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HOLLAND, David Trevor Kampmann, band

hollAnd.

IS

D. Trevor Kampmann


HOMETOWN

Washington, D.C.


MOST POPULAR

I Steal and Do Drugs
The Paris Hilton Mujahideen
Your Orgasm


GREATEST HITS

American Eyes
An Empire, a Sit-com Set
Boolean Misery Index
Daisy Cutter Eyes
Face Against Your Thigh
J.F.A.
Mil
Operation Snow White
Turn Off the Century


ALSO

TREVOR's site

TREVOR's recording studio

TREVOR on Twitter

TREVOR at All Music


DESCRIPTION

Trevor Kampmann is a unique blend of singer/songwriter, producer, technician and, of late, film-maker.

He produces his own work under the moniker hollAnd. He was born in Naperville, Illinois and once explored the possibility of pursing a life as a professional skateboarder. His parents thought he could be a child actor and enrolled him in acting classes. Both events impacted Kampmann's unique, at times colorful views and well-read cynicism on our culture.


RELATED ARTISTS

COMMERCIAL

FANG WIZARD

horse ing TW0=HIT

SEE SAW

WINSTON YU and D. TREVOR KAMPMANN

HOLLAND I Steal and Do Drugs album
HOLLAND I Steal and Do Drugs audio compact disc
HOLLAND The Paris Hilton Mujahideen album
HOLLAND Love Fluxus album
HOLLAND I Blow Up album
HOLLAND I Blow Up software application
HOLLAND Sodium Fawn album
HOLLAND card advertisement
Teen-Beat 20th Commemorative
Teen-Beat Graphica Exhibition
hollAnd, David Trevor Kampmann, photograph by Johnny Riggs

D. Trevor Kampmann
Photo by Johnny Riggs


hollAnd, David Trevor Kampmann

D. Trevor Kampmann
Photo by [unknown]



FILM


I CAN SEE BOTTOM

Directed by D. Trevor Kampmann.


BIOGRAPHY


D. TREVOR KAMPMANN

Trevor Kampmann is a unique blend of singer/songwriter, producer, technician and, of late, film-maker. He produces his own work under the moniker hollAnd. He was born in Naperville, Illinois and once explored the possibility of pursing a life as a professional skateboarder. His parents thought he could be a child actor and enrolled him in acting classes. Both events impacted Kampmann's unique, at times colorful views and well-read cynicism on our culture.


I STEAL AND DO DRUGS FILMS AND SOUNDTRACK

I Steal and Do Drugs, which he wrote, produced and composed. It centers on his fascination with network criticality and its effect. Here is an excerpt from his journal: Every road on the face of the earth has been connected . . . it's occurred, but without any physicalness . . . instead, increasingly distorted packets of information rummage the globe and fill us with poor conclusions . . . A feedback looped, knee-jerk network . . . criticality has given way to information entropy.

Kampmann thinks the cure to entropy might be non-linearism, which is a major motif of his hauntingly beautiful film and the music that accompanies it. He defines his own form of non-linearism as the cherry-picking of the best past and present styles, morals, and thoughts. The film serves to subtly illustrate this belief with visuals of 'cutting,' a burning Washington, D.C. skyline, self-protest, and even self-annihilation. What becomes clear, as the DVD's title suggests, is that the opposite inference is sometimes the reality.


PRODUCTION / MASTERING

In the past decade, Kampmann has produced and engineered recordings for over 50 other artists including Explosions In The Sky, The Lilys (Zero Population Growth), Chan Marshall (Cat Power), Flin Flon (Boo-Boo) and Barcelona (all albums). Similarly, he has mastered over 100 recordings including Bonnie Prince Billy, My Morning Jacket and Mogwai.


COLLABORATIONS

Kampmann is a generous artist and collaborator. The band Barcelona had this to say about the time they spent working with him: "He is an incredibly talented and equally nice person. He is very creative and very honest, which are both extremely helpful qualities in the studio."

Another long-time collaborator is Mark Robinson, with whom he has worked on many projects for Robinson-s Teen-Beat; some of the more notable of those efforts include: The Rondelles' The Fox and Flin Flon's Boo-Boo. Similarly, in the past few years, Kampmann has co-created many different projects as hollAnd/Borthwick with photographer, Mark Borthwick; these efforts included fashion show music for Martin Margiela and Maria Cornejo and an art installation called Statements (New York/May, 2002). In addition, they have produced 3 compact discs, Synthetic Voices, Helene, and Tilt (under the moniker horse ing two=HIT). Kampmann has also worked with Sean O'Neal (Flowchart) as Commercial and produced many projects with Jeremy Devine for his Temporary Residence Limited label.


LOVE FLUXUS

Trevor Kampmann, creator of the project known as hollAnd, is somewhat musically prescient. As proof, you need only give hollAnd's 1997 album 'your orgasm' a cursory listen and then jump ten years hence and listen to anything by "the postal service". Jettison hollAnd's rough sonic edges on that early disc and trade out his sexually explicit lyrics for some saccharine 'emotional' ones and you're on to the recipe.

Jump next to 2004's I Steal and Do Drugs DVD. This hybrid of video, synced to hollAnd's genre-agnostic music, was a first attempt at creating what cable TV, movies and mainstream media have rendered quaint: the solicitation of authentic thought by the viewer. These were not music videos, nor art installations, these were vignettes created to provoke a gut-level response from the viewer. The pace of the vignettes - almost painfully slow - was a purposeful response to 24-hour news cycles which are formulaically composed of mindlessly banal or purposely fear-inducing "content"; ISADD was a very serious attempt by its author to show a less smeared world, a world of "higher fidelity" (pun intended).

Bump up to 2007's The Paris Hilton Mujahideen, hollAnd's anti, anti-war album. Why? Because alignment with the anti-war movement only magnified ones complicity in the system that stoked the war. The title, which was howled at and lampooned, was a serious attempt at social criticism. Paris Hilton and the Mujahideen (or Islamic radicals) are irreconcilable etities. Paris is American hedonism run amok. The freedom-fighter is fundamentalism run amok. Musically, TPHM was a deliberate step towards a new sonic aesthetic. Guitars replaced synths, songs were stripped down, clinical, sterile, as if machine-made, echoing Sol Lewitt's philosophy, "the idea is to make a machine that can make art."

Today, after volumes of hollAnd releases and work on over 100 productions, Kampmann presents a new recording titled Love Fluxus. The songs are neither trite nor derivative, reflecting Kampmann's consistent modus operandi. What's difficult to discern about Kampmann's work is how it remains potent in this age of over abundance of Internet-spawned content; how does it consistently cut through the ocean of banalty? The answer is that Kampmann's greatest talent mirrors the skill most needed on the vast network: Editing. hollAnd songs are famously short but potent. Love Fluxus 12 songs barely reach the 26 minute mark. He's expert at stripping a song down to its pith and adding only the most tasteful sonic decorations.

Love Fluxus is musically agnostic at a level few artists are capable of achieving; possibly this is the result of the album (like all hollAnd recordings) being touched by one person alone. Kampmann's deftness of production, musicality and taste make this a rich, anachronistic recording. He can just as easily shape a tune that alludes to Wendy Carlos' sountrack work (see Clockwork Orange Airplane) as he can a nod to Canned Heat's Up to Country (see Anorexic Colt Herd). This genre-blending anachronism might be what Kampmann sees as the 'next' step for music, certainly for his own.

Lyrically some songs attempt to eviscerate, making plain america's 21st century love of violence over sex; specifically, the American propensity to embrace the former and deny and demonize the latter. But the crux of the recording is an individual's empowerment via new love. The title, a play on words, can be broken into "LOVE, FLUX, US". It also sounds like "love fucks us" which has been known to be a true statement by more than a few lovers. Metaphors for mating are thrown around, "red + yellow = orange you and me", as are some surprisingly fey lines like, "the lovers flow, on H2O". But there's an overall sense of meaning in Kampmann's work. There's an otherness Kampmann creates through a confluence of his sonic treatment, vocal timbre, lyrics, and brevity. But really it's much simpler, it's music worthy of your attention. Here is something rare in our 24 hour news cycle world of unconsciousness: music sonically massaged, well-written and lovingly crafted to be enjoyed as much as it was when it was created.


LOVE FLUXUS

Trevor Kampmann, creator of the project known as hollAnd, is somewhat musically prescient. As proof, you need only give hollAnd's 1997 album 'your orgasm' a cursory listen and then jump ten years hence and listen to anything by "the postal service". Jettison hollAnd's rough sonic edges on that early disc and trade out his sexually explicit lyrics for some saccharine 'emotional' ones and you're on to the recipe.

Jump next to 2004's I Steal and Do Drugs DVD. This hybrid of video, synced to hollAnd's genre-agnostic music, was a first attempt at creating what cable TV, movies and mainstream media have rendered quaint: the solicitation of authentic thought by the viewer. These were not music videos, nor art installations, these were vignettes created to provoke a gut-level response from the viewer. The pace of the vignettes - almost painfully slow - was a purposeful response to 24-hour news cycles which are formulaically composed of mindlessly banal or purposely fear-inducing "content"; ISADD was a very serious attempt by its author to show a less smeared world, a world of "higher fidelity" (pun intended).

Bump up to 2007's The Paris Hilton Mujahideen, hollAnd's anti, anti-war album. Why? Because alignment with the anti-war movement only magnified ones complicity in the system that stoked the war. The title, which was howled at and lampooned, was a serious attempt at social criticism. Paris Hilton and the Mujahideen (or Islamic radicals) are irreconcilable etities. Paris is American hedonism run amok. The freedom-fighter is fundamentalism run amok. Musically, TPHM was a deliberate step towards a new sonic aesthetic. Guitars replaced synths, songs were stripped down, clinical, sterile, as if machine-made, echoing Sol Lewitt's philosophy, "the idea is to make a machine that can make art."

Today, after volumes of hollAnd releases and work on over 100 productions, Kampmann presents a new recording titled Love Fluxus. The songs are neither trite nor derivative, reflecting Kampmann's consistent modus operandi. What's difficult to discern about Kampmann's work is how it remains potent in this age of over abundance of Internet-spawned content; how does it consistently cut through the ocean of banalty? The answer is that Kampmann's greatest talent mirrors the skill most needed on the vast network: Editing. hollAnd songs are famously short but potent. Love Fluxus 12 songs barely reach the 26 minute mark. He's expert at stripping a song down to its pith and adding only the most tasteful sonic decorations.

Love Fluxus is musically agnostic at a level few artists are capable of achieving; possibly this is the result of the album (like all hollAnd recordings) being touched by one person alone. Kampmann's deftness of production, musicality and taste make this a rich, anachronistic recording. He can just as easily shape a tune that alludes to Wendy Carlos' sountrack work (see Clockwork Orange Airplane) as he can a nod to Canned Heat's Up to Country (see Anorexic Colt Herd). This genre-blending anachronism might be what Kampmann sees as the 'next' step for music, certainly for his own.

Lyrically some songs attempt to eviscerate, making plain america's 21st century love of violence over sex; specifically, the American propensity to embrace the former and deny and demonize the latter. But the crux of the recording is an individual's empowerment via new love. The title, a play on words, can be broken into "LOVE, FLUX, US". It also sounds like "love fucks us" which has been known to be a true statement by more than a few lovers. Metaphors for mating are thrown around, "red + yellow = orange you and me", as are some surprisingly fey lines like, "the lovers flow, on H2O". But there's an overall sense of meaning in Kampmann's work. There's an otherness Kampmann creates through a confluence of his sonic treatment, vocal timbre, lyrics, and brevity. But really it's much simpler, it's music worthy of your attention. Here is something rare in our 24 hour news cycle world of unconsciousness: music sonically massaged, well-written and lovingly crafted to be enjoyed as much as it was when it was created.


DISCOGRAPHY


SINGLES

Coughing Up Stars
Neoprene So Tight


ALBUMS

Your Orgasm
Soundtrack for Synthetic Voices
Drums
I Steal and Do Drugs
The Paris Hilton Mujahideen
Love Fluxus
I Blow Up
Sodium Fawn


COMPILATIONS

Never Kept a Diary
Little Darla Has A Treat For You Vol.8
Little Darla Has A Treat For You Vol.9
Little Darla Has A Treat For You Vol.10
2000 Teenbeat Sampler
Reproductions
Darla 100
2001 Teenbeat Sampler
Little Darla Has A Treat For You Vol.16
2004 Teenbeat Sampler
Hear You Soon: Part One
Teen-Beat 20th Commemorative
Teen-Beat No.1 Record Label


SOFTWARE APPLICATIONS

I Blow Up
Sodium Fawn


SHORT FILM COLLECTIONS

I Steal and Do Drugs


ALSO

Teen-Beat's 19th Anniversary
Teen-Beat's 20th Anniversary
hollAnd Advertisement / Card
Teen-Beat Graphica Exhibition


RELATED

horse ing TWO=HIT See Saw


SONGS

1978
(Untitled)
30 Minute Song
Amateurs and Teens
Ambient
American Eyes
An Empire, a Sitcom Set
Angel Dust Bunny
Anna Winter Stasi
Anorexic Colt Herd
Apoplectic Variflex
Armies Sit Calm, Army's Sitcom
At the Bank
Audio Palindrome
Beep, Kiss
Bloodbath
Boolean Misery Index
Bruised Fruit
Bug
Butterfly Sun-Kissed
Chineezee Food
Clockwork Orange Airplane
Coughing Up Stars
Daisy Cutter Eyes
Deathship
Destroyer Bright
Dingo Such a Life
Edit
Face Against Your Thigh
Finished
Finnish Metal
French Grass
Human Beings Wow!
Head Reverb Inside Now
Henry Has Asthma
I Can See Bottom
I Like My Pulse
I Spit You Out
Imitation Sunshine
Important for China
In Another Language
Inside Breast
Inside Cushion Stars
Internet Superstar
Intro into Room 114
Jodie Foster's Army
Leaves Let Me Be
The Lebanon
Like Trees We Fall
Love Flux Us
Mil
Mint Missiles
Moon Cricket
Moon Dub
Neoprene So Tight
Oh, Death
On Cassette
Operation Snow White
Perfect Lineage Saved
Pollination
Professor Spence
Rapture Ready
Room 114
Satanic Effervescent Country Black
Sauvignon Blank
Sea Foam Army Green
She Acts Hi Shush
Shush
Six Four
Slap To This Day
Soft Box Hello
Soft-Core War
Soft Limit
Sparks
Spring Time
Stamp Stain
Suburb on the Euphrates
Sychophants
Tape
The Phone
Thigh Burning Velum
Three Women
Torso Your Mouth
Tranquilizer
Tumbleweeds Down Waverly
Turn Off the Century
Turpentine
Tylenol
Untitled
Varispeed
Vienna
Watership Drown
Westside Highway
White-Hot Minimal
Wrapped
You Are Ambient Noise
Your Eyes Like Violence
Your Face
Your Orgazum
Your Ships Gone Jo