Wäre das Leben so geradlinig wie eine Facebook-Timeline es heimtückisch suggeriert, müsste ein gewisser Sean Piñeiro seinen bisherigen Werdegang ordentlich verbiegen, um ein nachvollziehbares Profil abzugeben. Gut, dass der im Südwesten Virginias aufgewachsene Neuzugang bei Kí Records sich erst Anfang April zur Einrichtung einer Social Network-Präsenz bequemte. Seit im vergangenen Mai bekannt wurde, dass auf Daisuke Tanabes kommende Veröffentlichung auch einen Remix von Sean Piñeiro’s »Grounds« zu finden sein wird, reckt man die Hälse nach diesem jungen Produzenten samplelastiger, als mosaikartig angepriesener Beats. An dessen Debütsingle »Green Copy« hat auch Memotone bereits Hand angelegt.

Sean Piñeiro schmiss erst sein Anthropologiestudium in Utrecht, um daraufhin den Weg eines Jazzpianisten einzuschlagen. Es zog ihn nach New York City, wo er an Stelle von Pianokursen jedoch lieber ein kompositorisches Grundstudium absolvierte. Anstatt dann aber den nächsthöheren Abschluss anzustreben, stieg Piñeiro in den Flieger nach Europa und ließ sich, nach einigem Verweilen in Barcelona, schließlich in Berlin nieder. Das Debütalbum des viel herumgekommenen, auf Soundcloud seit 2011 veröffentlichenden Newcomers erscheint am 23.6. unter dem Titel »Saved Once Twice«. Anhand seiner 10 Favourites erklärt der Wahlberliner, wie er zu instrumenteller Beatmusik kam, warum er herkömmliches tonkünstlerisches Handwerk schätzt und weshalb Musikverständnis – ähnlich dem individuellen Lebensentwurf – erkämpft werden will.

1 – »My Room Is White (Flying Lotus Remix)« by Flying Lotus
taken from the EP »Pink Sun«, Plug Research 2006
Sean Piñeiro: I found out about Flying Lotus in 2007 when I went to a free show at a club called Studio B in Brooklyn in 2007. He opened up for EL-P. I remember having to leave the party after his performance. The night was complete. (This happens to me a lot when I go out). Anyway, I went home, looked him up and listened to this track. This was probably the beginning of my affair with instrumental beat music.

2 – »Blue Pepper« by Duke Ellington
taken from the album »Far East Suite«, Speakers Corner Records 2001
Find it at hhv.de: LP Sean Piñeiro: The Duke will always be someone I look up to and admire. I often revisit tracks like this to remind myself that production skills don’t matter as much as good musicianship.

3 – »Memories From The Ghetto« by Augustus Pablo
taken from the album »East Of The River Nile«, Message 1978
Sean Piñeiro: August Pablo inspired me to start playing the Melodica. I have now been playing the Melodica for over ten years and I use it all the time while composing.

4 – »Brain Stream« by Martial Solal
taken from the album »Four Keys«, MPS Records 1981
Sean Piñeiro: I remember being a 17 or 18-year-old kid and listening to the album »Four Keys« by Martial Solal over and over and over again and not being able to get it. Part of me loved it and part of me hated it. I remember not being unable to comprehend how all the musicians were coming together. Listening to this album was like a fight. Sometimes you need to fight through to enjoy the music. When you fight to understand, enjoy or to comprehend something new it makes you grow. This album did this for me.

5 – »Meditation« by Edward Artemiev
taken from the album »Solaris. The Mirror. Stalker«, Electroshock Records 1999
Find it at hhv.de: LP Sean Piñeiro: Film and music for film have always been something very important to me. Edward Artemiev is where it’s at.

6 – »Dolmen Music« by Meredith Monk
taken from the album »Dolmen Music«, ECM Records 1981
Sean Piñeiro: I have no words for this. There is so much power in this music.

7 – »Slow Waltz« by Morton Feldman
taken from the album »Three Voices (For Joan La Barbara)«, New Albion 1989
Sean Piñeiro: »Slow Waltz« by Morton Feldman is another track that I had to think about and focus on and listen to over and over to fully enjoy. I remember playing this track at a bar in Brooklyn and a man came up to me and threatened to pour beer on my computer because he couldn’t take it. I guess there is a lot of power in this track too.

8 – »Joyrex J5« by Caustic Window
taken from the EP »Joyrex J5«, Rephlex 1992
Sean Piñeiro: Caustic Window aka Aphex Twin is definitely someone I look up to. It was very difficult for me as a teenager living in a small town in Southwest Virginia to get my hands on aggressive electronic music like this. It was almost a decade later that I was finally able to see Aphex Twin live.

9 – »Springtime In Chicago« by Sun Ra And His Arkestra
taken from the album »Super Sonic Jazz«, El Saturn Records 1991
Find it at hhv.de: LP Sean Piñeiro: I love Sun Ra.

10 – »UTEP 1« by Charles Cohen
taken from the album »The Middle Distance«, Morphine Records 2013
Find it at hhv.de: LP Sean Piñeiro: I saw Charles Cohen perform not that long ago and it was one of the best solo instrumental performances I have seen in my life. It’s rare but amazing when someone can breathe life into an electronic instrument. Charles Cohen is able to do this with the Buchla music easel, an instrument to which he has dedicated his whole life.