2nd album by prolific Chicagoan released within 6 months of his debut. George Harrison-ian hooks accompany an artist falling in & out of love.
Last year producer Ellis Clark (June & The Exit Wounds/Chamber Strings/Epicycle) mailed us a batch of incredible songs he'd recently recorded for fellow Chicagoan Kevin Tihista. We fell head over heels in love with the material and immediately planned to release the a double-CD to be titled Back To Budapest. Days prior to our sending our intended disc to the pressing plant, however, we got the phone call explaining that Kevin had been snatched away by Atlantic Records who were going to release a single CD on their Division One label. They released a single CD, Don't Breathe A Word, at a difficult time in world (September 18th, 2001) and within the company Atlantic decided to close Division One shortly thereafter. In the business where "timing is everything," Kevin Tihista's Red Terror was dealt a cruel hand.
We feel very lucky to have an opportunity to re-release Don't Breathe A Word and follow-up Judo this month, in effect releasing Back To Budapest... the hard way.
Here you'll find a collection of beguiling lush-pop orchestrations from a certified pop genius/recluse (we have the paperwork around here somewhere). Utilizing an arsenal that includes sweetly sarcastic vocals and expansive harmonies, grand piano and Playstation programming, acoustic and electric guitars, strings and horns, bass and drums, KT and his Red Terror perform richly arranged, heartbreaking pop songs incorporating the very best of the last forty years of pop music; decadent pop stuffs ideal for falling in or out of love. For fans of The Webb Brothers and George Harrison, The Smiths and Elliott Smith, Rufus Wainright and Todd Rundgren, Big Star and Eric Matthews, Nick Drake and The Chamber Strings, June & The Exit Wounds and Linus Of Hollywood.
All Music Guide: "Judo sounds like a continuation of the warm Baroque pop of Don't Breathe a Word, with its hushed, winsome vocals and finely crafted use of acoustic and electric guitars, strings, horns, vibes, slide guitars, Hammond B3, grand piano, and even an MTV Music Generator 2 programmer. There are occasional "commercial" elements as well, like the synth arrangement which brings "One More Day" to a close. Tihista's diaphanous melodies -- take "Second Look" and "You're Making Other Plans," for example -- abound with layer upon layer of sound, all anchored by happy, percolating '60s beats. "You Don't Have to Be Sorry" has a nice George Harrison-esque slide guitar, and "Love Plays a Dirty Game" and "Hymn" benefit from wistful, bouncy Beach Boys-style arrangements with trumpets and double-tracked harmony vocals. Tihista often reminds critics of Elliott Smith because he has a similar penchant for lilting, Beatlesque harmonies, mellifluous phrasing, and self-effacing first-person laments about falling in and out of love."