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Karmakanic - Who's the Boss in the Factory? CD (album) cover




Symphonic Prog

4.06 | 482 ratings

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5 stars There are only a few albums every year I can call a masterpiece. Even smaller is the number of the absolute masterpieces like this one created by my favourite bassist, who I consider being the best on his instrument nowadays. The genre can be called symphonic prog in the veins of the classic bands, but on the other hand, it is characterised by the diversity and the integration of different genres – the way prog is walking on these days.

And Karmakanic neither have lost their jazzy edge, about which I have heard more times before (it has to be said that I've not listened to their previous albums yet). Not a surprise knowing the abilities and great technique of Zoltán Csörsz and Jonas Reingold, and it is quite obvious that they won't play just with anyone. Lalle Larsson and Krister Jonsson are especially talented musicians and in top of that Göran Edman's voice matches the music perfectly. He is a very versatile singer, every song shows a new aspect of his vocals.

The opener epic, Send a Message from the Heart could be treated as a "typical" long song with many solos played both on guitar and keyboards, but saying this would be a fatal error. The angle this song is something more than (or different from) lots of epics, is that it's entirely based around one simple theme displayed right in the first seconds by a child.

Then comes the "prog-hit"Let In Hollywood. I call it a "hit" since it can both be listened to and enjoyed by a proghead and a person with more commercial tastes. Groovy, heavy and rocking, the time signature of 7/8 gives the song a special feel. The parts I enjoy best are the cool keyboard solo, the last return of the verses and the final build-up. The song itself seems to me to be a lot longer than it actually is – five minutes can contain a good amount of diversity.

It doesn't matter who you are, it doesn't matter what you did, it only matters, Who's the Boss in the Factory! Well, the members themselves are bosses, Edman can really shine during the energetic and emotional song. I simply cannot write anything more, check it yourself.

Pink Floyd is recalled by Two Blocks from the Edge, the song which makes me want to sing along the most. The way it begins and then builds up to the chorus is classy, the use of saxophone (especially during the chorus) is wonderous; and jazz also arrives in the form of a bass solo. After the break the refrain doesn't come back in the original style, but with a singing guitar plus women's vocals. Then in the outro Reingold and Csörsz make a "tribute to Flower Kings", which is a fantastic idea: it is in a major key, unlike the rest of the track.

Eternally, Pt. 1 and 2 are simply beautiful. The short first part which only features piano foreshow the main melody, but the truly awesome is Part 2. Soft piano and bass can be heard throughout the song, with an additional accordion. I've not heard too many songs where this instrument is present, but this is obviously the best of them. When it joins in, you may feel like being in a Southern French city, and after a great solo, the guitar then takes over the leading positon, but so brave that it is almost undetectable. The catarctic finale and the still final notes are the perfect ending. (By the way, I feel the whole string orchestra a bit unnecessary, a violin could have done it, but this nullity is my only and biggest problem with this beautiful piece of music.)

I can't choose a highlight. In fact, there are at least four songs which could compete in this race, but what's the reason of just choosing one, if every other has something else to show. Don't ever hesitate getting this album as it's an exceptional release. I can cordially recommend it to everyone.

Diaby | 5/5 |


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