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kątaiko: the second CD by c/o audience



background, track description: (by c/o audience)



now, generally speaking, kątaiko is some kind of a music-scenography-project, which actually started already 1994/95 during my time in finland, where i just photographed a lot: landscapes, buildings, scenes, atmospheres, and so on.


two years later i spent some weeks in portugal at a very impressive beach, rather suitable for surfing and such... - there i also got very familiar with the place, in the sense of feeling at home in a way.


1999 i visited glasgow, a town i always wanted to see on my own, because there was so much written and told about it; - not only good things. there i took the last shots, which made it onto the album kątaiko.

you find all the scenes and photographs in the inner booklet of the cd, and, of course, also here at the website (check artwork!).



actual recording - in the sense of writing and performing tracks, which totally reflect or respond to those places in mind - started in autumn 2000 in innsbruck/tirol, and ended up with the mixing of the last tracks in spring 2001.

waiting for the right inner attitude and mood is an important point, i think, when you want to get your vibes and emotions on tape. so, it was clear to me from the very beginning of the recording work, that there should not be any hurry at transforming the pictures into music.


now, the first three scenic tracks came very straight on a cool evening session at the datarecords base center studio in the beginning of october 2000: harakiri, himoon, and s’konlaķi. - they set the, somehow melancholic, ambient tone of something, that had actually just started.


follower winter, then, was done more programmatically, with ending up using two bass lines for the left, respectively right, stereo channel. at its birth, it was actually some kind of a sociocritical rebel-song, but i finally decided to reject the voice, because it didn’t contribute enough to that very special scene, i had in mind at that time.


until the end of november 2000 we (a:tapani.doc and me) recorded another four pieces, all of them on charming evenings, again at the datarecords base center studio in innsbruck.

kantele, the first of them (and now representing the solemn close of the album), is based on a rehearsal gig in oulu/finland with tom, an american fellow playing the drums, and me playing a 5-string kantele (a traditional finnish music instrument). i tried to build a new song out of the basic melody, that we two played in 1995, by inserting a jazzy part in the middle and adding some flutter-kind echoes at the fade-out.


catastrophe was, and still is, an odyssey to me, and i always felt, that this piece should be the opener of the album.

it actually consists of three parts: the first one is the drum & bass-line of exhibition-groove, the extra bonus track of the limited-edition album site noises (dr-990719-43-14), but played reverse, until it merges with the second part of the song, namely street & site noises from anywhere... - catastrophe finally ends (or even actually starts; - it’s all up to the audience...) with the tremolo-like guitar and the superb introduction of alvin toffler’s book ‘the third wave’, which was published back in 1980.


then came sansibar, a very straightforward track to perform and record.

to me, this song stands exactly at the interface between the northern- and the southern-european cultural influences i strongly felt at the time playing it. so, the position of sansibar in the middle of the album kątaiko is, in fact, no accident.


the last of the october/november-session tracks in its very first mixes then was hermelin: nothing much to say about that one; - just let the animal in each one of us speak...


pavement police, then, was a kind of more intensive process, concerning the recording, than all the other previous tracks. since performed on many different days, it was difficult to keep the original scene and imagery alive.

finally, it all made sense at that very special evening/night, when the mix was done under strong influence of the bright-shining full moon outdoors...


cyborg tree (or actually: slice of a dead cyborg tree) was the last of the recorded tracks, which made it onto the album. acoustic guitar & voice: the classical camp fire setup turned out to be the right choice to get that idle summer beach feeling, while, at the same time, the song responds to the sudden death of an actual person i knew.


the very end of the recording- & mixing-process was to add dnaheid to the one-minute silence, following himoon. that strange fragment is, in fact, a reversed part taken from a song, which was written in portugal during summer 1997 and recorded at children’s room studio some months later.



at last: the title kątaiko is actually a freely abbreviation of ‘two or three’ in finnish; - which means, that there’s always at least two or three (or even more) possibilities to think of a thing, person, scene, whatever,...