Closing Statements

Fifty minutes of new music composed and recorded over twelve month period.It’s been one of the most enjoyable records to make in my life, if not the most fun ever. Or at least the happiest I’ve ever been making a record. This might seem a bit contradictory, since the theme of the album circles around obituaries and last words before death. The titles are quotes and fragments from different farewell utterances. Things that people (apparently) said when they were about to die. There is a mysterious aim over the final words of the dying. What does these last words reveal about life, death and consciousness? These words give a glimpse into the individual’s overall feelings and experiences. The album is set to be released in May 2018.



KAADA (full name : John Erik Kaada) is a Norwegian composer. He has released several albums and has toured in Asia, USA and Europe.  Kaada has amassed over 40 film credits in his time in the movie industry,


In addition to writing his scores, he also performs many of the instruments heard in many of his compositions. Kaada is known for his collection and inclusion of rare and unusual instruments from around the world and for having made a bunch of non-ordinary instruments himself.

KAADA/PATTON ``Bacteria Cult``

Norwegian composer John Kaada and Mike Patton have partnered for Bacteria Cult, the pair’s first Kaada/Patton release since 2007’s Kaada/Patton Live DVD and the first album from the musicians since 2004’s Romances. “Working with John Kaada on this latest release was an honor and pure pleasure,” said Patton of resuming work Kaada. “His compositions have always resonated deeply with me and his orchestral arrangements for this project are harmonically dense and delicious! Each individual piece is so well constructed and inventively assembled that my vocal passages practically sang themselves. I’m hoping very much that we can seduce some eardrums and welcome listeners into this lush sonic ‘otherworld.’” “We wanted to try new things,” explains Kaada. “Fully utilizing new technologies, combined with a large orchestra, while putting more attention towards melody and structure.” The eight-song, orchestral collection exudes the music Ipecac has become well known for: eclectic, experimental and cinematic. Similar in feel to Fantômas’ Director’s Cut, as Kaada describes it, Bacteria Cult“dwells in the twilight zone where spooky and seductive meet.”

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album review (2016-may issue) : It’s been a busy year for Mike Patton. Between his reunion with Faith No More and his work with the Nevermen, we just can’t seem to go more than a few months before we get more Patton. Frankly, that’s never a bad thing. The singer has mastered the art of mysteriousness—and impressive feat, given his ubiquity these days—while also churning out masterpieces of experimental rock and roll. As diverse as his projects have always been, they’ve always managed to be monuments of composition, an act that belies his bizarre stage and public persona.
As interesting as Patton is as a front man and singer, he takes a bit of a second seat on his latest release, the reunion between him and Norwegian composer John Kaada. It’s been well over a decade since Kaada/Patton’s debut release, Romances, first wowed audiences, but the magic remains unfaded on their latest collaboration, Bacteria Cult.

Kaada has always been a bit of an enigma in the orchestral world. While the money, these days, is in scoring big budget feature length movies, Kaada has grown a cult following (one worthy of Patton himself) by remaining largely outside the realm of cinematic scores, save for a few small European films. Instead, he’s made his mark composing ethereal works of instrumental magic that transcend the conventional styles of modernity. Alternatively grounded and surreal, Kaada weaves a magical spell that hooks you from the deepest, darkest part of your brain.

This makes Kaada/Patton one of the more perfect collaborations in recent history. Both artists bring a knowledge of musical theory that serves to deepen the dreamy nature of the output. Here, Kaada plays Patton almost as an instrument, a single output of sound amidst a full orchestra. Patton’s dreary intonations are weaved within the music becoming a part of the orchestra itself, as opposed to just a front man, adding a layer of complexity to an already complex arrangement.

Sonically, Bacteria Cult feels like the score to a movie that doesn’t exist but that I desperately want to see. The eight song collection flows through movements, suggesting an untold story of incredible interest and awesome scale. Close your eyes and you can almost picture the ephemeral scenery implied by the sound—sweeping landscapes of beautiful horror, a fantastic world grounded in reality. Hints of Masaru Sato and Ennio Morricone punctuate these feelings, as the music alternately suggests western tropes melded with eastern myth.

At all times, however, the music is pure Kaada. It’s a testament to his strength as a composer that Bacteria Cult can be so evocative of so much imagery. There’s a sort of darkness that is threaded throughout each of the album’s tracks—even the lighter, more playful tracks like “Papillon” and “A Burnt Out Case” are suggestive of a hidden danger amidst a wondrous scene, like a disguised demon tricking a young heroine to an impending doom with promises of magic and delight, the daggered teeth hidden behind a friendly smile.

Bacteria Cult is an instrumental delight for fans of complex orchestration. But the uninitiated need not be afraid to take the journey it calls you on. You don’t need to be a scholar of music theory to appreciate the world presented by this collaboration between mad geniuses. Its wonderful evocations are accessible to all without descending into pompous snobbery or complexity for complexity’s sake. Kaada/Patton have produced another monument of modern orchestration that should dispel the notion that chamber music died with Bach.

There are many worlds of wonder and magic to be found within the notes of Bacteria Cult, dark worlds of beauty and magic, where danger lurks for the unwary and every corner may hide the instrument of your demise. But that’s no reason not to take the trip. Just be sure to watch your step and never trust a friendly smile.

James Roberts in Glide Magazine

A collection of tunes and oddities made for moving imagery

Here are some new videos and highlights from the last years in filmbiz.   Enjoy and please feel free to get in touch. The videos are unlisted and for promotional purposes.

The Norwegian Elections 2017
La liste de mes envies
Brenner & Bøkene 2016
Toyota Ad 2016
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