auditory sculpture's auditys

The 2nd album I produced for singer songwriter stephanie schneiderman

nanoblossom:

A (Very) Brief Introduction to Fetishism

I think about the word “fetish” quite a bit. Because of my interests and areas of experience, it is a word that comes up one way or another quite often in my day-to-day life. This one little word figures integrally into my most favorite…

ABOUT ME

Keith Schreiner cannot keep still.

Starting an eccentric and eclectic career as a DJ, smacking down the likes of _________ and pissing off ________, he took a U-turn in 1998 when he landed in the cloudy swamp known as Portland, Oregon and formed the trip hop chill sensation Dahlia. Dahlia’s home base became the nightclub Ohm, where Dahlia performed to packed houses every Tuesday and developed a devoted and committed following.

For six years Dahlia wandered the left coast, sharing the stage with such luminaries as Banco de Gaia, Andy Smith (Portishead), David J (Bauhaus, Love and Rockets), Juno Reactor, the Orb, DJ Chebbi Sabbah, and many others. But despite success and Dahlia’s packed schedule, Schreiner collaborated with other musicians on other projects, including the Schreiner-helmed six-piece future jazz project The Down Band featuring Nate Query (The Decemberists), DJ’s IZM and Venom 33, and local jazz maestro Derek Simms on trumpet.

Not content with two successful musical ensembles, the few hours left to Schreiner were filled with his personal project Auditory Sculpture, where he would test, pull, stretch and mold beats and sounds. This laboratory was where he crafted many of the hooks and vibes which would become elements in other projects, soundscapes and beats ending up in Dahlia, session work for Sheryl Crow, his sociopolitical hip hop SuckaPunch, and remixes for the likes of Storm Large.

The ambient and ethereal music that Schreiner kept for himself became the three albums of Auditory Sculpture’s discography Solitary Form (1999), That Might Be You But This is Me (2001), and Merge (2002).

During this period, Portland’s East Chinatown Lounge hosted Auditory Sculpture on a weekly basis. The relationship was perfect. The über-swank lounge allowed Schreiner the vibe he needed to compose ideas, explore new sounds, and create a chill ambience for the drinking crowd. Both a proving ground and an experimental space, Schreiner found innovation and inspiration in these performances, which then made their way into his other projects. These performances evolved into the fourth Auditory Sculpture album, Sessions at East, released in 2006.

Now widely known for both his production work and his signature moody grooves, Schreiner was approached to score the short film “Occularist” for filmmaker Vance Malone. Both the film itself and Schreiner’s score won accolades, including a nomination for “Best Score” at the Seattle International Film Festival (What Year?).

After this introduction into screen work, Auditory Sculpture has become a music licensing house and a studio where Keith works on remixes, music for film and television, session work, and producing other artists, including singer-songwriters Nicole Campbell and Hush recording artist Corrina Repp. His film credits include the multiple-award winning short “The Poodle Trainer,” (another collaboration with Vance Malone and a 2010 Sundance Selection) and an especially enjoyable trip into scoring for full-length pictures in the graphic and creepy Cell Count (Something or Another Pictures) to be released in ____. Recent Auditory Sculpture musical collaborations include producing Stephanie Schneiderman’s  _____________ and Portland media-darling Oracle.

But the peripatetic and varied career of Auditory Sculpture finds Schreiner at the beginning again for the forthcoming release of his latest album Lacom, due in 2011. In Lacom he’s taken all the experience of ten years of wild and diverse success and synthesized it in a sound both fresh but nostalgic, new but reminiscent of his roots.

It’s the voice of this experience which allows one to come home again.