When Trevor Sensor sings, you can't help but want to listen.Jagjaguwar, 2017
7.3 / 10
Just 23-years-old but Trevor Sensor‘s voice suggests otherwise. His raspy singing sounds like someone, who’s swallowed hot coals. Then, maybe he tried to cool down his tender throat by drinking gasoline. Not a good combination by any means, but damn, that voice is superb. Not surprisingly, he pairs his wounded vocals with mostly barroom folk-rock on his debut Andy Warhol’s Dream. Piano here and there, some tambourine and organ, the requisite guitar and drums. It’s very rootsy and grounded in the past rather trying for modern mass appeal. Even when Sensor does go big as on “Sedgwick”, it sounds like something from the ’80s playbook of Springsteen or U2.
Much of this is representative of the individuals helping Sensor. He’s got three noteworthy producers backing him: Richard Swift, Foxygen’s Jonathan Rado and Brandon Darner. The man in the middle, Jonathan Rado, knows a thing or two about borrowing from the past. At times, Sensor’s music has the energy of a Foxygen record. Folk does suit Sensor’s rugged singing, but he’s capable of much more. “In Hollywood, Everyone Is Plastic” evokes almost a Billy Joel, Elton John, or Warren Zevon style. Those are three names any young artist would like to be compared to. And the comparison isn’t a stretch. Andy Warhol’s Dream‘s best moment comes on “The Money Gets Bigger” when Sensor lets loose in a rambling, anthemic parade of grandeur. Backing vocals join Sensor as he sings to the heavens, “I’m going to be someone tonight.” Yet, it feels like he’s already someone now.