1. Ada (Real N… Read Full Bio ↴There are at least 3 artists/bands with the name Ada.
1. Ada (Real Name: Michaela Dippel) is a German Melodic techno/electropop artist and producer.
Dippel started her musical career as a singer in a rock band back in 1994. As the band slowly incorporated synthesizers and samplers into their repertoire, Ada too started exploring electronic music. Whilst already receiving acclaim for her remix work, it was her debut release "Blindhouse" that signalled there was much to look forward to from Ada and Areal Records.
She made her debut as a vocalist in mainstream music on Metope's "Livedriver." A few months after that 2002 release, she put out her first production 12" for Cologne's Areal label (the same label responsible for "Livedriver") and went on to release her second and third singles, along with the occasional track for compilations and split-artist singles. Appearances on mix albums from Triple R, Tyrant and Erlend Ćye also raised her profile, all of which led up to "Blondie" -- her first full-length, ten sumptuous mini-symphonies of synth pop, techno, and house, released in late 2004. The covers of Everything But the Girl and the Yeah Yeah Yeahs that appeared on the album helped her gain recognition outside of the expected dance circles.
Originally from Friedberg (near Frankfurt), Dippel played in a number of bands prior to her current incarnation. The first was a rock group, followed by a more synthesizer-based outfit that collapsed after three years when band members moved to other cities to pursue other musical directions. Sensing the promise a major change might bring, she moved to Cologne where many friends had relocated and, from there, her story develops incrementally and serendipitously. Reconvening one day with a one-time band-mate for a session at her house, she found herself less focused on singing and more drawn to the korg-sampler they were using. After discovering her friend had left the device behind, she starting working with it and eventually generated loops which she played for Areal's Michael (Metope), an old friend from the pre-Cologne days. āHe was one of the first to move to the Big City,ā she recalls. āWithout his friendship, I never would have shown my tracks to anyone because, at that time, I didn't expect anyone to like them but me.ā In fact, the folks at Areal were so impressed they pushed her to finish the tracks and, after a few intense weeks, the āBlindhouse / Luckycharmā 12-inch was completed. As for the moniker's origin, she explains, āI once had an audio-book containing a horror story about a house full of blind zombies. I found the audio-book's dark, organ-based music really inspiring and it eventually led to the āBlindhouseā 12-inch. In the story, the warden of the blindhouse who had to feed and take care of the zombies was named Ada.ā
Like Areal in general, Ada's music sounds fresh and oozes a contemporary Cologne sheen but it's also warm and endearingly retro in its embrace of timeless song structures and analog tools. One of Blondie's many peaks is āEach And Everyone (BlindhouseāMix)ā which overlays the heavenly āBlindhouseā core of skipping beats and harpsichord tinkles with a crooned melody so deliciously forlorn it's simultaneously heartbreaking and transcendent. Blondie also includes an inspired rendition of the Yeah Yeah Yeahs' āMapsā with an affectingly silky vocal from Ada couched in chiming synths and simple beats. From the hard careening techno of āOur Love Never Diesā to the Kompakt-styled shuffle of āThe Red Shoesā to the Deep House flavorings of āLivedriver,ā the album marvelously straddles techno and pop with seeming ease, never venturing too far into one without returning to the other. Certainly many of the album's tracks are rooted in techno yet, always changing, they never devolve into run-on grooves (the best example of this mercurial approach might be the opener āEveā); in fact, her original idea of an album filled with short, three-minute songs was abandoned when Areal pushed her to develop them into longer, eight-minute tracks. āI think that most of all I was and still am influenced by pop-music of all kinds. I used to think that a song couldn't work if it was over three minutes long but I don't believe that anymore. Even so, what remains of that original idea is my need for a lot of movement, and maybe that's why they sound more like songs than tracks.ā
http://www.myspace.com/wwwmyspacecomada
2. ADA are a foursome making dream pop tunes with a few trapdoors that make one free-fall in sudden and beautiful elongations; rhythmic and melodic abysses powering alongside the future ghost of Steve Reich. There are references to dance music, krautrock, artrock and, for the bandās singer and guitarist Isabel Munoz Newsome, a frequent, possibly unwelcome allusion to a young Patti Smith and Florence and The Machine. Though Isabel always thought she was a bit more like David Bowie. Their House of Pop has peeling walls, secret tunnels, four and a half floors and an armoury of synths, beat machines and reverb drenched electric guitar. That fly has got to go.
ADA is a soulful, glory-face full of watermelon without seeds in a bag eat bag world.
3. Ada is an Ontario, Canada-based 4-piece rock band with musical influences from the post-hardcore outfit At The Drive-In to contemporary prog-rockers Coheed and Cambria. They have a completely free album up for grabs here. Their myspace page can be found here.
Lala
Ada Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Eziokike kibu narekele njiribia
I bring you glory with melodies and harmonies and power
To you be praises now forevermore and evermore we sing la
Lala la la la la sohsohghi buchi
La la la la la la sohsohghi buchi
La la la la la la narekele njiribia
So since I met you no regret no story no harm
You put the melody in my heart now here I am to sing la
Lala la la la la sohsohghi buchi
La la la la la la sohsohghi buchi
La la la la la la eziokike kibu
La la la la la la narekele njiribia
Lala la la la la sohsohghi buchi
La la la la la la sohsohghi buchi
La la la la la la eziokike kibu
La la la la la la narekele njiribia
Dear master Jesus I adore
Nwannem bianule
Oh ever since you came along
Iāve been singing aloud
Lala la la la la sohsohghi buchi
La la la la la la sohsohghi buchi
La la la la la la eziokike kibu
La la la la la la narekele njiribia
Lala la la la la sohsohghi buchi
La la la la la la sohsohghi buchi
La la la la la la eziokike kibu
La la la la la la narekele njiribia
Lala la la la la sohsohghi buchi
La la la la la la sohsohghi buchi
La la la la la la eziokike kibu
La la la la la la narekele njiribia
narekele njiribia
narekele njiribia
narekele njiribia
narekele njiribia bia bia bia
In the song "Ada's Song (Lala)," the lyrics repeat a set of phrases that convey a strong sense of gratitude and worship towards Jesus Christ. The opening lines "Sohsohghi buchi sohsohghi buchi / Eziokike kibu narekele njiribia" can be interpreted as a joyful expression of thanksgiving. "Sohsohghi buchi" signifies the act of giving glory and honor, "Eziokike kibu" refers to Jesus as the King of Kings, and "narekele njiribia" translates to "I thank you greatly."
The following verse emphasizes the power of music to bring glory and praise to God. The lines "I bring you glory with melodies and harmonies and power / To you be praises now forevermore and evermore we sing la" suggest that the songwriter believes in the transformative and uplifting quality of music when used in worship. The repetition of "la" represents the act of singing joyfully and continuously to God.
The second verse reflects on the positive impact that Jesus has had on the singer's life. By saying "So since I met you no regret no story no harm / You put the melody in my heart now here I am to sing la," the songwriter expresses how encountering Jesus has brought about a sense of peace, freedom from regrets, and a newfound purpose. Jesus is portrayed as the one who has placed happiness and positivity within the singer's heart, which in turn inspires them to worship and praise through song.
The third verse addresses Jesus directly, with the lines "Dear master Jesus I adore / Nwannem bianule / Oh ever since you came along / I've been singing aloud." Here, "Nwannem bianule" is an Igbo term which means "my sibling, welcome." It shows a deep connection and intimacy with Jesus, as if considering Jesus as a close and beloved friend or family member. The overall sentiment of the verse suggests that since encountering Jesus, the singer's life has been filled with unending praise and joy.
The repeated ending lines "narekele njiribia / bia bia bia" further emphasize a spirit of gratitude, meaning "thank you greatly" in the Igbo language. This ending echoes the overarching theme of the song, expressing profound gratitude to Jesus for bringing blessings, joy, and a reason to continuously sing and worship. The repetitive nature of the lyrics, combined with the vibrant and celebratory "la" sounds, ensure that the message of thanksgiving is emphasized and memorable.
Line by Line Meaning
Sohsohghi buchi sohsohghi buchi
I bring you glory with melodies and harmonies and power
Eziokike kibu narekele njiribia
To you be praises now forevermore and evermore we sing la
So since I met you no regret no story no harm
Since I found you, there's been no sadness, no pain, no negative experience
You put the melody in my heart now here I am to sing la
You filled my heart with joy, and now I am here to sing
Dear master Jesus I adore
I deeply admire and worship you, dear Lord Jesus
Nwannem bianule
My brother/sister, welcome
Oh ever since you came along
Since you came into my life, everything changed
Iāve been singing aloud
I've been expressing my joy through singing
narekele njiribia
Thank you, I am grateful
bia bia bia
Come, come, come
Lyrics Ā© O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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