Stumbling hapless upon his discovery about four years ago I have kept hollAnd’s work secret to nearly all my friends and music connoisseurs alike, disclosing his name only to those in my most trusted relationships. My reasons are not selfish. However, like a naturalist in a state park I would not bear to see his output degraded into 25 cent post cards and designated scenic lookout points. I strive to keep his work preserved- away from those who do not appreciate what the true intent of his work (not “songs”) has to invigorate into ones surroundings.
To see his efforts classified would be blasphemous to Trevor’s yet to be named denomination within culture. Adjectives used to depict hollAnd’s works have been catchy, synth pop, hook driven, etc. While these descriptions hold true Trevor’s (as shown in TPHM) ultimate end is much more romantic than sensual, progressive than liberal, catholic (as an adjective) than conservative. Sure his work is catchy, but so is the figure of an attractive woman. TPHM doesn’t solely rely on opening new doors rather, erects a new vantage as have hollAnd’s previous work. The new perspective frames International/American affairs and our heading thus far in the twenty-first century. While maintaining this focus TPHM sprouts some stunning new methodology along with classic antics which make Trevor Kampmann’s efforts all the more prudent to absorb.
Each track is an excercise in a different style of electronic music, with the glitch of Waters Of Nazareth, and disco house in D.A.N.C.E. They can even do italo house with The Party featuring label mate Uffie. Each track has something special to it. There is literally not a bad track on the album.
I am starting to understand why being labeled would make an artist cringe. Twee, while being a favorite genre of mine, is also a pretty caging genre as well. Sweet beyond sweet and innocent seeming lyrics. It can box an artist up pretty quickly. Belle & Sebastian hate it. Voxtrot though have taken the LP to break away from their EP's more twee roots but still retaining the more progressive elements while retaining in the best parts of their EP's. Standout tracks like Stephen, and Kid Gloves point toward their new found anger. While this LP isn't as progressive as the EP's its a signal that greater and better music will definitely be coming from this band.
With almost every current artist creating albums with some sort of yelp, scream, grunt, cry, whimper, growl, or moan, it’s refreshing to hear a group that can actually sing; very well in fact. Midlake’s second release Trials of Van Occupanther is a stunning work which harkens back to the vocal styles of Crosby Stills Nash and other select artists who put forth just as much effort in constructing their vocal arrangements as with instruments. Midlake’s pronounced vocalist Tim Smith has some of this generations most mature and stunning lyrics; a refreshing afternoon breeze under your favorite trees in a period swarming like bees around a hive of often yammering introspective lyrical content.
