To tell Kælling’s story one has to go to the beginning of everything. First, God created the Heavens and the Earth, which is totally irrelevant for this story so fast-forward billions of years and BAM, João Rodrigues was born and, according to his mother, looked like an alien (there are a lot of nicer ways of saying “you’re ugly”), he had a pretty regular childhood, watching cartoons, playing with toys, fighting with his older sister on a daily basis (which he later made his sport, finding different and original ways of making his sister angry, already the spirit of an artist), soundtrack of this phase: Ace of Base, Fine Young Cannibals, etc. He started developing an interest in music in his pre-adolescence, learning to play the flute (miserably), but dedicating way more time to gaming (he wanted to be a computer engineer, but he had no idea that degrees don’t fall from the sky) and turning Super Saiyan (always in front of the mirror), soundtrack: Baby Bash and Bubba Sparxxx. In his 14’s he started singing and playing the guitar, but what he really wanted to be was a street racer, he saw The Fast and The Furious way too many times and guess what he listened to… you’re goddamn right, Ja Rule and Ludacris.
He had his first cover’s band at 16, where he was the lead singer, but the band eventually broke up because “the singer was terrible” (quote from the ex-drummer, but he actually was terrible). João (and André. It was a big group of friends) was introduced to Progressive Rock/Metal when he was 18, a friend named José “Metal” (every group of friends has a guy nicknamed “metal”, and he’s always cranky, but hey, he has great hair) introduced him to Tool, he obviously hated it, at first. Since then, João has been composing music, playing the guitar and singing in bands (not only progressive bands), he works with André Oliveira in many other projects and the musical chemistry they have has kept them together for all this time. That, my sweetest readers, is a true Bromance. Flash-backwards to two years after João’s birth. André Oliveira was born and he didn’t look like an alien (back then… unfortunately the years haven’t been nice on him), he had a pretty regular childhood as well, lots of dogs, lots of toys, and a knack for sports (that’s why he isn’t fat like João), his soundtrack of life is a lot similar to João’s, but André’s has Ne-Yo… in every phase of his life. When he was eight, his (wise) parents thought it would be good for him to learn to play the piano, so he started taking piano lessons… it lasted a week, because he thought the piano was lame and he’d be a professional football player (the European kind of football, the one where you actually play with your feet), I don’t have to tell how that went, do I? In his early adolescence André was on a polar opposite of where he is now, he was sports lover, he was fit, he had them ladies, the typical jock that likes to get in fights for the sake of getting in fights, and he loved Ne-Yo. But in his 16’s André started developing his interest in progressive music, started playing the guitar, started composing songs and one year later André and João would be playing in their first band together. This project lasted three or four years but it was a huge stepping stone for them, it was the era where they experimented with progressive music (and other genres), and helped them see how awful their compositions actually were, back then. André has other projects and, like I said above, João is in almost all of them, but to get to what matters, flash-forward a few years, André decides to release a solo album, then later decides that he wants vocals on it and invites João and together they composed, recorded, produced, edited, mixed, mastered, failed, remixed, remastered and released Kælling’s debut album Lacuna. There you have it, how it all came to be.