Trevor Gureckis is an award winning composer and producer based in NYC. His work spans film, pop and concert genres. His music often draws on his production experience and classical background, fusing electronics and live instruments in unique ways.
Recently, Trevor recently scored the Blumhouse thriller Bloodline which premiered at the 2018 Fantastic Fest. He also worked on Paul Dano’s directorial debut film, Wildlife, feat. Jake Gyllenhaal and Carey Mulligan, with composer David Lang that premiered at Sundance 2018. Other work includes; HBO’s Vice: Raised by the System, EPIX’s documentary Election Day and Wetlands feat. Adewale Akinnuoye-Agbaje and Heather Graham. In the past, Trevor worked as Philip Glass’s sole music assistant for years on films such as Stoker, Notes on a Scandal and Transcendent Man, performing and arranging on countless projects.
A prolific producer, Trevor worked on Kanye West’s The Life of Pablo and co-produced the cover of ‘Say You Will ft. Caroline Shaw’. His synth production can be heard on the song ‘Freestyle 4 ft. Desiigner’. He also produced the electro-pop band My Great Ghost which showcases singer Drew Smith, and is featured on the Philip Glass remix album REWORK_along with Beck, Cornelius, and Amon Tobin. His numerous remixes and arrangements include artists like Philip Glass, Rufus Wainwright, Mark Ronson, Niia , Mr Little Jeans and more.
His concert music has been performed throughout the country by ensembles like the Minnesota Orchestra, American Brass Quintet and the Cabrillo Festival Orchestra. His evening length ballet, Potential Energies, was premiered at BAM Fisher in 2014 by The Nouveau Classical Project. It is a collaboration with director Sugar Vendil and choreographer Barbie Diewald.
He studied composition at the Yale School of Music. His accolades include a Charles Ives Scholarship from the American Academy of Arts and Letters, a JFund Grant, and an AMP Award. He was shortlisted for Best Original Music for the AICP Awards in 2015 and a finalist in LIA 2016 Awards for Music Adaptation.
Articles by Trevor Gureckis:
The possibility for “new music” to find its way into advertising is there, it just needs to be the right sound for the right project.
Unlike composing concert music, in film and advertising a composer is tasked with writing music the audience wants, but sometimes that audience has trouble parsing what it wants.
Even if it’s a composition that explores elements I find interesting outside of the commercial medium, I sometimes forget it happened. This constant push to be more and more productive...
While my friends and colleagues were pursuing projects in concert, dance, opera, and other artistic mediums, I was meeting music producers for new commercial opportunities.