Known for his innovative use of synthesizers and samplers, Trevor Horn has been instrumental in shaping some of the most creative productions in music history. His collaboration with Deutsche Grammophon marks a significant milestone, presenting his greatest hits in lasting new versions that bridge pop culture’s zeitgeist with timeless classics. Throughout «Echoes – Ancient & Modern», Horn not only produces but also contributes backing vocals, keyboards, bass, and guitar alongside a lineup of talented instrumentalists and a string orchestra. From Kendrick Lamar’s «Swimming Pool (Drank)» transformed with Tori Amos’ sensitive vocals to Rick Astley’s groovy rendition of Yes’ «Owner of a Lonely Heart», each track bears Horn’s distinctive touch, blending nostalgia with contemporary allure. We’ve sat down with Trevor to delve into his musical odyssey, exploring the transformative power of his artistry across decades and to reminisce about the old times.
SETTE: «Echoes, Ancient and Modern». You’ve taken a unique approach in reimagining some of your iconic productions. Were there any specific criteria you used to choose which tracks to include on this album?
I wanted to include songs that I didn’t mind hearing about a thousand times, those that had a significant meaning to me. I’ve always found the lyrics really important. After all, without the lyrics, most blues songs would sound the same. The lyrics make the difference. I was looking for songs that were substantial and discussed human relationships.
And what was your approach in reinterpreting these iconic songs? How did you decide on the musical direction for each track?
I approached it in the same way I usually do: either by having an idea myself or by gathering a group of musicians and playing the song together. For example, with «White Wedding», I initially played a version that sounded too much like the original. I wanted something different, so the acoustic guitar player started with a riff that had a «Deliverance» type feel. As he played, I was inspired to sing it in a Neil Young style, and it just clicked.
Were there any challenges in giving a fresh perspective to tracks that were very familiar?
Yes, definitely. For example, with «Steppin’ Out», my original idea was inspired by «The Girl from Ipanema.» The original version is so rooted in its time and place—
it’s like New York in the early ’80s, very hectic and vibrant. I wondered what it would be like if you were stepping out in LA on a warm summer evening, which would be much less hectic.
However, translating that idea was tricky. The «Girl from Ipanema» concept worked well for the verse but didn’t fit the chorus. We had to figure out how to make it all work together. In the end, it came out well. But yes, occasionally, it was challenging to reinterpret already great versions of these songs.
And, of course, you haven’t only collaborated with Seal on the album. You’ve also worked with Rick Astley, Iggy Pop, and Tori Amos. How did you choose who to include on the songs, and what elements did they bring to each specific track?
Tori Amos was brilliant. The idea of doing «Drank» came up, inspired by Kendrick Lamar. My recording engineer had worked with Kendrick for years, and we were discussing finding more songs with really strong lyrics. He started quoting lyrics from Kendrick Lamar, and I thought they were brilliant. He suggested fitting them over some chords, and I envisioned a simple chord sequence similar to something Carole King might use. I initially got a session singer to perform it, but I thought of Tori Amos because it needed someone with a powerful voice and a strong presence. Tori is incredibly talented and fearless. She really put her heart and soul into it, which was fantastic.
Turning a rap song into what Tori created was challenging, but she did an amazing job. Rick Astley, on the other hand, got up with my band one night and started singing «Owner of a Lonely Heart» He began in the original key, which is incredibly high, but eventually adjusted and sang an octave down. It turned out great. And then someone played me a 12-inch version of «Owner of a Lonely Heart» that I really liked, and I decided to blend the two elements together. I hadn’t planned on doing another version, but it felt right, so I went with it.
Do you have one song on the album that holds a special place in your heart, one that you felt needed to be included?
It’s hard to say because I worked so hard on all of them. Each song has its own significance and meaning to me, so it’s difficult to pick a favourite. Every track was chosen and crafted with care, making them all special in their own way.
You’ve made significant contributions to shaping the sound of various artists and bands, even entire genres and decades. How do you approach finding the sound when an artist comes to you with a demo or an idea?
When you talk about «the sound», it often depends on the band or artist you’re working with. For a band, the sound is somewhat dictated by the musicians involved. If it’s a singer, there are many considerations, but the main one is what suits them and what they like. It’s crucial that the artist is satisfied with the record; otherwise, it’s hopeless. I’m quite old-fashioned in some ways, believing that a solid vocal is the most important element and everything else should be subservient to it, not overshadow it. Sometimes I hear records where the arrangement interferes with the vocal, such as a piano part being too prominent. Each artist’s voice is different, and you have to find the right balance. Some voices need to be loud, upfront, and dry, while others need to be positioned differently within the mix. Deciding the sound of a record is largely determined by the lead vocalist’s approach to the song. The key is also a factor, as we saw with Rick Astley. Rick is a baritone with a lovely deep voice, and understanding the vocal range and style is essential in creating the right sound for each track.
You’ve been working in the industry for years now. Are there any lessons you’ve learned along the way that you would like to share with your audience?
Don’t be afraid to be different. Whatever is popular now started a couple of years ago, so trying to imitate it won’t make you stand out. Instead, focus on creating something unique. This may sound like general advice, but it’s crucial. Being different is what will set you apart and allow you to make a lasting impact.
Following up on this question, is there one thing other than music that you always wanted to experience or accomplish?
Oh, yes. I’ve always had a desire to write stories. It’s something I’ve been meaning to explore, and I plan to give it a go at some point.
What advice would you give to aspiring producers and artists, based on your experiences in the music industry?
Times have definitely changed since my early days in the industry, particularly with technology and accessibility. When I was starting out in my 20s, getting into a recording studio was expensive and crucial, as it was the only place you could make a record. There were no home studios like today with affordable digital equipment. I remember using analogue tape machines and bouncing tracks back and forth to layer recordings, which was a tedious but valuable learning process. Nowadays, aspiring producers and artists have access to courses and resources that didn’t exist back then. You can learn almost everything about music production online, which is a significant advantage. However, beyond technical skills, it’s essential to understand people’s attention spans and what appeals to listeners. Making music that resonates and connects with an audience is crucial. It’s not about creating records that no one will ever hear—it’s about making meaningful music that people will enjoy and remember.
How do you think streaming services have influenced the music industry?
Streaming services have certainly had a profound impact. Not only on the quality of music but on the way people consume music. Before, owning a record was a significant commitment and possession. Now, you can access any song at any time with just a few clicks. There may be some positives to this shift, but I’m not entirely sure what they are just yet.
What’s next for Trevor Horn? Do you have any plans?
Yeah, I want to do a «Buggles» Tour this year. It would be fun to get back on stage before I get any older—
though I already feel quite old! I enjoy performing live; after spending over forty years in recording studios, it feels more organic and immediate. Traveling isn’t my favourite part, but I’ve done so many shows last year, with Seal. I’d say they were about 45 of them. So that’s likely my next step. I also have a couple of other projects in the works, one of which is confidential but quite interesting. You know, they say they’d like another «Echoes» album. But, it’s really hard to find the right singers and to persuade them to do it, you know (laughs). It’s not easy to pinpoint the right direction and then convince everyone to go with it. We’ll see.
Trevor, thank you very much for your time. It has been an honour.
Thank you. This has been a lovely chat.
– Interview by Dylan Lodise; Main Photo by Solar Jupiter Photography
