Cultivating an immense degree of dedication to music began at a young
age for Scott Tremolo. With exposure to musicians ranging across the
last century (see – D. Boggs, W. Guthrie, P. Seeger, R. Stanley, N.
Drake, P. Simon) he was indoctrinated with the expansive worldviews
these singers encapsulated in their songs. Coupling this with lessons
on piano as early as five, then following with banjo, Scott was
provided a sturdy foundation from which a songwriting practice would
take root in his early teens when he began playing guitar. Having the
experiences of playing with fellow peers, performing with bands
locally and entering into what music competition there were offered
locally in the Finger Lakes, he was afforded enough peak experiences
to shape an enduring writing ethos.
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A decade on Scott then found himself operating in a more abstruse and
artistic mode, getting involved in a sonic art program upon the
completion of art studies. Given access to resources like a Doepfer
sound module, ‘prepared pianos’ and MIDI controllers, his knowledge
and understanding of sound were given a staggering jolt. It’s here he
would articulate unorthodox instrument tunings, explore stream of
consciousness songwriting methods, ultimately attuning himself to
hearing and discovering new textures in both music and noise.
Taking this sonic art experience to it’s natural conclusion, of which
studio wizardry still relies on tracking solid performances, Scott has
revisited his earlier influences with renewed zeal of late. Digging
further into the roots of the sixties folk revival and the writers and
musicians who peopled it’s culture and influence, he continues to mine
this great shift in the culture of American music for attributes of
authenticity worth emulating in his own repertoire.”
