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Now in his third decade as a composer and recording artist, Kevin Keller has crafted a diverse discography that has made him a favorite on beloved syndicated radio programs Hearts of Space and Echoes, found his music featured on the popular TV show So You Think You Can Dance, and won him two ZMR (Zone Music Reporter) Awards for “Best Neo-Classical Album”. Beyond that, he regularly receives commissions from ballet companies, and he has recently moved into the field of film and television scores. Pretty good for a guy who entered the conservatory never having had even a single piano lesson.
Growing up in Northern California in a not particularly musical family, his gateway into music came when friends played him the sounds of Krautrock legends Tangerine Dream, synthesizer pioneer Wendy Carlos's Switched-On Brandenburgs, and the ambient soundscapes of Harold Budd and Brian Eno. By the end of his high school years he had started playing piano, teaching himself how to read music so he could play Debussy. Keller says, "I don't really hear a big difference between Harold Budd and Claude Debussy, except that Debussy is more harmonically complex. But in terms of the aesthetic, I feel like they're similar – if you simplify Debussy, you end up with [Budd and Eno’s] Ambient 2. Or The Pearl." No surprise, then, that after Keller's second album came out, John Diliberto of Echoes dubbed Keller's style "ambient chamber music."
Now in his third decade as a composer and recording artist, Kevin Keller has crafted a diverse discography that has made him a favorite on beloved syndicated radio programs Hearts of Space and Echoes, found his music featured on the popular TV show So You Think You Can Dance, and won him two ZMR (Zone Music Reporter) Awards for “Best Neo-Classical Album”. Beyond that, he regularly receives commissions from ballet companies, and he has recently moved into the field of film and television scores. Pretty good for a guy who entered the conservatory never having had even a single piano lesson.
Growing up in Northern California in a not particularly musical family, his gateway into music came when friends played him the sounds of Krautrock legends Tangerine Dream, synthesizer pioneer Wendy Carlos's Switched-On Brandenburgs, and the ambient soundscapes of Harold Budd and Brian Eno. By the end of his high school years he had started playing piano, teaching himself how to read music so he could play Debussy. Keller says, "I don't really hear a big difference between Harold Budd and Claude Debussy, except that Debussy is more harmonically complex. But in terms of the aesthetic, I feel like they're similar – if you simplify Debussy, you end up with [Budd and Eno’s] Ambient 2. Or The Pearl." No surprise, then, that after Keller's second album came out, John Diliberto of Echoes dubbed Keller's style "ambient chamber music."
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