tKatKa

tKatKa 'Lazerslab' (Junkbait). Pronounced Te Kat Ker (proposed thoughts and possible answers on a post card to the usual address bearing the heading "what the f*** is TKATKA?". tKatKa are Anglo Swedish duo PJ Norman and Carlsson, accomplished musicians who according to the attending press release met at an institute of higher education (see those funds are being well spent) in the mid 90's and discovered a shared love of a sonic experimentation which permeated throughout like roots of a tree to muddy itself into a cross pollinating generic beast which finally settled and blossomed shoots in the pool of ambient / electro / techno terrains. Two cuts feature on this debut release and boy are they tasty morsels indeed, a peek of sorts for the duo's forthcoming debut full length which by all accounts has been causing something of a stir in DJ world.

TKatKa craft out sumptuous slices of lilting electronic club floor inclined soundscapes. Reminiscent of mid 90's scene setters Biosphere and Future Sound of London 'Lazerslab' succulently flirts and orbits in a lushly amorphous netherworld that bridges the sublime grooves of the early Warp pioneers with the crystalline frosted elegance of today's leading lights (Naked Casino, d_rradio, expanding label et al). Curvaceously choreographed 'Lazerslab' is an intricate carnival of late night seduction that delicately dips into the shadowy terrains of Hacienda mid 80's subculture to provide a feast of chattering beats, conversing diodes coloured in an lulling humoresque haze of heavenly ripped suites and paraded with a hard as nails funky underlay. Flip the disc for the sumptuously cavernous 'E.L.D.A.C.' - a whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur that does it for us.
- Losing Today

It's hard to describe 'Lazerslab' really, it sounds like nothing you have ever heard before. The soundtrack to an intergalactic space war perhaps? Or maybe an all night apocalyptic rave with David Bowie, seriously weird but fascinating all the same. B-Side E.L.D.A.C is more straight forward with a creepy bassline giving way to synths and a rattling drum track. tKatKa have an interesting take on ambient electro, taking it by the hand and corrupting it down a dark alley. We like it! - God Is In The TV

tKatKa (pronounced 'Te-Kat-Ker') is a Swedish/English electro-pop dou based in London, and their 9-song full-length debut is a trippy blend of Autechre and Aphex Twin. "LazersLab" is a warm, up-tempo introduction to PJ Norman and Carlsson, who craft glitchy programming with atmospheric synths. There is a weird kind of 'out-of-experience' that transcends their sonic soundscapes, complete with meaty grooves and sublime melodic patterns. The dark mood driven "E.L.D.A.C." backed against the lighter "Storm Proof Weather" shows the ambient elements that make tKatKa a complex duo to pin-point. Purely instrumental, this debut steers clear of typical trip-hop arrangements. While the duo's mastery of beatwork is very evident, it's nice to a record more multi-dimensional than cold programming. Worth checking out. - The Black And White Magazine

The debut CD from the duo tKatKa (PJ Norman and Carlsson) rolls in on chunky beats that shoulder their way through an array of electronic goodies and catchy melodies to land firmly in a spot halfway between music for the commercial for the world's coolest sportscar and the soundtrack to a Blade Runner-esque sci-fi movie. It's tweaked EDM riding on lounge-style backbeats and overall it's a pretty fine ride. Push past the clunky opener, "LazerLab" to get to the meatier "E.L.D.A.C." where the feel of a fuzz guitar escorts you through a spy-flick groove. "Storm Proof Weather" courses through its four minutes with a lightly dramatic feel, perhaps the backdrop to a driving scene in that sci-fi flick, propelled on a catchy sequencer line. The highlight of the disk comes in the airy "(It's Just A) Molecule" with its feel-good bounce and a melody that rolls along like a narrative. "Bedroom Dust" starts slow but soon becomes more welcome as it burrows its way into your need to move. It's another soundtrack-worthy cut. "Sundae Haze" lopes through with blissed-out ease and psychedelic intentions, aided by a nicely warbling guitar in the background. "Globyl," the 10-minute closer, slides in under the mental radar and starts to massage the brain with its odd collection of subtle beats, washes of electro-noise, chopped and diced editing (which sometimes grates on the nerves just a bit) and distant vocal samples. The best word for it is "interesting." Weak tracks here are few and thankful a bit far between. There's a good diversity of sound across this disk and the elements all play together nicely. It's a very good CD to have as part of a mix as it brings a nice blend of electronic funk and downtempo pleasure. - Hypnagogue

Savage e-perc explodes in this music, defining snappy rhythms that blend into incredible intricacy. The separate tempos possess unique qualities; unified the mesh becomes a tasty pincushion of enthralling scope.

Equally complex are the melodies buried beneath the rhythm storm. The electronics produce surging tones and churning definition. Keyboards contribute sparkling chords that are looped so that they run without pause underneath the more forceful passages.

It becomes difficult to segregate effects from foundational sounds. An aspect might start out as a background buzz, only to swell into a commanding stream that swamps the already-dense mix.

There's even some guitar herein, albeit severely treated to conceal the instrument of origin. These riffs vibrate with puissance, resounding as if shrouded in cloaks of spiny needles.

These compositions display a playful sentiment. While the velocity can be exhausting, at the nucleus of each track lies a solid core of melody that bewitches with earnest determination. In some instances, the band shifts their focus from the beats to the harmonies, exploring the melodic properties of the tunes.
- Sonic Curiosity

Swinging waaaay over on the age scale, you'd expect a song called 'Sequested in Memphis' (Rough Trade) to be sung by a bunch of Bush supporting, minority lynching, aging Texans. The Hold Steady are a bunch of not-so-young-but-not-that-old Brooklyn folk who probably don't lynch young hoodlums, but they sound like they do – and no usage of complicated (sic) diction is going to change that.

They probably can't pronounce tKatKa properly either. And anyway, if you want to get clever, 'Grief Hijakers' (100m) comes with a recommended volume level (72dB if you're interested) which we barely reach in the Bearded office because we have neighbours (good friends). If we did reach the epic proportions demanded by the sleeve notes, we'd be having a good time as its slowly warped electronic beats swirl through the air like rather pleasant larks. Rewarding in its fullness, you'd expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be. - Bearded Magazine

Okay bit of a strange one this given that it didn't come with the usual press sheet (which incidentally on this occasion we wouldn't have lost). Instead a slip card accompanies the CD which initially threw us a slight curveball having us believing initially that this release was in fact called 'terrorknowledgeaction'. How daft we were - a quick check on the bands / labels website reveals that to be title of their forthcoming second full length due for release at the beginning of July. Last seen turning on the singled out turntable via their 'lazerslab' single for Junk bait (see Missive 99 - blimey was it really two years ago - how time flies). This time of asking sees the Anglo Swedish duo going head to head with Tom Hickox a London based singer songwriter whose own debut album 'fear in a handful of dust' released earlier this year has been wooing certain corners of the media with comparisons to Nick Drake, Leonard Cohen and the Super Furry Animals being quietly touted - recommendations indeed that lead us to believe we should be checking it out. This single features two taster cuts from that aforementioned set - 'grief hijackers' and 'landeur Lloyd limit' that reveal a stark shift in the mood, texture and technique of the Tkatka craft, 'grief hijackers' - the original mix of which - I think I'm right in saying - can be found via www.myspace.com/tomhickox - itself a tear stained and touchingly hurtful gem lying in wait for wider acclaim and affection is here deftly air brushed with a succulently amorphic nocturnal lull, crystalline electro orchestrations herald an expansive meter being brought to the proceedings that once applied endow the track with a sophisticated wide screen cinematic presence. Fades in slowly as the late Mr Peel would no doubt have quipped, hulking statuesque beats pierce the undulating solace of the cocooning ethereal climates, the spectral glazes and mantra like lunatic swirls creating a deliciously affecting glacial tenderness over which the apparition like visitation of Hickox's enriched tones delicately lilt to undo your defences - reference wise think of a chilled out Ultramarine cavorting with the Aloof with Lionrock doodling about under the mixing desk . Flip the disc for the all to brief acoustic version of the drifting 'landeur Lloyd limit' which provides a momentary chance for the catching of breath after the last cut while simultaneously carving for itself a breezy passage into some strangely absorbing and very much post folk rock noodling. That album is firmly on our wants list.
- Losing Today