Have the CD shipped to your house by gutterth for $7, pick it up at Good Records in Dallas, or Recycled and Strawberry Fields in Denton or buy it from I-Tunes.
"The piano, in some form, has challenged the boundaries of popular music since Mozart used his compositions to thumb his nose at Austrian royalty. Before the electric guitar became a symbol of rebellion, the ivories provided a musical voice for lust, freedom, sadness and celebration. In that tradition, Dallas songwriter Sean Kirkpatrick has eschewed six strings for the true passion of 88 - paired with hammers and connected to keys, of course - for the majority of his musical career.
After fronting Dallas/Denton bands like no-scene darlings Maxine’s Radiator (1994-1998), the synth-punk outfit The Signals (2001-2002), and co-piloting the electro-rock group The Falcon Project (1998-2002), Kirkpatrick had earned a name for himself as an in-demand musician. He spent a year in beloved indie band Spoon and was later asked to join the Kill Rock Stars group The Paper Chase, of which he remains a member.
But during all of Kirkpatrick’s time in various bands, he has been busy writing his own songs. After a couple of years playing alone to fans, he finally presents his debut full-length of solo material, Turn On the Interference.
It’s an album of haunting melodies spanning carnival to dirge, with Kirkpatrick’s fingers traversing the keys throughout each track. "The Interference" sends bluesy to space and back, and "Quiet As He’s Sleeping" takes what are sometimes near-barrelhouse keys into an almost sinister arena. "Erica, Welcome to the Funhouse" is the swirling, swaying equivalent of looking into that very funhouse’s mirror.
Interference is quite obviously a labor of love - but more than the romantic sort. Kirkpatrick’s love of the craft as well as the musicians that inspire him are evident in his composition, performance and experimentation song after song. Samples, effects and accompanying instruments aside, however, Kirkpatrick’s Turn On the Interference is very much a singer/songwriter’s album. It is, at its very core, an exercise in expression via 88 keys and one voice."