Music producer Trek-e is in the business of making people look cool. Whether it's providing the musical score for the striking young hipsters sipping beer in a recent Heineken ad, for George Clooney stirring his drink in the latest Martini commercial, or for Brad Pitt wheeling and dealing in the trailer for Ocean's Thirteen, all can give a shout-out to Trek-e for spinning the themes that made their image that much more fabulous.
Finally it's time for Trek-e to shine all on his own.
Trek-e's long anticipated debut album is not so much an unveiling, but a compilation of his entire career thus far. Trek-e began as a drum and bass DJ roughly ten years ago in Toronto, Ontario. The thirty year old son of a preacher man first made a name for himself while working for Stickman Records where he played an instrumental role in the creation of the label's now famous Obscene Underground compilation discs. It wasn't long before Trek-e broke off on his own. By 2001, Trek-e had not only started his own record label (Richmond Records), but had scored a Sundance Film Festival Award winning film Crack the CIA, a documentary exposing the CIA's secret involvement in the selling of narcotics. Despite getting consistent bookings across North America as a DJ and having the world seemingly at his fingertips, a disillusioned Trek-e soon left the big city for Peterborough, Ontario to re-evaluate the direction of his career. After a year and a half of writing what he refers to as "Depeche Mode meets Nine Inch Nails music," Trek-e decided it was time to take off in a new direction: the West. At the convincing of a few friends at Nettwerk who recognized the vast extent of his talent, the former model spontaneously packed up his life and moved to Vancouver in 2005. Now in 2011, Trek-e's career producing tracks for Vancouver's flourishing film and television industry has taken off and the helm of the Richmond Record Pool, now over 150 labels strong, has gone digital, making it the hottest dance record pool in the country.
Trek-e acknowledges that much of his new album is an attempt to encapsulate the overall mood of certain types of film - "to make them spatial." Indeed, many tracks on the record evoke instant associations to specific high-concept movies, from the action-packed The Fast and the Furious to the German techno-driven Run Lola Run. Yet upon further inspection, this exceptionally diverse album in its entirety acts as a possible soundtrack for Trek-e's own life. The wonderfully ambient frustration in the critically acclaimed "Stories they Sing" resonates to all of us who have witnessed a close relationship spin desperately beyond our control. The Chemical Brothers-style big beats heard in "The DJ" echo a simpler time in electronic music composed purely of two turntables, one mixer, and one BAD DJ. The album weaves from a hip hop sample in "Pull The Trigger," to an edgy Crystal Method-like pulse in "You The Devil," to "Electrical," whose poppy sound best resembles an early underground Madonna. The album quickly culminates to its pinnacle track, House of Pain, an awesome blend of cold electronica and warm, Moby-inspired waves tied together with a simple piano accord. This album is a remarkable testimonial of where Trek-e has gone thus far in his career, both in music and beyond.