Kaya

 




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Singles Below
Taboo
Nocturne
Salome
Vampire Requiem
Awilda

31st July 2013
TABOO
Written by Rachel Yarwood
 "TABOO", the title track from Kaya's newest single release, is the  most catchy of the two tracks on the release. Opening with an  upbeat and melodic synthesiser the song begins in high spirits and  Kaya's vocals too have a charm about them that really compliment  the dance and electonic style of "TABOO". 
 There are a couple of layers of synthesiser, one is the melody that  we are introduced to and the second is a bass like rhythm that  follows offering a slightly darker quality to the track and brings in a  slight industrial rock tone to the song.
 There is also a good pace to the background beat that remains consistent, unfaltering and altogether impressive with the synthesiser compositions making "TABOO" an attractive track to listen and to dance to. 
"Infection" on the other hand is a just a little bit more gothic. A chime of a clock, followed by classical notes, ticking sounds and harpischord make for an eerie opening to this track. 
"Infection" then erupts into another fast paced track as the synthesiser and a rapid beat enter for a lengthy but dramatic instrumental introduction. Kaya's vocals begin and the dramatic sound of this track is realised even more as his voice takes on the furious nature of the musical composition, which now also includes the fantastic shred of a guitar during the verses. 
Both "TABOO" and "Infection" certainly have tried and arguably succeeded in promoting the 'Decadence' theme with this single release as these two new tracks from Kaya give us something different, something aesthetically sensational. Especially with "Infection" this track undeniably evokes a sense of a slow decaying with the sweet but haunting melodies, or perhaps some corruption or a forbidden pleasure from the racey and fast rhythms. 
"TABOO" will be released officially on the 31st of July and it will come in one edition only. There are four tracks in total which are the two as mentioned plus the 'Kaya-less' versions of both.

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Nocturne
Written by Rachel Yarwood
"Nocturne" is an outstanding follow up single release from "Salome". With added drama and theatrical tones this new single from Kaya really gives fans another fantastic dose of gothic and electronic edge mixed with eerie elegance. 
"Marionette", the first track on the single, opens with beautiful piano notes, which gives a serene yet moody setting. As the synthesiser enters the atmosphere becomes even more eerie as the classical and the electronic combination really compliment each other to give a quaint and attractive sound. Together with Kaya's wonderfully enchanting vocal work, "Marionette" is a captivating and mysterious sounding song with a good rhythm and a slightly more melodic chorus, which offsets the darker undertones perfectly. 
"Coppelia" on the other hand is much more enticing. We are introduced with an organ composition, which keeps in touch with that gothic element we heard with the first track. There are also some really interesting background sounds in "Coppelia" which helps to make this track stand out above the others. Namely there are some medieval melodies and also a 'tinny' melody, which presumably will be playing on the coin-operated, or wind-up, doll theme as the title of this track suggests. 
These two especially play on the "doll" theme remarkably. The steady and flowing rhythm of the first track you can imagine the 'marionette' doll floating with ease at the commands of the puppeteer and then with "Coppelia", the name derived from a popular ballet about a life sized dancing doll, you can imagine the movements to the upbeat and bouncing rhythms. 
The final track "Kugutsu 2012" is a re-mastered version of the original track and is the heaviest and darkest song on the single, with ghostly melodies of violins and vocal whispering, plus the slower tempo of this track as a whole gives a dramatically gothic finish to the release. 
"Nocturne" will be released officially on the 12th of December and will come in the one edition only. It will feature the three songs as mentioned.

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Salome
Written by Rachel Yarwood
"SALOME", the main title track on Kaya's newest single release of the year, introduces us with an eerie and slightly Arabic melody for the opening few seconds. An added chorus of mainly female operatic vocals accompanies, creeping in from the start of the song with some theatrical notes, contributing to the eerie mood that has greeted us. 
A fast beat then enters, picking up the pace dramatically, accentuated even further by the electronica that occasionally switches style to reminisce an organ. Kaya's vocals also, complimenting this theatrical and electronica theme with a good use of melody, fitting the dance element whilst offering an exciting twist with his sometimes effeminate but always emotional and powerful vocal range.
The slightly 'arabic' element of the song remains, now and then you will hear it through the use of a single violin especially in the verses where the electonica is not so vibrant. On the other hand, as we come into the instrumental section of "SALOME", the use of the electronica here is maximised to it's full potential and the overall sound is fantastic.
Not only this but you also pick up on the use of the electric guitar a lot more. Through out the track, the guitar has been a feature along with the synth, electronica, violin and of course Kaya's lyrical vocals, but we now have a short and snappy guitar solo that is more prominent and steals the attention away from the other instruments just for those few moments. 
"SALOME" is a promising new release from Kaya. It is an exceptional track on the new single and leads very well into the third main track "BABYLON" which takes things a little slower in comparison. 
"SALOME" will be released officially on the 20th of June and will come in one main (Mini LP) edition, featuring four tracks in total "Prologue -La pleine lune-", "SALOME", "BABLYON" and "Epilogue -Babylonia". First press will also come with an external bonus (with CD Japan) of an exclusive photo print with autograph. 

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Vampire Requiem
Written by Kacey Woodham
An interesting mixture of artists came together to create ‘Vampire Requiem’.  Joining KAYA we have the operatic Selia (Seileen) and the talented guitarist HIZAKI (Versailles).  Will this song reflect all three individually talented musicians?
The chime of church bells are what introduce us to this song, dark and sombre from first sound and the ever familiar sounds of violins glide into the song with matching rich atmospheric music with a easy pace to follow as KAYA’s voice begins to sing.  Smooth and alluring as the sounds of an organ and other orchestral instruments begin to ease into the background.  The slow and sensual pace is fitting but then the tempo increases and there is a more noticeable beat and electronic quality as we come to the chorus.
KAYA’s voice is pleasant but the chorus itself seems out of place from the rest of the song so far with more artificial sounds added to what was almost a very traditional effect despite the way the music was created.  The faster pace and dip in tone doesn’t feel comfortable to listen to after that pleasant start. 
The chorus fades out into the next verse and this is were we get a taste of Selia’s impressive poetic voice, which instantly draw us back into a time period of elegance.  KAYA’s returns with that same smooth voice and those more modern effects join his voice to the chorus again.  There is a moment where the guitar sounds too electronic surrounded by all that classical instruments and doesn’t fit especially as the vocals soften.
The song ends with some confusion in its wake, while wonderfully traditional and fitting for what one would imagine a song titled ‘Vampire Requiem’; there are parts that don’t blend well with the overall taste of the song.
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Awilda
Written by Keita Eiri-Uesugi
With an overly dramatic introduction, it sounds as if this is some epic soundtrack for a Disney pirate movie or just a gothic styled film, with a brief pause, a low, punchy and very deep bass kicks in, trance-like in sound, leaving you to think that maybe you could envisage this played in a club, with the bass reverberating pleasurably from wall to wall and straight though your body to the tips of your toes. It seems like an odd combination of styles, but for what Kaya wants to achieve, it’s what you can actually expect the artist to come up with... well, the composers at the very least.
Holding his notes, working a lingering vibrato at the end of his lyrics, helps to hold the dynamic of his words. It's somewhat between a mix of despair and melancholy, his voice being able to meld well to the theme of the ocean waves. His voice is rich and smooth, it's sound rather enchanting and steady as the track sails onwards, as he puts force behind his tone, pushing the tension upon the choruses.
It's truly quite captivating…
Definitely one of Kaya's more striking releases to date, it seems this gothic, fantastical world, compliments the musician well. His style is also rather unique as he has well and truly created a world within a world with his lyrics, a story as such, thus, it will take a lot to rival such images from our imaginations.