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"The Legend Of Kelda"

In the fashion of other female singer-songwriters, L.A.-based artist kelda seems to thrive on the emotionally draining topic of relationships, with most of them discussed as miserable failures.

But in the flesh, she's neither depressed nor melancholy, and insists she doesn't have bad luck when it comes to men. It's just that music is cathartic, with writing coming easier to her in times of pain.

"A lot of people have said that songwriting is a form of therapy, so if I am going through something, it's my natural reaction to sit at my piano and write. It helps me get through stuff," said kelda as she ate a crepe at one of her favorite French restaurants in Beverly Hills. "I end up writing when I'm in hard times, but when I'm happy, it's really unfortunate because I'm not drawn to writing as much. There's something about not needing ... a therapy sessions when you're fine."

kelda has received much praise for her honest compositions which are fortified by strong melodies, soaring choruses and her affecting lyrics. Her debut album, Detour, is often the talk of indie social circles, with industry publications like Music Connection magazine comparing her to Fiona Apple and Sarah MacLachlan, but "more earthy and rocking than either of them," sort of like a homegrown Alanis Morisette.

With an eccentric, Broadway actress for a mother and free-jazz legend Ornette Coleman for an uncle, it seems kelda was destined to become a performer.

"I started singing and playing music when I was really young," she said. "That's just what we did and we traveled a lot, too, so I learned how to live on the road. I guess you could call it fate." - Quick L.A.

"CD Review"

kelda's second EP is the sound of a band making bold leaps forward. The Los Angeles group's first self-titled EP was a noble but ultimately flawed affair that couldn't transcend its homegrown making. "Carried Away" is almost a complete improvement over its predecessor. The title song is a Cocteau Twins-meets-The WB flush of love, doubt and religion with an urgent sense of production and heartfelt vocal. "Let It Go" is another standout, sounding like a power pop, early 90's rocker. - Under The Radar

"Something Else"

The tender-voiced chanteuse kelda isn't the type to play big, noisy music festivals, but she happens to be playing down the street from one of the biggest and the noisiest this weekend.

Unlike the Coachella, however, kelda's show is absolutely free.

So consider heading to Border's Bookstore to catch this singer-songwriter, when she performs a solo set of her sometimes gushy, but consistently charming, songs.

"Detour", kelda's full-length debut, finds the niece of avant-garde jazz saxophonist Ornette Colemanm carving out her own sound from jazz, rock and folk.

She's an accomplished pianist who builds her touching songs on satisfying melodies and simple arrangements.

kelda has an innocent, naked style of singing that fits well with her naive lyircs. So one warning might be in order: bring a box of tissues. - Desert Post Weekly

"Review of show at Club Lingerie - Hollywood"

Material: Kelda and her cello-driven band perform lyrically drenched stories of women who are heavy-hearted by good love gone bad.

"Who can pick up the pieces when her heart won't open?" and "Let It Go" illustrate Kelda's contemplative mind on the subject. At the same time, she comes across as a confident, take-charge kind of girl who may have written these songs some time ago and is now ready for the real thing to come her way. Talented on a keyboard and acoustic guitar, Kelda is an original performer who does not need to be compared to other pianist/vocalists to get noticed.

Musicianship: Long time bandmate, cellist Glazier, supplies the perfect accompaniment, dramatizing the pain and sorrow of the songs with his weeping strings. Jost is the backbone of the band, knowing when to lay back and when to let loose. While Kelda sings about a scarred and burned girl on the very catchy "Here We Go Again," Jost and Hunter quickly turn the chorus into a heart-pounding rock tune. These musicians display diversity by alternating between sad ballads, then breaking into a crowd-pleasing cover like Metallica's "Enter Sandman."

Performance: Kelda stood tall and pretty behind her keyboard in a hot red dress, telling jokes and throwing chocolates. She was personable and spoke freely which allowed her songs to be taken seriously. Kelda's confidence, along-side her playfulness and dancing, seemed to invite the crowd to get closer to her. When they repeatedly yelled for her to play "Crazy" after leaving the stage, she returned grinning ear-to-ear, and delivered the best song of the evening.

Summary: Kelda has received lots of press comparing her to top female pianists, but she's solid enough to stand on her own. Strong songwriting by a vocalist who is talented on both keyboard and guitar could find Kelda heading a progressive wave of female performers.

--Deana Segretario
- Music Connection

"Review of show at Club Lush - Glendale"

Material: Kelda is a quintet that knows how to fill a room with palpable passion. Their songs are a testament to the perilous pull of love. In the wistful tune, "Amusing," Kelda Nelson sings, "I don't know why I'm listening to your stories once again'" As a piano line spirals around her resonant voice and Glazier's cello weeps, it becomes clear why the audience is listening to her stories.

Most of the material evokes an ethereal melancholy, but the song, "Lost," shows another side with the words, "I can't remember how to get out of this place'" accompanied by Nelson's keyboard amid the urgency of a Tori Amos-like angst.

Musicianship: Nelson is a fine pianist with a mature voice that sounds quite a bit like Natalie Merchant. Glazier runs the gamut from classical dirge to country waltz while Jost's solid fretwork on bass adds cohesion. Gray creates a sensuous rhythm with the djembe he has jerry-rigged to serve as both a hand and snare drum. The resulting sound is by turns both mellow and surprisingly sharp. Alvaredo's arpeggios and minor chord changes in "Lost" have the drama of the Smiths' Johnny Marr.

Performance: Kelda is a fine ensemble, but the group has two stars, its luminous vocalist and Glazier's expressive cello. Wearing high leather boots and a Chinese silk dress, Nelson sways beneath colored lights as she plays both the piano and the appreciative crowd equally well. Guitarist Alvaredo is also noteworthy in his last performance with the group.

Summary: Kelda is a talented band with a genius for bittersweet love songs. Nelson is a gifted pianist and vocalist on par with chanteuses such as Fiona Apple. Take the opportunity to see this quintet in an intimate club and you may well end up with an "I saw them back when" story to tell.

--Sarah Torribio-Bond
- Music Connection

"Show review at Club Lingerie - Hollywood"

Great atmosphere and outstanding music is what Kelda is best known for and Thursday night’s performance at Club Lingerie was no exception. Taking everyone through a high energy musical journey, Kelda created an enjoyable environment for any souls seeking a night of stimulating music. The club's intimate setting with several lounge couches around the room, complimented the performance and made the listener feel as though Kelda’s music had been brought right into their own home.
With a slight twist to the orchestration, the music takes on a distinctive sound but one that is still familiar enough to grow in today’s market. Musicians Andrew Glazier (Cello), Geoff Jost (Bass), and Tim Hunter (Drums) do good justice to the music in the mutual understanding that sometimes less is more. Kelda (Vocals, piano, and song writer) occasionally walks away and substitutes the striking of the keys on her piano, for the strings on the guitar to give the song just what it needs. The songs are well crafted with catchy melodies and good musical arrangements; Kelda’s voice is very lively and can be tender at the songs request. Some songs have a similar, but not exact sound to Tori Amos and Sarah Mclachlan and a bit of The Corrs.

The beautiful red dress on Kelda and the bands high class suits went very well for the Valentine's weekend. Kelda interacted with the audience, throwing out heart candy, which happened to be really good!! I know because I got some. Just as the crowd thought the night ended, Kelda threw a twist. As the audience requested an encore, the band obliged and went back on stage to close the night, with "Crazy" taking the closing spot.

With songs like “Fairytale” & “Crazy” you can be sure that Kelda’s name is one that you will be hearing more of as she keeps moving forward in her career.

Submitted: February 2003
By: Edgar Sanchez


"Critic's Choice"

Keepers of the Lilith flame: Sensitive, anti-bimbo girls can always be counted on to write sensitive songs about coming of age, heartbreak and coping with the messiness of life. In fact, Sarah McLachlan in particular has shown, playing smart (or, at the very least, pseudo-mystical) can turn your pretty miseries into palatial estates. And so, inevitably, now the post-Lilith crowd has begun to emulate its idol, strumming guitars and twinkling away on pianos. Kelda has certainly absorbed this late-90's influence, and her band's tuneful, discreet arrangements tiptoe through the same enchanged environments as their predecessor. And while you may wish that the lead singer-songwriter would risk a more cathartic, indelicate demeanor, it's hard to argue with Kelda's assured cello-piano-drum lineup. This show celebrates the release of the group's new EP, a collection of melancholic adventures involving thwarted fairy tales, omnipotent gods and obligatory questions of identity and self.

- Tim Grierson - LA New Times

"CD Review"

Sweet Surrender. Calming, soothing and mesmerizing are the first things that come to me when I listen to Kelda. I found myself instantly captured by her music. Many people can relate to the feeling of uncertainty and a fear of being hurt in a relationship. Kelda illustrates this beautifully in "Come To Me." "Sometimes I am afraid of how vulnerable I can be, but every day I am amazed at just the glimpse of your serenity." Kelda's music has a soft and sweet sound to it that is comparable to Jewel. Kelda's sweet surrender of emotions is sure to cause self-reflection and comfort the hearts of all who listen. Listen once and she'll be your chosen one.

- Laura Baggett - Live Magazine

"CD Review"

A classical orchestra goes pop . . . The arrangements feel like walking through a lush forest after a spring rain. -

"CD Review"

Kelda combines controlled, cool vocals ... with moody, rhythmic music ... - Performer Magazine


"Detour" LP 2005
"Carried Away" EP 2004
"Kelda" EP (self-titled) 2002

Tracks can be heard on the website,

Music from the CD's is currently being played on commercial and college radio internationally.


Feeling a bit camera shy


“kelda is a talented band with a genius for bittersweet love songs . . . Take the opportunity to see this quintet in an intimate club and you may well end up with an ‘I saw them back when’ story to tell.”
~ Sarah Torribio-Bond
Music Connection Magazine

"Music is in my blood.” Growing up listening to musical tales of her family: from her uncle, Ornette Coleman, and his experimental jazz, to her mother, a singer on Broadway, to her grandfather, a nightclub pianist all his life . . . kelda had to blaze her own path. Her KSM debut, Detour (distributed by ADA under Warner Music Group), is that path revealed.

Before the age of 18, kelda had moved all over the country, living in six states and attending 11 schools. The only constants in her life were God, her mother and her piano. Even during these troublesome moves, usually involving great distances, her mother always insisted on bringing the antique, upright Nordheimer piano along. And so, at the early age of 11, her musical transformation really began to take its course, when she altered her focus from Bach and Chopin to her own work. As she has stated, "the journey of songwriting has made all the difference."

With musical influences from Tori Amos and Sarah McLachlan to Fiona Apple, kelda’s unique and hypnotic songs can liven the hungriest of audiences and sooth the loneliest of hearts. The music draws its strength from her multicultural background creating a sensual union of pop tapestries and melodious piano-based alternative rock with immediate lyrics and a youthful sincerity that's earnest, open and real.

kelda has also opened for artists such as Kanye West, Tyler Hilton and Mae. She is currently playing all over Los Angeles at clubs and coffeehouses, ranging from The Knitting Factory to The Gig, as well as touring across the country and and Europe. Before releasing her full length album, kelda released her debut EP in 2002 and in January of 2004 she released her second EP, Carried Away, produced by Geza X (Meredith Brooks, Tyler Hilton). And on her full-length, Detour, guest appearances include Daniel Shulman (Garbage), Andreas Straub (Run DMC, Warren G), Chris Opperman (Steve Vai) and Richard Barron on Hammond B3 Organ and mellotron.

kelda’s music is currently being played on college and online radio internationally. The music has also been licensed for the CBS Jerry Bruckheimer hit show Cold Case, the WB show High School Reunion, MTV programming (including the hit reality series The Real World, Road Rules, and Trippin) as well as the indie film The Shooter. She was selected as one of the Hot 100 Unsigned Artists by Music Connection in both 2003 and 2004. Also, kelda was recently chosen, as one of twelve, to participate in the ASCAP Lester Sill’s Songwriting Workshop. And in 2005, she received a keyboard endorsement from Kurzweil.

For management questions contact Motti Shulman at or call 213-804-0700.
For general inquiries e-mail or call 323-829-9405.