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Trevor Powers (born March 18, 1989 in San Diego, CA) is an American musician, producer, and composer based in Boise, ID. He began recording music in 2011, releasing a trilogy of albums under the moniker Youth Lagoon before announcing the end of the project in 2016. Three years later, Powers and a handful of contributors retreated to Sonic Ranch, a residential studio complex in Texas in the middle of a 2,300 acre orchard. The result was Mulberry Violence - the debut album under his birth name.
Recorded somewhere near the Sawtooth Mountains, Trevor Powers’ Capricorn plays like a fairy tale or alien quest. Fragmented and full of grace, it serves as a meditation on the passage of time — existing both in the past and future.
After a severe panic attack made his legs numb for a week, Powers knew something had to change. “Control is our god,” he says. “But it’s an illusion. We think we can dictate every day of our lives but that’s like playing chess during an earthquake. Sometimes the pieces move themselves.”
Capricorn paints a world of melancholia and unsettling beauty. Powers’ field recordings, classical motifs, and software sculptures don’t stop time; they examine it like a beetle under a microscope — exposing that the extraordinary is often hidden in plain sight. “From the minute we wake up, we’re in a trance,” he says. “This is music for our digital coma.”
Recorded somewhere near the Sawtooth Mountains, Trevor Powers’ Capricorn plays like a fairy tale or alien quest. Fragmented and full of grace, it serves as a meditation on the passage of time — existing both in the past and future.
After a severe panic attack made his legs numb for a week, Powers knew something had to change. “Control is our god,” he says. “But it’s an illusion. We think we can dictate every day of our lives but that’s like playing chess during an earthquake. Sometimes the pieces move themselves.”
Capricorn paints a world of melancholia and unsettling beauty. Powers’ field recordings, classical motifs, and software sculptures don’t stop time; they examine it like a beetle under a microscope — exposing that the extraordinary is often hidden in plain sight. “From the minute we wake up, we’re in a trance,” he says. “This is music for our digital coma.”
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