Knoxville520.com

Last fall something wonderful happened. My friends and I were finally getting to see the Dresden Dolls and (like always) when we're there for the headliners, we could hardly contain ourselves waiting for the opening acts to pass. I remember it was dark and quiet and then suddenly this nice man I saw out in the lobby was on stage doing things with his fingers that my eyes couldn't keep up with. The sounds were amazing-- emanating from glass bowls, marbles, bells, parts of instruments, boxes and machines. It was like all of my broken childhood toys had magically put themselves back together and were now singing a victory reunion anthem. Sure, there were other sights-- lighting effects, fellow audience members bustling about toward their seats and through the aisles.

Somehow, for just a few seconds, I was able to tear my attention away and come back to my senses. As I looked around all sorts of people sat, mouth agape, eyes wide, most not even moving. At the end of the performance, I practically shoved my friends out to the merchandise table, informing them that I. Must. Have. This. CD. I was transfixed as I managed to mumble when I was fortunate enough to meet Sxip Shirey after the show. Imagine my excitement with having the privilege to interview him before his return to Knoxville and ask him all the questions I'd really wanted to ask when we met (until my mind went to complete mush, of course).

MS- The style of music, the creativity in your performances, and general whirlwind of sound you create is anything but common in the US. While it is definitely a breath of fresh air, it pulls us in a direction of wanting more and not really knowing where to look for it. What influenced you most when you first started creating your own music?

SS- Well first of all, check out That One Guy, Reggie Watts' and Kid Beyond's solo stuff, they are amazing. Solo musicians I was very inspired by when younger were Diamanda Galas, Tom Waits, John Fahey, Leo Kottke, Micheal Hedges, Rodger Miller (of Mission of Burma -had a prepared piano album called Maximum Electric Piano), John Cage and Bobby McFerrin. Also check out Spike Jones, Bulgarian Woman's Choir and Taraf De Haidoucks. There is a lot of amazing music out there.

MS- Did any of your peers share or encourage your interests?

SS- I originally created these sounds while composing music for modern dance at Ohio University. The music director there at the time was very encouraging. After that it has been during periods of greatest isolation (after break-ups, in new cities) that I write much of my solo material.

MS- How did the members of LO meet- I imagine it's quite random to ask "You guys want to start playing gypsy tango klezmer punk music?"

SS- It started as project just for fun. I was dating Sarah at the time and Rima was going out with the old bassist. We just wanted to play some of the gypsy music that Sarah had heard when she had traveled in Romania.

MS- When did you first know that you had something solid?

SS- The first gig we played, at a little theater...people just loved it. The beginnings of the band was such craziness and wine and passion and sadness and goodness all at the same time.

MS- How did your earliest audiences react when hearing your music?

SS- Danced! They danced. So many white people in this country have forgotten how to dance to live music, we want to help fix that.

MS- What line of work were you in before you began touring, and (how) did it lead you to you what you do now?

SS- I've always been a starving/underground artist. Though I have had a crazy number of day jobs. From working with the developmentally disabled, to being a simulated patient for student doctors, to being a telephone psychic, to dressing up as Barney the Dinosaur and dancing around at kids' parties, to selling expensive silk ties outside at Union Square in New York City during the Christmas season.

MS- What would you like for your audiences now to gain/experience during performances?

SS- I want them to be present for their own living. To have a moment where they are really aware they are alive.

MS- Even when you're not on the road performing solo or with Luminescent Orchestrii, you still have your hands full with a lot of projects, some of which include your role as Maestro of the Daredevil Opera Company and Bindelstiff Family Cirkus. You've also mentioned recently working with a children's program. How did you come across these opportunities?

SS- My opportunities come from people seeing me play solo and then approaching me after the show.

MS- In addition, you started a production company, CHARM, which brandishes many artists with similar styles, various odd-ville acts and performance artists. What has been the greatest benefit so far?

SS- I love other artists. Some I love so much it hurts that they are not better known. So this is my chance to promote them. It's amazing to have so many people you love and respect on the same bill. The community aspect of it is fantastic. I am now doing "Sxip's Hour of Charm" in NYC. The plan is to start taking it to universities as a touring show.

MS- The extent of this networking has manifested in so many ways - fans in numerous cities that gather together at other members' shows, new artists, troupes and bands popping up all over the place. You even have fan groups on MySpace - what is your vision for this relatively new craze of interests?

SS- I want to help foster a culture of art that is visceral, excited and supportive, a culture of art that is hard working but that doesn't have to adhere to the cold intellectual discourse of the art world. A human populist culture of experimentalism.

MS- You just released your cd, Sombule, last year. What were the best and worst factors of this process? Is there anything you wished you had done differently?

SS- The CD is an accident - a gift. It was meant to be a compilation. It has recordings from different periods. Different styles...crazy Sxip music, country songs, piano...but when put together, Joe Bass, the engineer, and I realized it was in fact a body of work, an album.

MS- Of all songs you've produced, which one do you keep closest to heart?

SS- Two, Moon In Her Belly and the song All Babies Must Cry

MS- You will be coming back to Knoxville with Luminescent Orchestrii on the 18th. What are you looking forward to most?

SS- Both. My solo work is about the internal person and spiritual spilling itself into the room, vibrating the room, vibrating with the room and audience. It is about pulling the ghost from the meat. The band is about social energy. How amazing and wonderful it is to be in a community of souls.

MS- Lastly, what words of wisdom do you have to offer other artists who are still striving to make a name for themselves with experimental music?

SS- I dont know about making a name for yourself. But...go to Berlin. There is no arts funding in the US. Go to Berlin and then go to Berlin. Oh and try to have something to say in your music...also, putting contact mics on a bicycle wheel has been done, which is ok. it sounds cool, but putting contact mics on a bicycle wheel isn't enough. You gotta have a spiritual, emotional, esoteric, intellectual intent..SOMETHING. Say yes to opportunity and realize that once you have crafted your music and you know it and understand it it is no longer "experimental." It is just music.

Sxip Shirey's website can be found here.

Listen to The Moon by the Luminescent Orchestrii.

Sunday, February 18
World Grotto, 10:00 p.m.
Luminescent Orchestrii with Sxip Shirey
and Stephanie's ID

Monday, February 19
WDVX Blue Plate Special, Noon
Amy Spence and
Luminescent Orchestrii