Released: March 25, 2016
On his debut EP, Texas Girls and Jesus Christ, singer/songwriter Trevor Sensor blends traditional folk imagery and sounds with a little 21st century edge. Given the concise nature of the release, he shoots for the stars right out of the gate. “Bigger is better even from the heart!” he screams before the knee-slapping breakdown of electric guitar and thumping bass kick in on the title track. This bombastic display of showering celebration fizzles out as quickly as it commenced, masking the rock out surprise with a relatively timid beginning. Sensor’s own personal firework show is erupting for faithful listeners, only the grand finale illusions are just the start of the EP’s 18 minute playtime.
Pushing forward, themes of the somber revelations of a young man singing his blues are self-evident in every song, as pompous and loud as Trevor Sensor can reveal. “Swallows Sing Their Song” features a strong array of piano chords as an undercarriage to his sweeping acoustic guitar and crooning “ooh’s”. It’s almost as if there is an inverse relationship between Sensor’s arrangements versus the urgency in his scraggly candor. “Satan’s Man” is the most apparent encapsulation of such a theory, sacrificing somber yet uplifting melody for a constant minor string of notes over the screeching heartbreak emitting from his lips. This song structure is echoed again on “Nothing Is Fair”, with guitar gently striking a few chords throughout.
Trevor Sensor is only 22 years young, but the revelation of barren sadness in the lyricism on Texas Girls and Jesus Christ are particularly striking as that of creations even the most prominent voices of this generation have to offer. “I was told to believe in a country that is free, but ain’t nothing fair for you and me”, he reflects on “Nothing Is Fair”. Call it Bob Dylan worship, or simply resurrecting and building Zimmy’s musings in a modern environment, but there is no denying the talent and ability needed to achieve such a stature. Combine minimal guitar lines with stories just vague enough to touch home with people of all walks of life, and you have yourself a winning formula. “Nothing Is Fair” is brilliant just for that, channeling Sensor’s best qualities. Given the progression of the former track combined with closer, “Pacing The Cage”, another piano tearjerker, one can also see the intangibles garnered by such legends as Tom Waits, an additional, obvious influence on Trevor Sensor’s budding career. Whatever the swirling opinions and sparks rekindled in folk-enthusiasts brains, the imaginary checklist is complete. To dub Trevor Sensor a breathe of fresh air in the genre is a worthy achievement. The charisma, narrative, voice, and talent are all there. Combine all of these traits into future full length releases, and you’d best keep an eye out for his name looking forward.