Recommended if You Like
Robin Trower Radiohead Jon Hassell

Genres You Will Love
Blues: Jazzy Blues Moods: Mood: Brooding Rock: Post-Rock/Experimental Rock: Progressive Rock

By Location
United States - Ohio United States - United States

Pat Kinsella

Pat Kinsella began playing trumpet, and more importantly guitar, in 1969 at the age of 10. His guitar-playing heroes at that age were Jimi Hendrix, Frank Marino and Robin Trower. At age of 14 Pat discovered that he liked playing drums quite a bit, but the opportunity to actually start playing drums didn't come together for another 10 years. From the age of 15 to 19, he committed himself to an extremely intensive period of studying guitar. His musical interests during
this period was focused on jazz-fusion and his musical role models were Al DiMeola, Pat Martino, Jeff Beck, Larry Carlton, George Benson, Steve Khan, Chick Corea, Jeff Lorber, Jan Hammer, Joe Zawinul, Jaco Pastorius, Stanley Clarke, and his personal mentor: Cincinnati-based guitar virtuoso William Mramor.
In 1978, at age 19, Pat composed and recorded his first solo multi-track recordings. Tired of the limitations he felt with his own his own playing, Kinsella stopped playing guitar, sold all his gear and took what was to become a 5 year sabbatical from being a 'musician' all together and became a 'listener'. During this time, Pat allowed his tastes to develop in other directions and became a great fan of ambient music, experimental and alternative music; Brian Eno, King Crimson, Laurie Anderson, and Jon Hassell (in particular the latter two) taking on a VERY prominent role in Pat's vision of what music could entail.
In 1984 (at the age of 25) Pat began piecing together a small home studio. And with a beat-up Tascam 4-track reel-to-reel recorder, synthesizers, drum machines, electric bass, violin, clarinet, samples he took of various found and wild animal and natural sounds, assorted percussion (but eschewing guitar almost
completely) he spent the next 5 years in an extremely creative and prolific period of writing experimental and spoken word works. He put out 7 releases (cassette tape being the only media on which he distributed his work during this time, and these releases are no longer available). Those releases were:

Some Say It With Words
A Butterfly in Caterpillar's Clothing
The Rage of The Seas, The Quiet of The Depths
Eyes That Hide in The Night
North America
Tableaux du Forêts du British Columbia
Dining By The Light of A Collapsing Star

Then, between the 1990 and 1996 Pat took another sabbatical from writing or playing music, dedicating his time to other pursuits. And in 1996, in a new home studio Kinsella had setup, he spent the next year working on the 1997 hypno/trance/ambient release 'Entropy's Child' which enjoyed some small success in indie circles.
Then after yet another sabbatical Pat took from music for the 7 years following the release of 'Entropy's Child', in 2004, Pat reignited his music career and setup yet another home studio from the ground up - this time giving himself 16 tracks to work with.

In 2005, when nearing the completion of his 'Clear Blue Cemetery Sky?' release, Pat suffered a subarachnoid (brain) hemorrhage. While rehabilitating at home after being released from the hospital, he recorded 'LifeFlight' (named for the critical care helicopter which flew him from the ER of the suburban hospital to which he was initially taken to world-renowned Cleveland Clinic's Neurosurgery ICU). Shortly thereafter he also wrote and recorded 'Out Of The Blue (for Lynne)' in honor of his new love (now his wife). These ended up being the final two tracks that were recorded for 'Clear Blue Cemetery Sky?'.

Since that time, Kinsella with his Dean USA Hardtail, a couple very different Stratocasters, his trusty Mesa-Boogie Subway Blues, a couple different hollow-body jazz guitars, a couple classical guitars, acoustic, resophonic guitar, several different basses, an impressive arsenal of Asian and Latin percussion, drum machine and Native Instruments Battery 3, a cornet, clarinet, pipa, doutar, erhu, etc. (and on all of these guitars and basses Pat does his own work, his house is just strewn with instruments in various stages of assembly; some are being built, some are just having tiny repairs done, some are customizations he wants, but very few seem to escape Pat's eye for detail and the desire to make them perfect! Pat began writing and recording again and has continued between 2005 and the present, without too many major breaks in there, to crank out new material in prolific fashion. With each release, Kinsella's compositional skills and mastery of his craft(s) seem to increase and gel further into this uniquely personal style, although consisting of widely varying genres, it unfolds naturally and has a recognizable style that is 'Pat Kinsella'. He seems to be able conjure up pieces that are like the soundtracks to some dreamscapes straight from his own imagination. His instruments and recording equipment become seamless extensions of his own psyche. The main hub for distribution of Pat Kinsella's work is CD Baby.

- ...What a wild and seriously talented person you are. And so creative!

- ...Totally new ways of approaching music; gripping emotional content inventively transitioning between moods, genres and cultures.

- ... from the tranquil orchestral delicacy to infectious funk to the depths of spacey fragility to swooning lyrical themes;

- ...and blues - here Kinsella creates a deliciously, desperately painful slow motion taffy-pull of palpable sorrow you can viscerally feel welling up in your gut....Then as soon as you are drifting into a trance-like alpha state he startles you to attention with complex middle eastern percussion, hard funking, over burbly trance, electronica...elegantly and seamlessly integrating complex time signatures as if nothing was more natural...

– ...multiple simple ideas, but tied together in extremely inventive and brilliantly unexpected ways.

- ...This a jazz fusion player, but instead of playing any kind of fusion seen before, he is instead creating some very interesting new ways of thinking of what progressive rock should encompass.