Analysis Featured

The Anima - Trevor Something. A Brief Analysis

Trevor Something's second Project Album of 2025, The Anima, has come back in a synthwave low-fi push. This time a focus back to Trevor's experiences of women/lovers who have shown touch and go themes of willingness to be in relationships and how Trevor is impacted by this.

Jack Ford

15 Nov 2025 • 6 min read

Trevor has explicitly framed the anima in Jungian terms: the “voice of the soul”, the unseen feminine inside a man that bridges his conscious ego and the unconscious, guiding him into feeling and deeper truth.

Stylistically it sits in Trevor’s usual lane (synthpop/electropop/synthwave) like his earlier work Death Dream, Trevor Something Does Not Exist, The Death Of, etc., all of which already flirt heavily with themes of loneliness, addiction, and digital-age alienation. The Anima feels like Trevor going, “ok, what if I actually trace the psychology of this from infatuation all the way to ‘will I ever be able to love again?’”

Sound Design

This project keeps things a little more low-key lowfi than past projects, which gives it a sincere and real approach.

Whilst some of his Projects vary on sound they do still all ultimately come back to his synth roots. However this does feel refined in comparison to perhaps sections of Death Dream and Ultraparanoia. The design in sound contains the standard signature of Trevor, with his classic deep but airy filtered delayed and reverb vocals but much slower reminiscent of Souless Computer Boy and the Eternal Render.

Hi-hat beats are very strongly ever present in trap-like style presence which pan across almost all tracks to give that addictive vibe. Many layered keyboard voices are occasionally heard. Some additional LFO bass keys with filters and cut offs giving that wobble bass effect albeit a lower speed. You will also tend to hear his typical saw wave synths kicking in too.
It can be certain that this is very well done to keep things somewhat simplistic but highly professional, a refinement to his older works - which is well receptive for those who know what they are looking for.

The sound vibes is slow and even potentially bleak sadness is rawly felt. This album is not one with much excitement or strong feelings to make you jump out of your seat, and this is intentional to convey the deep emotions in this. With the theme in mind, this would be extremely appropriate to ensure this is continued across the album start 'till finish.

Themes and Analysis

A. Love as addiction & self-annihilation

A simple move of sticking to a common issue encountered these days. This album focuses directly on experiences with both avoidant, toxic and young women who cling to Men for support - however our individual, Trevor, struggles with his own issues, love, loneliness and hope which exacerbates the traumas felt in this album.

Across tracks like “Love Me Through The Night”, “Baby You’re Toxic”, “Forever Alone”, and “Don’t Let Go”, love is often seen framed as:

A drug for Trevor in a sense (short-term relief from internal pain).
Something that can literally erase the self (“hole where my heart was… no soul”).

B. Trauma repetition & “Daddy Issues”

“Daddy Issues” is the most on-the-nose psychological song title here, and there are lyric references to temptation and the young woman's paternal wounds in this story.

Thematically it’s doing three things:

Calling out how women's unresolved childhood stuff drives adult attachment patterns towards Trevor.
Showing that Trevor is consciously aware of this, but still stuck in it.
It could even be possible that Trevor could be mirroring his own issues – the anima as the internalised image of the feminine, often shaped by a man’s relationship with his own parents.

The album isn’t just about one broken woman; it’s about a system of wounds: hers, his, and the ones they create together.

C. Loneliness, self-loathing, and the “forever alone” archetype

Trevor has an entire prior album called Bury Me In My Loneliness, and multiple older tracks about isolation and self-hatred.

“Forever Alone” is like the distilled archetype:

Love fails → he collapses into a story that he is fundamentally unloveable.
That belief (“I’m forever alone”) becomes just as intoxicating as the relationship was.

In Jung terms (Carl Jung), he’s moved from being possessed by the anima (idealised lover) to being possessed by a counter-image: the rejecting, abandoning inner voice that says “you’ll always be alone.” The album constantly flickers between these two poles which is in typical Trevor Something style.

D. Willingness vs capacity to love

The late-album trio - “You Lost My Love”, “I Don’t Want You Anymore”, “Will I Ever Fall In Love Again” - really hammer one of the saddest questions:

“I clearly want love… but do I actually have the capacity for a healthy version of it?”

You can feel this tension:

Trevor does aim to set boundaries (tracks 7-8).
But he’s not sure he can ever safely open again (track 9).
Then he swings back to “Be With Me Forever”, which might be a sincere hope… or another fantasy attempt to sidestep his inner work he's done so far.

That’s very anima-coded: the anima evolves as a man’s relationship to his own emotions matures. Here, you can feel that evolution is starting, but it’s not complete.

Trevor has played with this idea for years - love, sex, and digital fantasy as numbing agents - and The Anima pushes it to an almost clinical level: we watch the entire cycle unfold from first hit to crash to withdrawal.

Putting it all together, The Anima hits in the right spots for a few reasons:

Coherent emotional arc.
The track order clearly sketches one relationship from infatuation → confusion → toxicity → collapse → hard boundary → scared numbness → renewed but ambiguous hope. That gives the album replay value as a story, one that is strongly seen in many of Trevor Something's other project albums giving a pleasant end-to-end listening experience. It wouldn't be a Trevor Something album without a story and is strongly appreciated.
Psychological depth baked into the concept.
Using the Jungian anima as the governing metaphor means the songs are always about two relationships at once:
- Him and the woman or, women in question.
- Him and his own inner feminine, his capacity for feeling and vulnerability.
Continuity with his older work, but more focused.
The synthwave/electropop palette and themes of addiction, escapism and loneliness are classic Trevor Something, but this record is more thematically tight than some earlier releases. It feels like a deliberate “chapter” in a long-running exploration of love and alienation.
Emotional honesty without glamour.
Even when the songs are catchy or slow danceable, the underlying story is bleak and self-exposing.
It’s not “I’m a tragic romantic hero”; it’s more “I am absolutely wrecked by my own patterns and I know it.”

Conclusion

In the end, The Anima plays like Trevor Something’s most psychologically coherent breakup record: a neon-lit spiral from infatuation to toxicity to that hollow, post-love numbness where you start wondering if you’re even capable of doing this again. What lifts it above standard “sad synth” fare is how tightly the songs orbit the Jungian idea in the title – the anima as the inner, idealised feminine that both inspires and destroys. Across these tracks you can feel him slowly realising that the real battle isn’t just with a toxic partner, but with his own patterns of projection, addiction, and self-erasure.

It’s catchy with its strongly utilised trap-style beats with hi-hats, it’s bleak, and it’s uncomfortably honest. If you’ve ever stayed too long in something that was clearly bad for you and then sworn you’d never fall in love again - while wanting “forever” with someone new - this album will feel less like a vibe and more like a diagnosis - though one maybe with good intention.

The Anima by Trevor Something is available on all major streaming platforms.