Sean Kammer | Stargazer

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United States - Nebraska

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Rock: Acoustic Folk: Alternative Folk Moods: Mood: Brooding
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by Sean Kammer

Dreamy, introspective alternative-acoustic rock.
Genre: Rock: Acoustic
Release Date: 

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  Song Share Time Download
1. Intro
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1:42 $0.99
2. Believe
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5:07 $0.99
3. Humility
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3:02 $0.99
4. Congratulations
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3:55 $0.99
5. You Don't Cry
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4:05 $0.99
6. Interlude
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2:47 $0.99
7. Stargazer I (Overlook)
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5:03 $0.99
8. Stargazer II
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6:21 $0.99
9. Stargazer III (Endgame)
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9:39 $0.99
Available as MP3, MP3 320, and FLAC files.


Album Notes
Despite his spending tens of thousands of hours alone crafting STARGAZER, which he released in August of 2006, Sean is not altogether antisocial, at least when it comes to music. Indeed, through the years, Sean has enjoyed the privilege of working with a number of gifted artists on an array of musical projects.

In 2000 and 2001, Sean and four close friends formed a musical group they called STEVE. Over a period of about thirteen months, the band—made up of Matthew Jackson, Sean, Logan Ramsier, Nick Robinson, and David Ullman—performed a number of shows and festivals in Northeast Ohio and Pittsburgh and, under the direction of Brian Ullman, memorialized many of their original compositions in the album, IN THE EVENT OF RHYTHM. Though produced only on a limited basis, the record’s sales exceeded even the band’s lofty expectations, no doubt fueled by STEVE’s powerfully engaging live performances.

In late 2005 through the spring of 2006, Sean co-produced and mixed seven tracks on Nick Robinson’s groundbreaking album, AND SO GOD SCRATCHED OUT THE TRUTH, which Robinson released to great fanfare under the pseudonym ANOTHER SOCIAL BLUNDER. Some of these tracks even inspired favorable comparisons to Doves, Muse, and Nine Inch Nails. Sean’s exposure to this project was instrumental in inspiring many of the final touches to the organic compositions of STARGAZER.

After finishing his work on STARGAZER in the summer of 2006, Sean leapt at the opportunity to contribute to David Ullman’s elaborate studio project. By that point, Ullman had already devoted almost two years to what was becoming an all-consuming labor of love. Over the course of several months, Sean worked with Ullman in composing, performing, and recording piano tracks for a handful of songs. Then, in early January of this year, Ullman brought his finished tracks to Lincoln, Nebraska for Sean to master. The finished product, DOG DAYS, was released to great critical acclaim in February: Jeff Niesel, music editor of Free Times, praised the work as an “exquisitely beautiful record,” while Peter Chakerian, Managing Editor of Cool Cleveland, depicted the album as "deep, dark and intensely rich."


to write a review

Blue Star Boy

Transcending traditional singer/songwriter boundaries, Kammer delivers a debut w
A work of endless nuance, the songs on STARGAZER sound at once organic and ethereal. Kammer’s understated vocals and hypnotic guitar strum rise above swirling reverberations of unknown origins.

After a brief overture, a djembe drum announces the beginning of “Believe,” in which Kammer seems to be trying to sing himself out of a state of doubt, despair and indifference over an innovative tapestry of harmonicas. The spoken word verses of “Humility” eschew saccharine sentimentality in favor of brutal honesty as the vocalist bids a final farewell to an unforgotten friend. This interesting juxtaposition of irony and earnestness leads into “Congratulations,” a strong song with a faint feeling of claustrophobia. Abrasive echoes of unintelligible phrases bleed through the mix as Kammer sings of darting eyes and cloudy nights. “You Don’t Cry,” perhaps the album’s most accessible track, showcases Kammer’s keen sense of melody and verse, with a heavier assault from the paranoiac voices of “Believe” taking over the song’s closing moments.

A cohesive musical statement, STARGAZER'S connective tissues reveal reverse melodies and fleeting reprisals, particularly in the disc’s concluding title-trilogy. The CD’s namesake tracks are linked by intricately interwoven leitmotifs and rhythms, all of which are performed by Kammer. “Stargazer I (Overlook)” is driven by the wail of his slow, yearning electric guitar and poignant piano chords. “Stargazer II” features one of Kammer’s most beautiful chord sequences and perhaps his most plaintive vocal performance, delicately delivered in a heart-broken croak that calls to mind a tenor translation of Leonard Cohen. The weight of the album’s cumulative melancholy is leavened by the song’s final line: “somewhere there’s a star we can reach.” The haunting closer “Stargazer III (End Game)” features one of only three contributions to the disc by another musician. Brian Ullman’s double and triple ebow guitar lines—reminiscent of Kammer’s own approach to harmonica accompaniment—will linger with listeners long after Stargazer reaches its end.