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 iconic Dallas/Denton bands like no-scene darlings Maxine's Radiator (1994-1998), the cocksure synth-punk outfit The Signals (2001-2002), and co-piloting the inventive, electro-rock group The Falcon Project (1998-2002), Kirkpatrick had earned a name for himself as a showman behind the keys and as an in-demand musician. He spent a year in beloved indie band Spoon and was later asked to join the alarming 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 anxious fans, he finally presented his debut full-length of solo material, Turn On the Interference.
