Sean Kirkpatrick : Turn On The Interference

The piano, in some form, has challenged the boundaries of popularmusic since Mozart used his compositions to thumb his nose at Austrianroyalty. Before the electric guitar became a symbol of rebellion, theivories provided a musical voice for lust, freedom, sadness andcelebration. In that tradition, Dallas songwriter Sean Kirkpatrick haseschewed six strings for the true passion of 88 - paired with hammersand connected to keys, of course - for the majority of his musicalcareer.After fronting iconic Dallas/Denton bands like no-scene darlingsMaxine's Radiator (1994-1998), the cocksure synth-punk outfit TheSignals (2001-2002), and co-piloting the inventive, electro-rock groupThe Falcon Project (1998-2002), Kirkpatrick had earned a name forhimself as a showman behind the keys - and as a talented, in-demandmusician. He spent a year in beloved indie band Spoon and was laterasked to join the eloquent and alarming Kill Rock Stars group ThePaper Chase, of which he remains a member.But during all of Kirkpatrick's time in various bands, he has beenbusy writing his own songs. After a couple of years playing alone toanxious fans, he finally presents his debut full-length of solomaterial, Turn On the Interference.It's an album of haunting melodies spanning carnival to dirge, withKirkpatrick's classically-gifted fingers traversing the keysthroughout each track. His tenor/baritone voice is strong and emotive,representing all feelings from surly to sorry with a sinceritylisteners can only hear from those that perform self-penned tunes.'The Interference' sends bluesy to space and back, and 'Quiet As He'sSleeping' takes what are sometimes near-barrelhouse keys into analmost sinister arena. 'Erica, Welcome to the Funhouse' is theswirling, swaying equivalent of looking into that very funhouse'smirror.Interference is quite obviously a labor of love - but more than theromantic sort. Kirkpatrick's love of the craft as well as themusicians that inspire him (AndrA Ethier, Jellyroll Morton,Television, Nina Simone, The Birthday Party and others) are evident inhis composition, performance and experimentation song after song.Samples, effects and accompanying instruments aside, however,Kirkpatrick's Turn On the Interference is very much asinger/songwriter's album. It is, at its very core, an exercise inexpression via 88 keys and one voice.

Full title is: Turn on the Interference