"Anyone keen on creating music should refrain from relying on others for authorization, according to Eli Keszler; he discusses staying authentic as an artist, collaborating with Skrillex and Oneohtrix Point Never, and his self-titled latest work."
Informal Rewrite:
American Music Maestro Eli Keszler Unveils Self-Titled Masterpiece
Talking 'bout Eli Keszler, known as much for his Grammy noms, movie scores, and weirder-than-weird collabs as he is for his banging percussion skills. The dude's most comfortable in the avant-garde, with a repertoire that spans everything from Skrillex to Oneohtrix Point Never!
But his eleventh album? Take a wild guess - it's self-titled. So why now? Wanna know the reason? Because, according to Keszler, it's the most authentic shit he's ever put out, a vibe that's a perfect blend of his musical obsessions, new music, avant-garde, classical, and a whole lotta jazz. Digital restriction praises, this is his aggressive statement that's all Eli, all the way.
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Got dropped by LUCKYME this month, Eli Keszler is the latest chapter in Keszler's diverse musical journey - a tantalizing travelogue that's seen him rise from the Boston underground to performing center stage. Keszler's got a love affair with drums, but don't be fooled by that connection - his music is a boundary-breaking exploration of sound that defies traditional drum conventions.
"I forget about my instrument - I follow my voice, let my body create strange, unconventional sounds," Keszler explains. His background - raised in a Boston family of music enthusiasts, where popcorn parties led to late-night jam sessions - laid the foundation for his unique approach to music. Keszler started composing his own tunes during his teen years, and his foray into Boston's experimental music scene was a natural progression.
Boston life was slow, slow enough to allow Keszler to discover his own musical voice and test the waves with rock and hardcore bands alongside his college studies at Boston's New England Conservatory of Music. But once he landed in New York – a metropolis known for its frantic pace – he found himself in a goldmine of creative possibilities.
"New York's great, but we're fast and focused," Keszler muses. "Boston was more relaxed. I went to gigs, met people organically, and slowly incorporated myself into the underground music community."
From his early self-released tracks on his R.E.L label and collaborations with Laurel Halo and Oneohtrix Point Never, to his striking 2018 Stadium project, Keszler has consistently evolved his sound to reflect his artistic interests. This time around, his latest album is a delve into abstract electronica, circling a noirish song cycle with vocalist Sofie Royer and saxophonist Sam Gendel.
Keszler's approach to his music began with painstaking drafts over several years, allowing him to experiment with technique and language until he reached a glorious destination filled with the sounds you'll hear on his latest album.
"The sound palette discovery process can be slow, but the execution is fast," Keszler says. "I crank the faucet, and the music just pours out."
Riding high on the success of his score work for films like The Scary of Sixty-First and Nathan's award-winning Harka, Keszler is finding new avenues for exploration in his music. Rest assured - Eli Keszler is a fantastic ride, with tracks like Ever Shrinking World and the points of engagement with Sofie Royer – Low Love, Speak for Me, and others – deserving of a special shout-out.
Keszler has a restless relationship with his software and gear. He frequently upgrades, sells, and experiments with different tools to create the sounds he desires. The pieces he keeps in his Manhattan studio are only those that serve the projects he's currently working on.
"I don't keep gear for sentimental reasons - I'm all about utility," Keszler chuckles. He's worked with a slew of tools including the MPC2000 XL, Akai S612, Metasynth, Ableton Live, and Eventide Space Pedal in different configurations on his tracks. Keszler's secret? Digging deep into digital tools of years gone by to create the raw, surprising sounds that fuel his creative spirit.
Keszler's music may be synonymous with the drums, but he's got a deep love for the piano as well. When he sits behind the piano, he says it's a whole new world, where he carefully explores harmony and works out what sounds beautiful. He sees his piano work as a tool for writing and composing music.
"I have a spiritual bond with the drums, but I've got no attachment to them. That's why I've found a unique way to play," Keszler adds.
Keszler's experimental approach to his music draws inspiration from the Sheets of Sound concept, born from jazz saxophonist John Coltrane and then elevated by Evan Parker. Keszler's fusion of drums and electronics offers a contemporary take on the practice.
"My goal was to adapt this to my instrument rather than going completely electronic. I've been experimenting with various things to create a tapestry of sound – it's a never-ending exploration," Keszler concludes.
Keszler's willingness to collaborate has seen him explore diverse genres and partner with fellow artists to challenge himself and push his music in exciting directions.
"Don't wait around for permission - pursue your musical path steadfastly," Keszler advises fellow music enthusiasts.
Stop by Eli Keszler's website or stream Eli Keszler on Bandcamp to keep up with this dynamic musical mind's latest creations!
Starting from the article, music enthusiasts can find a captivating fusion of sounds on Eli Keszler's latest album, self-titled as his most authentic work. This album showcases a diverse blend of abstract electronica, classical, new music, avant-garde, and jazz, demonstrating Keszler's musical obsessions.
Furthermore, music lovers who enjoy exploring different genres might find delight in visiting Eli Keszler's website or streaming his music on Bandcamp for a dynamic and captivating entertainment experience.
