Rhyme Report

Published on April 3rd, 2019 | by Guest Editor


Rising Singer-Songwriter, Trevor Drury, Releases “Head on the Tracks”

Gently stirring up a melodic cloud before our very ears, a supple piano comes creeping out of the darkness as we fall upon the instrumental opening salvo in Trevor Drury’s “Head on the Tracks.” Like raindrops hitting the earth and splintering into a thousand tiny droplets, the keys repel from the percussion as it sweeps into the frame and ushers in the first verse of the song. Drury sings in a half-whisper, his voice as soft and brittle as the harmonies cooking up next to him are, but his words are not lost on us amidst this feathery execution. He’s lamenting, commiserating, but his heart is still full of life and wonderment, even in this grim environment that he’s found himself trapped within. This brilliant piece is produced effortlessly by Grammy award winning writer producer Marc Swersky and masterfully mixed by none other than the wizard himself Mark Needham (The Killers, Imagine Dragons, Fleetwood Mac)

The drums start to pick up a bit and join in the rhythm of the piano and vocal, and they conceal an insurgent electric guitar part that will become an essential element later on in the track. Drury’s voice gets a little louder and his passion a little more zealous as we come closer and closer to reaching a minor fever pitch in the first chorus, but nothing is dispelling the tension in the air until we become hypnotized by the ensuing hook. We listen on as Drury conjures a synthetic harmony that is dripping with emotion, and while the surreal grind of the gears reaches a guttural, black and white plateau as we enter the next stanza, it somehow doesn’t bring the pace of the song to a screeching halt.

Drury continues to twist and writhe his way through the primal lashes of lyricism, and after about two minutes of churn and burn, that subtle guitar that winked at us earlier on in the song returns to overtake the master mix with its psychedelic-infused cerebral wallop. The narrative in the words is emphasized by this explosion of color in the track, and it suddenly becomes quite clear that we haven’t even reached the true climax of this single, despite the rocky road of rhythm that we’ve been riding this whole time. Drury winds up for a cinematic finish by introducing an urgency in his vocal beside the tinder box of tones that the strings are delivering, and in a fiery blues-rock solo, “Head on the Tracks” ascends into the divine realm from which it was first sprung.

There has yet to be a single from Trevor Drury that I haven’t wholeheartedly enjoyed on a professional level as well as a personal one, but in “Head on the Tracks,” he executes something that is best described as urbane indie pop on steroids. The physicality present in this track makes it so that we’ve got no choice but to feel every one of the beats as they come lumbering out of the stereo, absorb every sonic blow as they’re delivered from behind the piano, and embrace every emotional word that Drury can muster from his golden set of pipes. Calling a song like this an articulate entry from a skilled solo artist just doesn’t cut it; “Head on the Tracks” is, for me, Trevor Drury’s official declaration of war against the mundane melodicism that has become all too common in contemporary pop.











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