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Kaipa - Children Of The Sounds CD (album) cover




Symphonic Prog

3.79 | 143 ratings

From, the ultimate progressive rock music website

4 stars With an excellent lineup of experienced, confident, virtuosic instrumentalists it'd be hard to create "bad" music. My usual problem with KAIPA, the vocals, seems a non-issue here as I like this music. Yes, the vocals are often a bit over-the-top classic rock like STYX or 707, but the instrumental work by these amazing veterans can even make these slights pale. Keys, guitars, bass, and drums are wonderful throughout! plus, excellent sound production. If it weren't for the fact that this is Neo Prog, this might be a contender for Album of the Year. (Neo Prog, unfortunately, implies an innate use and supposed exploration of older styles and sounds.) Still, this is, in my humble opinion, far better than IQ or recent MAGENTA efforts.

1. "Children Of The Sounds" (11:31) excellent lead guitar work soloing over and between some very standard, unexceptional Neo Prog sound. I'm reminded of 1980s hairband LOVERBOY on more than one occasion as well as Roine Stolt's THE FLOWER KINGS (the early years). The serious commitment to good sound and solid, tight performances on this one outweigh the weakness of lack of originality. (8.5/10)

2. "On The Edge Of New Horizons" (17:10) Something more interesting about this beginning--slightly angular arpeggi and chord progressions? Jonas being let out of his cage? Drums feeling a part of the mix instead of separate from? The scaled down vocal section after the more dynamic instrumental introduction section also sounds cool. The vocal has the tendency to go over the top but the unusual melody lines keep me interested. In the fifth minute an electric piano-based section takes over and builds, leading to some nice electric guitar and gtr/kbd tandem soloing. Another cool melodic choice in the vocals at the end of the sixth minute--kind of GINO VANELLI-like. The next odd tempo-ed, jazzed up section has some nice band interplay beneath a soloing guitar. The vocal that eventually joins in during this section kind of loses me, but the bass, organ, and acoustic guitars keep me engaged. MOTH VELLUM comes to mind during this section--before the instrumental section at the end of the ninth minute. Organ and mandolin-sounding acoustic guitar make for a nice folk melody section (though the background power chords from the guitar are a distraction). Nice guitar solo in section that follows (eleventh minute) (drums, too). Break in action for syncopated hits from various instruments leads back into a YES-like section of constantly dancing chords all synchronized among keys and background guitars, multi-voiced vocals and electric guitar taking turns in the lead. Nice section. I'm glad they chose to draw this one out. And I must point out the chance that the drums have to shine throughout. With about two and a half minutes left, things quiet down while Jonas moves into the higher octaves of his bass and the multi-voiced singing continues making it's STYX-like contributions. The best song on the album. (9.25/10)

3. "Like A Serpentine" (12:52) a slow, simple opening three minutes plods and disappoints in a kind of MOTH VELLUM way as it never seems to go anywhere. Until the fifth minute when the wonderful lead guitar brings us into a new place. Despite this performance, the song wants to drag on and drag out its opening pace and structure. Not even the folk-pop violin-led section or the participation of Aleena Gibson in the lead vocal seat can save it. (7.5/10)

4. "The Shadowy Sunlight" (6:57) opening like a 18th century masqued ball song intrigues and interests this music lover. But then things go folk rock with violin and drums entering and bringing us into the 21st Century. It sounds a lot like IONA here! The music then falls away leaving us with pulsing bass and bass drum and synth washes setting an ominous scene. Aleena's whispered voice sounds just as unsettling. But then she starts to sing as the music beneath her becomes more insistent and emergent. Electric guitar tries to steal the show again but Aleena and the rest of the band remain steadfast, slowly building momentum. (8/10)

5. "What's Behind The Fields" (9:31) organ dominated full-band chord sequence opening this song sounds a lot like old URIAH HEEP. Electric guitar lead enters to inform the song with some melodic noodles to cover the chords. Then things fall away and become very familiar. It's MOON SAFARI! Blomljud! With these odd instruments it makes me realize for the first time how have refrained from letting/making Jonas Reingold's fretless bass play dominate the music mix. I actually have to search to pick out his work. I find myself disappointed that the original chord sequence and vocal melody built over the top of it have been chosen to dominate this song. The vocal here is almost grating in the same way that MIKE RUTHERFORD's friend NOEL MCCALLA could do on Smallcreep's Day. A fair song but not great--despite the excellent guitar shredding over the top in those final minutes. (7.5/10)

3.5 stars; a nice contribution to prog world--especially to the Neo Prog lexicon.

BrufordFreak | 4/5 |


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