“chamber pop” — the intensity of a chamber music quartet, but with a modern kruder & dorfmeister approach. if damien rice met cat power and they had a daughter, they’d name her trEas.

the sound we’re going for is simple but complex; laced with melancholy, it evokes night more than day, and it never, ever shows off. it’s minimal— because music for us isn’t about the quantity of notes, but the quality of sound. brian’s vibrating strings on cello insinuate through tommaso’s rhodes keys, while andré strumming on acoustic guitar supports tracy’s soulful vocals, which travel emotional distance at the speed of light. and that’s what trEas is about: putting the feeling back in the music, reminding us that there’s more to life than work and money. because in the end, what’s life without music?

the story of trEas:

tracy: when i met andré, i saw what i’d craved over the years, and pulled away from corduroy jones entirely. it was time to pursue the drea, all we had to do was put the pieces together.

andré: i met tracy at one of her corduroy jones concerts back in 2007, and I liked her voice immediately… we began playing together shortly afterwards.

tracy: we decided to try some open-mic clubs in the city: back fence, rodeo bar, the living room…

andré: …and other shady places.

tracy: then i met tommaso at a local bar the following summer. one short conversation, and i thought, “this is right.”

tommaso: i recognized instantly that we were all the sam, we belonged together.

andré: so the sound was almost complete, but then we were recording and we just felt that something was missing. i thought it might be a cello. brian walked in…

tracy: and i thought, oh no, another classical musician, no way. but we began to play together, and it was done. the piece we never knew we needed had arrived. trEas was complete.