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.
