor's sound with a mix of fear and fascination.
Trevor has worked with Gloria Deluxe, Nicole Renaud, De La Guarda, Gaby Kerpel, Shrine For The Black Madonna, Marc Anthony Thompson, Willi Jones, Toujours l'Amour, Phi
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