Performance CreditsKaada Primary Artist,Vocals
Oscar Brown Vocals
Dan Dare Bass,Guitar
Børge Fjordheim Drums
Øyvind Storesund Bass,Guitar
Technical CreditsSebastian Ludvigsen Cover Photo
Martin Kvamme Cover Design
Originally released in 2001, this is the debut album by mysterious Norwegian producer/multi-instrumentalist/sampling whiz Kaada. Despite being widely hailed by critics in Scandinavia, it took Ipecac Records, who discovered the album via an unsolicited copy, for it to finally get a U.S. release in 2003. It's a fitting match, since this album has the same kind of warm, reverb-y production that Ipecac head honcho Mike Patton often favors (see Fantomas' Director's Cut), and has a collage-type avant-garde pop
ock feel that's not a million miles away from something like Director's Cut or Mr. Bungle's California. Then again, it's certainly not beholden to those influences either: the main inspirations here seem to be hip-hop (especially in terms of the production) and old American R&B and soul music, combined with an unusually user-friendly experimental streak. Basically, Kaada takes isolated samples and loops from old recordings, mixes them together with live instruments and (sometimes) vocals, and creates new songs that are essentially virtual collaborations between musicians from these different times and places. The striking thing about this album, although it's only striking once you try to analyze it, is that it's almost impossible to tell what sound is coming from what record. Whether it's sampled or live or not, or if you know all the recordings he's dealing with, knowing such things won't prevent you from enjoying the music here. For example, "Care," which pairs a guitar line from Conway Twitty's "Lonely Blue Boy" with a vocal line from "I'm So Glad You Love Me" by Juanita Rogers that proclaims, "There is nothing in this whole wide world I would do / To make you blue." Once you realize where the guitar is coming from, the "blue" reference makes more sense and resonates more; it's funny, but also kind of touching. Thank You For Giving Me Your Valuable Time is full of such subtleties, which, rather than merely sounding coy and clever, add some real heart to the album and elevate from just a technically impressive collection of sampling and production trickery into something more.
I can't find words to describe to you how much this album afected me. It the best album I've heard in many years. This Ipecac album is the Ipecac release ever. It is not so screamy and noisy as the rest of their catalogue.
Once again, the fair nation of Norway has dropped an innovative music bomb, this time in the form of quirky, pop art mad artist Kaada. Like the Cato Salsa Experience, Kaada once again shows us how inspired the young guns of Europe generally are.  Like rock? Cool. Feel like spinning and sampling? Bring it on. Seemingly free of the pigeonholing encumbrances that vaporize the creativity of more established and especially American artists, outfits like Kaada move forward, break ground, and just plain seem to have a lot of fun doing it. Kaada's primary strengths lie in his ability to plumb coolness from basic materials, much in the way of Moby and Beck. The 50's dead cool of "Mainframe" is both smart and slick, the clever mix of elements resulting in a giddy, funkified ride, while his use of bold rhythm samples provide a rock solid core around which the constructs of "Black California" and "Care" can be built. Ooo-mow-mow, girls and boys. In a darker vein, "No You Don't" imparts an ominous, even sinister note of desperation into the unlikely combo of accordion and blues vocals, and Kaada's skills in programming and arrangement are showcased in the title track and "Go Brown," a delightful scamper through a mélange of genres. There's nothing boring here, and nothing over thought -- just a guy and his musicians, doing what they like, and giving us music to muse over while setting our feet tapping.