Another Release By Kadda, Another Beautiful One...

Norwegian sound artiste Kaada has carved out a niche for himself as a composer who can straddle the fine line between lush compositions and relevant pop music. As evidenced by his third release for Ipecac Recordings, Music for Moviebikers, Kaada provides listeners with serene single-song soundtracks that evoke the emotion of film where none is there to find. There are very little vocals – the main focus remains calm melodies played on exotic instruments. “I've made some of the instruments myself,” explains Kaada. One of them is made of springs and piano strings, which I'm actually hoping to get into production one day. Also I like to personalize devices and make adjustments in my sets of musical tools.”

For his latest, Kaada decided to not go at it alone, but instead, he assembled quite a supporting cast. “The ensemble consists of 22 musicians. There are traditional instruments, like strings, electric guitars, and of course, vocalists. But there are also many strange instruments involved. To get the sounds I wanted, I also had to hire folk musicians from different parts of Europe.” It also turns out that Kaada resisted the temptation to take the easy way out during the recording. “At these times of digital music productions and great software samplers, I find it even more important to actually play the instruments live, instead of programming them. It brings a life, uniqueness and soul to the songs, and it feels so much better to do it the organic way.”

It also turns out that the entirely self-produced Music for Moviebikers was recorded over a relatively short period of time. “I got together a great gang of musicians, and went to a large hall outside of Oslo to record the album. We had over a ton of equipment rigged up, and the recording sessions lasted for three weeks. I had everything written down on notes before we started, so it was just a question of getting a good performance.”

As with all of Kaada’s releases, a cinematic quality is brought to the table once more, but even more so this time. “This is music that is inspired by films, but I don't want to make a big issue out of this. It's not me who should tell the listeners what it is, in which category they should put it. Music that must be explained by the artist - this is absolutely not my cup of tea. Just look around what kind of music needs plenty of explanation. General rule - the more words, the more unpleasant the music. The music is there, as an offer. The listener can listen and decide. Not me. The lyrics are mostly just fantasy-language or non-verbal.”

“With this record, I hope to bring the two worlds together - the recording artist and the film music. Throughout my work as a film music composer, there has been a certain pressure from the media and the public about that I should release my film music on CD. I've been having some troubles doing this, and despite the fact that I probably could have sold a lot of records, and earned some dough, I haven't gotten myself to it. I feel that my film music belongs with the pictures that they are composed to. Even though people try to convince me otherwise, I don't feel that it can stand on its own feet.”

With the music possessing such a grand scope, finding a proper title proved to be a bit tricky. “I wanted to find a title that described the fact that this was cinematic music. The alternatives were Music for an Imaginary Film, which was too cliché, Accompaniment to a Cinematographic Scene sounded too pompous and another idea was Fake Film, Real Music, which sounded stupid. Music for Moviebikers was a good fit.”

Despite writing and recording his own albums on a regular basis, Kaada has also found the time to work on other projects. “One of the bands that I play in is called Cloroform. We released an album in April 2005 [Cracked Wide Open] and have been touring all over Europe doing 40 gigs. We also did some touring with the Kaada band and with the Kaada/Patton band. I've also done some film music. I feel privileged to have the opportunity to work on films. It broadens my scope and I learn so much by doing it. Films force me in directions that I would never go into elsewhere. Not only do I learn how to write for those ensembles, but I also learn about how to record them, and I get to know a lot of skilled musicians.”

Notwithstanding all the accolades that are sure to come his way for his latest release, Kaada warns to not read too much into it. “These are just 13 connected calm songs that I like.” - info by the label

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Rest In Peace...Syd. One Of The Greatest Writers Of All Time & Also One Of Those Unknown Mysteries. Barrett, Darker My Love...

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It's The New Collection By The Space Needle & it's Truly Vicious! Great Songs & Deep Furry Sound...

Space Needle were a strange bunch. Part of the mid-nineties indie rock scene, but only barely, something about them was just a little too weird, a complicated mix of pretty and creepy, a sonic world not immediately recognizable to the average Pavement fan or Yo La Tengo booster. Their sound was based not on guitar jangle but on strange rhythms and thick swaths of synthesizer. Probably had a lot to do with the fact that SN mainman Jud Ehrbar was a drummer. Vocals were appropriately indie sad boy style, from monotone Pavementy croon to reedy straining-to-hit-the-high-notes near falsetto, but they were dropped into totally alien landscapes. Those distinct vocals moped and dragged their feet amidst strange militaristic drum jams, thick washes of layered organs, serpentine low end synthbasslines, slithering and twisting chaotically beneath thick wheezing organ whir, strangely detuned guitars, strummed into hypnotic jangly jams over ultra simple motorik drumming, all the while, the vocals pushed WAY up in the mix, sort of languorous and deadpan, not so much drifting as sort of lazily shuffling. The melody almost entirely carried by the vocals (with occasional assistance from the synthesizer). The sound was definitely skeletal, often just vocals and drums, sometimes a simple throbbing bass line, but most of the tracks build to a massive climax, with guitars building into huge fuzzy drones, the synth lines getting more and more distorted, both swirling into thick squalls of blown out psychedelia.

"Before I Lose My Style"

At their heaviest, Space Needle almost sound like Loop or Spacemen 3, simple riffs repeated over and over, building a super hypnotic groove, while over the top, guitars and synths wrestle in a thick cloud of buzz and fuzz. But the rest of the time, they really sounded like no one else. Some tracks are just random sonic experiments, super washed out guitars or ultra distorted synths, locked into super hot, crumbling in-the-red, looped dirges. But the heart of Space Needle's sound was a hauntingly alien, lilting loping abstract indie rock, melancholy and super laid back, but also dark and slightly ominous. Phrases repeated over and over mantra like, the vocals almost sounding choral at moments, each track unfurling and taking its own sweet time as it ambles toward its inevitable end. A sonic allegory for the sadness and loss suffusing SN's whole sound.

"Dreams"

This collection, gathers the best bits from Space Needle's two albums, and tacks on two live tracks, the best being a 15 minute long psych jam entitled "Where The Fucks My Wallet?", a live set staple that starts off all gentle guitar and builds into a wild sprawl of angular guitars and chaotic instrumental freakout, even a sort-of drum solo.

"Eyes To The World"

We sort of forgot how much we dug this band, but hearing these tracks again, man, they sound so fresh, and so fucking amazing, they've really held up well, unlike LOTS of their indie contemporaries. These tracks could just as easily be from some current experimental fucked up abstract noisepop cd-r band as a forgotten nineties indie rock outfit. Definitely enough jangle and sweet and sour melody to hit the spot for all you Blonde Redhead / Modest Mouse / Black Heart Procession / Yo La Tengo / Silver Jews indie rockers of today, but certainly fucked up enough to appeal to all you lovers of free noise and art rock weirdness as well, plus this is just the sort of record to give all those indierockphobes out there something to think about.
Includes liner notes, new artwork, and blurbs from the band about the recording of each track. Text By Aquarius

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A Brief Reminder To: " Suddenly One Summer " By J. K. & Co. 1968...The Sound Of It: The Moody Blues vs Love, But More Naive & Charming Than Both.

Bio AMG:
The history of J.K. & Co. was little known, the details etched in admirably by Sundazed's CD reissue of their only album. The group was led by Jay Kaye, who was only 15 when he assembled J.K. & Co. in early 1968. With assistance from arranger Robert Buckley (also still in his teens), producer Robin Spurgin, and session musicians, he recorded a little-known album, Suddenly One Summer, for White Whale in Vancouver (to where he had briefly relocated from Las Vegas). His florid, melodic songwriting betrayed obvious debts to Donovan and George Harrison; his low-key vocals also recall George's late Beatle efforts. The sappier excesses of his lyrics haven't dated well, but his soothing arrangements (with low-key organs and saxes), beguiling melodies, and good-hearted, meditative ambience make him one of the worthier obscurities of the late '60s.

As a band, J.K. & Co. didn't really exist until after the album was completed, and Kaye formed a group to play the material live that included his cousin John Kaye on bass. Although the LP got a little bit of exposure on Californian underground radio stations, it was not well-promoted and remains barely known, even by many psych-heads. Their career was not aided by the label's bizarre decision to pull a 36-second-long track, the instrumental introductory piece "Break of Dawn," as the single. While they did play live in California, they broke up around the end of the 1960s, without releasing any more recordings. The rare album was reissued on CD by Sundazed/BeatRocket in 2001.

Short Album Review AMG:
This sounds like the solo album that George Harrison might have made before he left the Beatles, as several songs have that solemn, spiritual, forlorn quality Harrison perfected on cuts like "Long, Long, Long." With its languid guitars, organ, and somber mood, "Nobody" is so reminiscent of All Things Must Pass tracks like "Let It Roll" that one is surprised to find that this album was done well before the release of All Things Must Pass in the early '70s. Although the lyrics are blatantly hippie-ish, the music itself sets a dignified, almost stately mood with its intimacy and tasteful restraint. "Fly" and "Nobody" are genuine lost treasures of low-key late-'60s late psychedelia, and alone make the album worth investigating. But it's inspired and pleasurable the whole way through, down to the super-brief links and intros dotted throughout the record.

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