Music for MovieBikers – THE FRANZE (Review)



Minimalism is described as “art that is stripped down to its most fundamental features and core self expression,” in reference to music this term is normally applied to categories such as Drone, where the main focus of a song can many times be the repetition of a few measures of music.


Sophistication is a word that means complex, refined, held to a higher standard than others. In the medium of music one would be referred to the classical music produced by orchestra’s and symphony’s.


A Paradox is a seemingly contradictory statement that may nonetheless be true. Which is where we find the music of Kaada.


Norwegian conductor/solo artist Kaada has made music for many films and Music for MovieBikers marks his third solo release. In researching the artist, I found that Kaada has been requested many times to release the music that he composes for films in album form, to which he replies: “I feel that my film music belongs with the pictures that they are composed to. Even though people try to convince me otherwise, I don’t feel that it can stand on its own feet,” so instead he decides to put out albums with anonymous inspirations. Music for MovieBikers is indeed inspired by films, will we ever know which song matches what film? No. You do not need to. Every song on this album produces imagery in ones mind, and I can not imagine ruining the beauty of that imagery by knowing the influence for each song.


About the music (and the justification for my opening paragraph). This album is not stripped down by any means, in fact Kaada recruited 22 musicians to help play instruments (that range from your traditional acoustic guitars to the obscure glass harmonica) but it does indeed bloom in its simplicity. For starters there are hardly any lyrics on the record, due to vocals being used as an instrument providing lush harmonies and melodic soundscapes. The album is sophisticated in this same sense, 22 musicians coming together to produce simple, gorgeous music. Symphony style strings, obscure instruments, guitars, keyboards, grand pianos, all come together to form a mix of classical music and modern day ambient. This paradox is where Kaada thrives.


It would be impossible for me to describe to you what to expect from this album, but what I can do is very simply explain what not to expect. This album is not Explosions in the Sky, Saxon Shore, Russian Circles, or Pelican. In fact the only comparison I would feel comfortable making would be to Danny Elfman (see the soundtrack to Tim Burton’s films) at parts, but even that is not only a stretch but also does not do justice. Do not expect this album to pick up speed and turn epic on you, nor will it be the experimental breakthrough of the year. What it is, in its most broken down form, is the soundtrack to every daydream you wish would come true, or every fantasy dream you never wanted to wake up from. To make a long story short, the music is gorgeous. The entire album is very well put together, and is able to serve as a companion to the listener in every situation.


Do yourself a favor and take a listen. Even if instrumental/classical/ambient music is not your cup of tea, you might just find yourself falling in love.