Kite Operations: Dandelion Day (KOA 004)
Joseph Kim - voice, guitar and piano
David Yang - guitar and voice
Jie Kang - bass guitar and upright bass
Sung Shin - drums
Between 1998 and 2002, New York based indie band/4-track recording project [+]Kite Operations: Dandelion Day (KOA 004)
Joseph Kim - voice, guitar and piano
David Yang - guitar and voice
Jie Kang - bass guitar and upright bass
Sung Shin - drums
Between 1998 and 2002, New York based indie band/4-track recording project Theselah released three critically admired full-length albums of its trademark dreamy lo-fi schizophrenia on K.O.A. Records, a d.i.y. label, which at the time was run out of band member Joseph Kim's college dorm room. Although Theselah never officially broke-up, long distances and jobs created a situation in which the band could no longer exist.
Singer/guitarists Joseph Kim and David Yang were not ready to call it a day and vowed to continue with new members. Joseph enlisted the help of his childhood friend Jie Kang, a classically trained bassist who quickly learned the ways of rock bass. Jie in turn brought his friend Sung Shin, a self-taught drummer with a hard-hitting and unpredictable style. Thus in March of 2003, a new band was formed and the name Kite Operations was chosen for its richness of imagery and metaphorical meaning- the illusion of control one has over one's life, mirrored in the activity of flying a kite while one merely holds onto a thread.
Kite Operations immediately began writing and recording in its home studio. Within its first year of forming, the band released two self-produced EPs, began playing in the Lower East Side of New York City and in Brooklyn, and embarked on selected regional dates. Having fully upgraded to hi-fi digital recording in January 2004, the band began to work in earnest on an ambitious project which would become their first full-length album Dandelion Day, self-released under their K.O.A. imprint in April 2005. Interest in the band also came from abroad when Pastel Music, Inc. in South Korea picked up the album for a Korean release in June 2005.
Musically, Dandelion Day shows the band sublimating its noisier impulses in favor of exploring its pop-songwriting sensibilities. Still, though subtle at times, one constantly senses the undercurrents of feedback and static coursing through the veins and leaking from the fissures of every delicate melody. And when the band occasionally loses hold of its tight restraint, chaos ensues...
Dandelion Day was eager
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