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(28:36; 7D Media)
On 16th March 2020, Trey went into the studio with his 10-string Warr guitar. He set up the recording so he was using two channels, the first being direct and the second using a Rode microphone on a Phil Jones Double Four amplifier, and then set down to play. When talking about this and the related album, ‘Firma’, he says “These pieces will reward detailed and repeated listening. Likewise, they will punish casual listening.” He also states that this album is geared towards abstraction, and on that he is not kidding at all. This is a highly experimental release, using sounds and techniques only possible on his instrument of choice. It is jagged, sharp and to the point, literally. It takes in the listener, shakes them, and challenges their very idea of what is acceptable. He lets notes hang in the air but also delivers arpeggios and attacks which are brutal. Space is used as another instrument, sometimes in a friendly fashion and others where it is powerful and dominant. Notes get left resonating on one string while he utilises others, and at times he is contrasting himself with both staccato and legato at the same time. This is not an easy album to listen to, and there will be some who even if they get to it will only do so once and wonder what is going on and whether they wish to subject themselves to it anymore. I am fortunate enough to hear quite a lot of music that pushes boundaries and I soon found myself deep inside his world, which is not always peaches and cream but is challenging and asking question both of the musician and listener. This is a grower, and for those prepared to take the time there is something special in here, but just do not ever try to play this as background noise or at a party unless you want people to leave. This is for those who wish their music to be out there, really out there.
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