Trevor Kowalski: Emmy-nominated Composer and Streaming Sensation
Welcome to an exclusive look into the world of Trevor Kowalski, a composer whose music has been streamed over 100 million times worldwide.
From his collaboration with Alaska Airlines on the visionary "Salmon People" project, nominated for an Emmy Award, to his upcoming album release, "The Twilight Glow," with Neue Meister Music, Trevor's creative endeavors are diverse and captivating.
Join us as we explore Trevor's creative process, his experiences composing for the acclaimed documentary "Meet Me at the Creek," reflections on Los Angeles' vibrant music scene, and exciting upcoming projects.
Trevor, your collaboration with Alaska Airlines, filmmaker Alexis Anoruk Sallee, and artist Crystal Worl on the "Salmon People" project, which has been nominated for an Emmy Award, is truly remarkable.
As a tribute to Xáat Kwáani (Salmon People), this unique Alaska Airlines aircraft marks a significant milestone as the first of any domestic airline fleet to be named in an Alaska Native language and to feature the ancestral importance of salmon through Northwest Coast formline art.
Could you share more about your participation in this groundbreaking project?
It's great to be part of this and I’m extremely happy Alex and this team are being honored with an Emmy-nomination.
Crystal Worl, the artist behind the plane’s livery, or artwork, speaks to the significance of incorporating Tlingit language and Northwest Coast formline art into the design of the aircraft - I think there’s a sense of a community tribute and real, physical representation of a language which extends representation of the tribe. Alex is optimistic about these communities, and we’ve always wanted to find ways to highlight the future and growth of Native communities, and this short certainly does that in my opinion. I love helping her get her message out there in my way through music, and the core tenets of what Alex wants to achieve in her work are beliefs I carry deeply myself.
Director Alexis Anoruk Sallee’s direction is always clear and compelling. On “Salmon People” we worked with musician Konrad Frank’s recordings to incorporate the sound of Native Alaskan drums into the project - Alex and I have done this a few times in the past on other projects, and I think it gives her work more weight and strength, while pairing with my nostalgic, dreamy instrumentals behind it. Capturing the nature and local history of Alaska while adding to Alex’s vision was the number one goal.
Your upcoming album, "The Twilight Glow," marks a significant milestone as your first release with Neumeister Music. How does this album differ from your previous work, and what themes or experiences does it explore?
“The Twilight Glow” is a singular dream-like album written on-location across California, Arizona, Nevada, Colorado, and New Mexico over years. I first drove through this region when I moved to Los Angeles, and I’ve been coming back since. I’ve now been to every single corner of New Mexico, which probably puts me in a strange little club.
The Southwest to me is a kaleidoscope that filters all my emotions into something I find beautiful. The focus was on natural, warm sounds in a timeless classical palette, with a live string orchestra, horn, and my piano. It explores love, death, transition, frustration, and beauty along the way.
The landscape in the north near Georgia O’Keefe’s ranch is among the most beautiful areas I’ve traveled, with pinyon pines in the air and green mesa in the distance. Carlsbad Caverns is incredible. The petrified forest in Arizona was striking in its way, and being alone in Mesa Verde in Colorado as the sun set with a thunderstorm on the plains ahead was beautiful. I’ve been through the oldest continuously inhabited area in North America from the 11th century. I’ve found countless places like this along the way that have struck me, and I’ve stopped to write music there over days or weeks.
The album moves from day to night, and progresses from high above ground to the caverns below. Things move into darker directions as the stories I’m writing from move that way too. All the joy, openness, clarity, deep obsession, intensity, anxiety, and pain I experience went into this. And that’s all before I had to set out and actually record it.
Your music's popularity on Spotify speaks volumes about its resonance with audiences worldwide. What do you believe draws people to your unique musical style and how do you navigate the balance between staying true to your artistic vision and creating music that appeals to a broad audience?
I grew up on music that appealed to many. Aside from all the typical pop genres and songs of the time, I had an appreciation for classic songs across genres and decades thanks mainly to my parents (though my first favorite album was Parliament’s Mothership Connection that I found myself at the library).
Movie and game soundtracks were my first real love, and seeing how they resonated with an audience was incredible to me. I guess I can’t really “turn off” trying to write something I think people will like because at the end of the day I try to write what I want to hear as a fan of my genres. I don’t want to get sucked into an overly-serious-artist trope. I try to surprise myself and my audience now and then and I care deeply, but I don’t feel as though I’m “trying” to be artistic, just following where the inspiration takes me and I hope it’s compelling.
I think you need to find your own unique corner in music. I’ve tried to build a world since the beginning where I can focus on melodies and colorful, dreamy sounds since that’s what I love. Blending classical elements with more electronic instruments I create is nice too. At the end of the day, I think it’s music I like and that I haven’t heard in the space yet.
Your collaboration with filmmaker Loren Waters on the film "Meet Me at the Creek," recently nominated for Big Sky Documentary Film Festival, delves into the profound interconnectedness between Cherokee culture and the environment.
The documentary focuses on the tireless efforts of Rebecca Jim, a Cherokee Nation citizen and Waterkeeper Warrior, to restore Tar Creek in Miami, Oklahoma. Cherokee elders like Rebecca believe deeply in the relationship between water and life, viewing it as essential for cultural preservation and existence.
Can you describe your experience working with Loren on the film and how you approached composing the score to complement its message of resilience, environmental stewardship, and Cherokee values?
I think anyone who cares about the environment can see the compelling nature of Tar Creek’s pain, the topic of the short film. I think it’s the largest superfund site in the country. Coupled with Cherokee history and a distant memory of what Tar Creek water used to be like even a hundred years ago, Rebecca Jim, the main voice of the film, looks forward to practical steps to improve the area. There is a thoughtful narrative worth sharing here, and I was drawn to helping Loren tell her story the way she wanted to tell it, and I like her focus on the future and change.
Loren Waters is great to work with; her colorful vision and optimistic sensitivity to a heavy topic here is refreshing when you’ve seen as many nature documentaries as I have. It was nice seeing the premiere at Big Sky up in Montana! The film has been accepted to more Academy-qualifying festivals around North America so far, and I’m happy to see it do well.
Loren’s visuals were fun here because film vignettes were peppered throughout the story. I was able to create dramatic changes from present day to the vignette-style atmospheric shots, which I think help give the film another layer of depth. You really feel like you’re shifting into a dreamscape when you move from grounded acoustic guitar to the ocarina-esque winds and synths of the analog film sequences. We wanted the score to be dreamy and of-the-land, romantic and wounded at times.
How has your relocation to Los Angeles influenced your approach to music composition and your artistic vision? Can you share any opportunities or experiences you've encountered in the vibrant music scene of Los Angeles that have inspired or shaped your work?
It’s given me the acceptance that melody and trying in general is cool. Coming from an academic background, I often felt out of place presenting my work to others who had shunned fun, drama, or melody and tried to live like artists, whatever that means. Los Angeles enjoys writing for an audience, and I do too, so it’s been good for my work. There’s also a sense of physical space and, in my current neighborhood, greenery and wildlife that I love. That has been nice. My first hits were written in this city on my floor before I could afford a desk.
I love those 20 dollar CODA tickets for the LA Phil. It’s a small scene, and I’ve run into people I know there a couple times which is fun. I’ve been to a handful of instrumental and intimate classical concerts that have been great, and of course just seeing random artists across all genres when I can. Planning for some alt. hip-hop and metal concerts plus comedy things in the future…always good to break away from classical. So many places to see great performers. And yes I’ve run into a few celebrities but that stuff isn’t important, but it is fun and keeps me excited to be here in a small way.
What upcoming projects or collaborations are you most excited about, and how do you see them contributing to your artistic growth?
“The Twilight Glow” is my full-classical, cinematic album I always wanted, and I couldn’t be happier. I think It’s a singular story from a deeply personal space. It’s a full proper release with vinyl, CDs, sheet music, and I’m super excited to share with everyone June 28th, with singles releasing up until then.
After that, we’re thinking through some concerts. I’m also rehearsing for a solo piano album from pieces written between 2018 and 2024, which should be recording in a bit. It’s harder to perform than I thought. And of course I’m working on some commissions, with more soundtracks and pieces soon.
I’ll be doing a smaller solo piano album after, but then I’m getting into a huge sound with more electronics for another potential album, but I’m still figuring that out and my focus is on “The Twilight Glow” right now. I’d love to write for more films and games, and of course crossover work with singers/rappers is something to think about.
In closing, we extend our gratitude to Trevor Kowalski for sharing his insights, inspirations, and passion for music with us.
Stay informed of Trevor’s new album “The Twilight Glow” by connecting with him on your preferred platform.
Trevor’s Website - Spotify - Instagram - YouTube - Facebook
Thank you for joining us on this extraordinary musical adventure. Until next time, let the music guide your soul and ignite your imagination.
Kindly,
Garrett John Law
Curator, Classically Minded
