Kaizer took me in/He is the proud owner of the world's heaviest siamese cat') and the song's overall crowd response became a source of inspiration for Ottesen, and after gnom dissolved after disappointing record sales, he formed Kaizers Orchestra. However, they were known well in the Stavanger area of Norway, having played as the local band Blod, SnГҐtt & Juling, and one of the songs they wrote after 'Mys' called 'Bastard' got good crowd response. Of its 1000 copies, only 500 or so were sold the first year, and they were pretty much ignored. In 1995, childhood friends Janove Ottesen and Geir Zahl released their only album by their band gnom called 'Mys'. To other Norwegians, the band is instantly recognizable both because of their unique, unpredictable style, and because of vocalist Ottesen's marked Bryne dialect, shared by four of the other band members. Kaizers Orchestra are notable for being among the first Norwegian bands or artists singing in their native language to become popular in non-Scandinavian Europe. The two leading members, vocalist Janove Ottesen and guitarist Geir Zahl, had known each other for years, and first played together in a band called Blod, SnГҐtt & Juling in 1989. Kaizers Orchestra is a Norwegian alternative rock group formed on Janu.

Label = Sony BMG, Kaizerecords, Universal Germany, BroilerFarmДЄssociated_acts = Skambankt, gnom, Blod SnГҐtt & Juling, Janove Ottesen, Zahl, Cloroform From left to right: Geir Zahl, Janove Ottesen and Terje WinterstГё RГёthing. English-speaking audiences don't need to understand a lick of Norwegian to identify with Maestro, as it sets a mood so universal in its volatility that even the most xenophobic listener will have no choice but to hit repeat over and over.Img_capt = Kaizers Orchestra live at Vega, Denmark, on October 6, 2005. A blues-kissed backbone sticks out on 'Knekker Deg Til Sist,' 'Christiania,' and the brutal closer 'Pa Ditt Skift,' while 'Blitzregn Baby' sounds like a collaboration between Ennio Morricone, Supergrass, and the Misfits. While they remain true to their penchant for Tin Pan Alley nightmare music, the 12 cuts that inhabit Maestro veer wildly from genre to genre, taking bits and pieces of punk, folk, funk, jazz, and rock and shredding them to bits.

A veritable slaughterhouse of ideas, it takes the Orchestra's formula one step further, bringing in the occasional vocal manipulation, heavily compressed snare drum, or weepy string/horn section to flesh out what may be the group's most concise and fully realized effort to date.

They need not worry, however, as the resulting Maestro is nothing short of magnificent. The cocky, gas mask-loving Scandinavians have always seemed poised to make the leap to a major label, especially after racking up the awards for 2003's independently released Evig Pint, but the prospect of hearing their signature blend of pump organs, oil drums, and staccato guitar get the 'big time' treatment initially put a scare into longtime fans. The sextet are about as far from conventional as one could imagine (Eastern European folk music filtered through an apocalyptic post-rock prism), so it comes as a bit of surprise that their third full-length recording bears the stamp of Universal Records.

Anybody wondering what happened to Tom Waits after Franks Wild Years or Radiohead after OK Computer need look no further than Norway's Kaizers Orchestra.

Kaizers orchestra blitzregn baby