Jean-Claude Vannier, Cornelius, Jon Balke & The Magnetic North, The Flaming Lips, Wilco, Robert Wyatt, Jim O' Rourke, John Fahey, Radiohead, Charles Mingus, MGMT, Elephant 9, Colin Blunstone, Dr. John, Steve Reich, Sonic Youth, Supersilent, Eleni Karandrui, Woody Allen, Michel Gondry, John Szwed, Sun RA, Oslo 13, Jøkleba, Van Dyke Parks, David Lynch, Yma Zumac, Dungen, Can, Tortoise, Fleet Foxes, Bjørk, Motorpsycho, Magnet, Miles Davis & Gil Evans, Bruce Springsteen, Beck, The Mars Volta, Sigúr Ros, The Notwist, My Bloody Valentine, Bernard Herrmann, Angelo Badalamenti, Air, Jonny Greenwood, Kronos Quartet, Sir Dupermann, Jr Ewing, Rufus Wainwright, Antony & The Johnsons, Huntsville, The Beatles, Björn Isfält, Benny Anderson, Billy Cobham, Mahavishnu Orchestra, Mike Oldfield, Destiny's Child, Justin Timberlake, Stevie Wonder, Jamie Lidell, Public Enemy, Beastie Boys, Todd Rundgren, NWA, De La Soul, Dum Dum Boys, Dire Straits, Missy Elliott, Keith Jarrett, Elton John, Susanna & the Magical Orchestra, Dolly Parton, Thomas Dybdahl, Beyoncé, Bigbang, Kim Hiorthøy, Aimee Mann, Ennio Morricone, Pluramon, Martin Hagfors, The Carpenters, The Allman Brothers Band, David Bowie, Phil Collins, A-ha, America, The Bangles, Beach Boys, Busta Rhymes, Dead Kennedys, Emmylou Harris, Mercury Rev, Gabriel Fauré, Shining, In The Country, Brad Mehldau, Astor Piazzolla, The Band, Johnny Cash, Leonard Cohen, Michael Jackson, Thom Hell, Bo Hansson, The Neptunes, Nick Drake, Sly & The Family Stone, Arthur Russel, Spiritulized, M83, Outkast, Deathprod, Phoenix, Burt Bacharach & Elvis Costello, KILLL, Adjágas, Alison Krauss & Union Station, The Arcade Fire, John Adams, Bauer, The Lionheart Brothers, 120 Days, Carter Burwell, Curtis Mayfield, Justice, Feist, Happy Mondays, Ride, Money Mark, The Stone Roses, Joni Mitchell, Kaada, Kate Bush, Mark Mothersbaugh, Midlake…
Sounds Like
WHAT WE MUST EPK 2005 - Directed by Andreas J. Riiser
ALL I KNOW IS TONIGHT 2005 - Directed by Lasse Gretland
In December 2008 we've recorded the new album in Cabin Recorders, Oslo.
Check out pictures from the studio sessions
Jaga Jazzist
Ever since the beginning Jaga Jazzist have searched and looked ahead - beyond time and trends. Back in 1994 (at this time some of the members were only 14 years old) they released their first album ”Jævla Jazzist Grete Stitz” (now deleted and out of print). An album about trying without fear of failing, but most importantly the first tiny step towards something special.
With ”Magazine” from 1998 (re-issued with bonus material by Smalltown Supersound in 2004), the band came even closer to the formula that today is the basis in the Jaga Jazzist sound. But it was first with ”A Livingroom Hush” in 2001, that Jaga Jazzist fully blossomed with an album that put Jaga Jazzist on the map and defined their unique sound world. With this album the band got an international record deal through Ninja Tune, something which gave them the opportunity to tour extendedly. For people outside of Norway this was the very sign of the Jaga Jazzist.
With 10 members, you also gets 10 different opinions, feelings and taste. With a result that the band never stands still. Instead of sucking on the successful formula of ”A Livingroom Hush”, they wanted to take their sound even further with the next album. To the extreme one might say. The result was 2003..s ”The Stix” album. This was Jaga Jazzist..s take on electronic music, an album characterized by its intricate drum patters and rolling beats.
After heavily touring, the time was come for the next chapter in the Jaga Jazzist history, ”What We Must”. After months with writing new material, the band went into studio in Spydeberg out in the Norwegian woods, to record the demo now known as the Spydeberg Session. This demo, recorded in one take in one day, showed another a new side of Jaga Jazzist. A sound that was closer to their live sound than ever before. For us close to the core of the band heard the band members talk about this as their rock album. But rock in a Jaga Jazzist way that is. And this is the essential with Jaga Jazzist, they have created their own signature sound, and each new offering is variations of the signature sound. This is what characterizes all great bands, and this is what characterizes Jaga Jazzist. Listening to the Spydeberg session it became evident that the band was influenced by as different styles as British shoegazer guitar pop from the early nineties to 70..s prog rock. An Illogical combination on the paper that Jaga Jazzist made pure logic.
After the Spydeberg session, the band went on a 14 shows tour of Canada and USA where they tested their new material. And directly from this tour they went with producer Marcus Schmickler to Notwist..s studio in Weilheim, Germany, and after that to Schmickler..s own studio in Cologne. Here they recorded the basis of the album. After a couple of months break, the band completed and mixed the album in Propeller Music Division in Oslo, Norway, with producer Kåre Christoffer Vestrheim and Mike Hartung.
The result is ”What We Must”
Jaga Jazzist is a restless soul, going in many directions at the same time, but always going forward. Fast. The band always pushes the boundaries, both personal and musical. That is why they are impossible to categorize. And that is why they are special. Jaga Jazzist is something natural and beautiful. A necessity. For both them and us.
They are just Jaga Jazzist. And this is what they must.
Almost Tomorrow is the third full length collaboration album from Section 27 Netlabel founders Tam Ferrans and Andrew Paterson, under their Nonima & theAudiologist guise. This time around the sound is more melodic, and has a definite feeling of a complete and more mature sound than heard on the previous LP's "Dystopian Battle Hymns" and "Ceremony After Amputation". If you are familiar with their individual projects you may even be in for a slight surprise, as the tracks are not as beat driven like before, but are more atmospheric and sound, well... "bigger". In its 75 minutes, Almost Tomorrow takes you on a trip from the digital rain-soaked cavernous scraping in "Thoughtograph", the ethereal beat jittering of "The Colour of Rain", intercepted transmissions from unknown places in "Com-Intercept", "Ganzfeld"s huge yet strangely insect-like beats until everything you knew comes crashing around you in "Almost Tomorrow". Burning pianos, glitched out soundscapes and intricately programmed beatplay, this may well be their best work to date. Consider it the soundtrack to a rainy overcastday, but with just that glimmer of sunshine peeking from the clouds. "Almost Tomorrow" wears its heart on its sleeve.
Thank you so much for coming and playing in Japan finally!! I went to your gig at O-EAST. You said Japanese people like long concerts, but we just want to listen more because your gig was absolutely stunning! We're looking forward to seeing you again here in Japan!
Thankyou for the best live music experience ever last Thursday in Leeds, I think those of us that were there made up for the less than full capacity turnout!!! Can't wait for the new album. Best wishes, Bryn
