BEYOND MAN AND TIME

Back! Yes, they are back! The fabulous outfit is back for our great pleasure. If you're an alien and missed the pervious chapters, I'd say RPWL (Rissettio, Postl, Wallner, Lang - the initial of the musicians' name) is a German progressive rock band. The combo was formed in 1997 as a Pink Floyd cover band. After three years, they started making their own music based on the influences from this cover era. Their debut CD, "God Has Failed" got the international positive feedback it deserved. Since then, they kept on producing high quality music. I always wonder why they didn't get wide recognition. This new album, after the superb "The RPWL experience" (2008), is a bit different. For sure, this is once more a concept, more precisely a musical journey through the world outside of Platon's cave. But what a purpose! The protagonist is on a travel, meeting various characters partly adapted from Nietzsche's "Zarathustra", as means towards new insight. The basic idea is a so-called 'revaluation of values' in terms of a new way of thinking. In this world 'beyond man and time' as said Nietzsche, there are creatures of higher knowledge: the keeper of the cave, the willing blind, the scientist, the ugliest human, the creator, the shadow, the wise man in the desert and the fisherman. A special edition will includes an additional audio book that connects the music closer to the philosophical approach and a topographic map of the new world to be explored. A full European tour will follow in April (no dates in France!). "The goal is to open eyes, look further, see more, and see differently" (Yogi Lang). RPWL created musical themes for every character, enriching the blend with moogs, Indian sitar... But on a musical point of view, the usual Pink Floyd influences are less present. The music is more compact, less developed but remains beautiful. Some highlights: 'The Fisherman', a gem with its long instrumental part, 'Unchain the Earth', a jewel by its perfect melody and arrangements. Yes, this is 75' of food for thought and bliss for your brain.

Already a masterpiece.

The warm and soothing voice of Yogi Lang never sounded better.

This is a conceptalbum. The first conceptalbum of this band. I really like the keyboardsolo's, wich sound like they are played by Manfred Mann. Also the songstructures remind me of Mick Rogers-era Manfred Mann.

Of course, you can still here the Pink Floyd-influences. But RPWL really matured on this record. More and more they sound like themselves.

The progressive rock of RPWL always had and will always have a lot of Spacerock-like elements. They sometimes remind me of Eloy or The Sky Moves Sideways-era Porcupine Tree.

This is the first real studio album in this line-up, and they sound tighter than ever.

'Beyond Man And Time' - RPWL (8/10)

In spite of their less-than-catchy name, RPWL have been one of the most impressive and underrated modern prog bands out there in recent years. Granted, the band uses several chapters from the book of Pink Floyd- a band I have never loved- but they have always managed to update the sound to a modern context, and- as so many retro proggers fail to do- make the sound their own. 'Beyond Man And Time' opens 2012 on an ambitious note. While they have always enjoyed a cinematic quality to their music, RPWL's fifth record brings in a narrative concept to their music. This is arguably the band's best album to date, a near-masterpiece that showcases their brooding, modern sound with intelligent songwriting and clear production.

RPWL's music reminds me greatly of Porcupine Tree, as I believe with be a rather common reaction for newcomers listening to 'Beyond Man And Time'. The title of this album is derived from the first line of Nietzsche's 'Thus Spoke Zarathustra'; "6000 feet beyond man and time..." A dark philosophy resounds throughout the concept of this album. Although I usually think of a rock operatic format when I think of concept albums, the narrative of 'Beyond Man And Time' is pleasantly abstract. The characters in this album are ideas; ways of life that an unnamed protagonist comes across. Each of these songs- save for the ambient intro 'Transformation'- showcases a different metaphorical character and his distinct ideology and way of life. Among these are 'The Ugliest Man In The World' and 'The Fisherman', although the listener will also come across scientists and blindmen during the journey. Really, 'Beyond Man And Time' becomes a window shopping experience of ideology and philosophy, filtered through the band's very introspective style. For some, the abstract concept may be too inaccessible to ever get into, but the interpretative nature of these lyrics makes it an album that can stay enigmatic even after that inevitable feeling of familiarity kicks in post-five or ten listens.

The style of RPWL has not had to change much in order to incorporate this narrative. The spacey melange recalls Pink Floyd (of which RPWL was originally a tribute band for) and their performance and recording sounds close to Porcupine Tree. The melodies and songwriting however are strong enough to make RPWL stand out on their own as a distinct band and sound. It is great to hear a band in prog that can pull off memorable, beautiful melodies in their music while staying true to the ambitious nine minute format. Although Floydian guitars and Yogi Lang's warm, mellow vocals are the staple for RPWL's style, there is a thick electronic presence here that gives the music an unnecessary, but complimentary layer for the production. 'Beyond Man And Time' may actually be held back most by its length; at seventy minutes, the music manages to stay afloat, but there's certainly that feeling that the album could have said the same thing in less time.

'Beyond Man And Time' is an ambitious record, and as such, it's more of a grower than alot of 'neo-prog' nowadays. RPWL have opened the year on an excellent note, and although the beginning of the year is often a time when bands try to take advantage of the relative peace and quiet, this album would deserve a listen regardless of its competition.

German band RPWL has been around in one for or another since 2000, initially a Pink Floyd cover band that soon started to create and release their own original material. "Beyond Man and Time" is their fifth and most recent studio production, and was released by the indie label Gentle Art of Music.

Long time fans of RPWL should find "Beyond Man and Time" to be a satisfying experience, even if shying ever so slightly away from such trademark features as haunting, mournful keyboard motifs and gently exploring guitar solo passages. With a subtle emphasis on tight, controlled compositions, utilizing contrasting themes to good effect and Lang's carefully controlled lead vocals, there's still plenty to enjoy, however. Not too many moments of sheer enthralling magic for me, but it is a solid effort nonetheless.

While not counting the compilation 'The Gentle Art Of Music' it took four years to present a new studio album. The founding core is reduced to WL, speaking of guitarist Kalle Wallner and singer Yogi Lang, now that bassist Chris Postl recently left the band in order to concentrate on other duties, for example his project Parzivals Eye. No reason to panic though as they've found valuable replacement. Austrian Werner Taus is the new bass player and keyboarder Markus Jehle as well as Marc Turiaux (drums) are aboard for several years in the meanwhile.

Musically the band stays on the usual run here for the most part. That means, besides Sylvan RPWL still are a real trademark when you like to ask for catchy progressive rock from Germany. As one can expect 'Beyond Man And Time' showcases some slight Pink Floyd references here and there, however less excursions into popular fields on this occasion, in favour of a distinctive neo prog style, yeah! While guitar solo attempts are rare Kalle Wallner acts like a restrained team player more than ever in my opinion. Additionally Markus Jehle convinces with interesting keyboard/synth contributions all the way through.

You can smell the longtime song-writing experience. Worked out as a concept album with philosophical approach Nietzsche and his opus magnum 'Also Sprach Zarathustra' serves for the necessary background. This sounds rounded, compact overall, comes like one epic. No heavy breaks, the songs blend into each other basically, outfitted with a lovely atmospheric ambience overall. Yogi Lang's smooth vocals are very present of course. Some songs feature longer instrumental passages though - like it is with the exceptional We Are What We Are which evolves from an ambient intro with oriental percussion to a nice grooving exemplar including excellent moog contributions.

The title song is a polished ballad bearing melody pure, followed by Unchain The Earth showing subtle Pink Floyd undertones. With The Ugliest Man In The World and The Road Of Creation they turn into a more tricky and powerful direction. Highlight by all means is the epic The Fisherman - a great exploration starting relaxed with oriental sentiment. Later varied keyboards, including mellotron, care for a symphonic touch in the vein of Genesis or Big Big Train ... and then finally Kalle Wallner acquires time enough to unfold his guitar skills. Kudos! Definitely one of their best songs ever.

'Beyond Man And Time' is brimfull of atmospheric and melodic moments. Another great RPWL accomplishment which deserves your attention. Straight compositions, relaxed vocals, playful keys and guitar - finally I won't miss to mention the very solid rhythm branch. I'm really curious to see them in Hannover during their European tour presenting their new album live. Fans of charming progressive rock shouldn't miss that album.

Review originally written for www.therocktologist.com

A new and great album!

German outfilt RPWL has returned with a new studio album, two years after the release of their 10-year anniversary 2-CD 'The Gentle Art of Music' compilation, which by the way, is one of my favorite compilation albums ever. Now they bring us an excellent original album in which we will find RPWL's music at its best; and though the album is actually long, it is really, really good.

'Beyond Man and Time' is its name, it features eleven songs that make a total time of 75 minutes.

It opens with 'Transformed' which is a two-minute instrumental track that works as the album's introduction. It leads to 'We Are What We Are' which in the other hand, is the first long track here with almost ten minutes length. The vocals appear here for the first time in the album, the song has an inherent electronic element that makes a very nice background, perfectly accompanied by repetitive guitar notes. This song is very good, and a true taste of what this album is about: excellent instrumental moments, laid-back passages, several changes, great keyboard tunes and complexity.

'Beyond Man and Time' continues with that delicious mid-tempo rhythm, that actually makes this music gentle. The sound is really clean, well produced, and the compositions are well structured and crafted. Here we have a kind of 'light' prog, however, it is easy to appreciate and love, without being necessarily catchy. 'Unchain the Earth' has a great start with keyboards and electronic elements; after a minute guitar appears and produce a sound which reminds me to some 80s moments, it also has an attractive rhythm. The Pink Floyd reference is obvious here due to the vocals (of course) but also the guitars and the keyboard background.

'The Ugliest Man in the World' has a rockier sound, different from the previous tracks, more dynamic, intense and even heavier in moments, though when we are enjoying the powerful instrumental intro, they all of a sudden make a drastic change where vocals and acoustic guitar play in a soft mood for some seconds; later the song returns to its original rhythm, until 2:40 when the chorus appears accompanied by a great guitar. In 'The Road of Creation' the appreciation of the bass is clearer, and here the drums are also a strong point that it is not that noticeable in previous tracks.

'Somewhere in Between' is the shortest track of the album. It has a delicate voice and a keyboard background at first, later guitar joins and creates a dreamy and atmospheric sound. 'The Shadow' is a nice song though I must admit it is probably my least favorite of the album, it simply did not click with me in spite of the cool guitar riff after two minutes, I am sorry. 'The Wise in the Desert' has a calm rhythm and voice complemented by a gloomy atmosphere, the wind chimes and one can see images, like a film scene while the instrumental music sounds. After three minutes the intensity increases and the music becomes much more emotional. Great track.

Now the longest track comes with 'The Fisherman', a 17-minute track full of colors, changes and nuances. It starts with a kind of mid-eastern sound which later is complemented by guitars, drums and vocals. The music perfectly flows here, the keyboards are sweet and share a charming sound during the most of the track, sometimes working as pure background, sometimes with some lead solos; after four minutes there is a great instrumental part which take us to the RPWL realm, in a good trip to another dimension and another world, you just have to let the music do its work, then you will realize you've been in different place for some minutes. Later there is a sweeter and calmer moment for a minute, and then voice reappears and a new structure is being built up. It keeps flowing until all of a sudden those 17 minutes have passed.

The album finishes with 'The Noon', a catchy, warm and charming song with a delicious and relaxing sound. Not the best track of the album without a doubt, but the best they could have chosen as the last track, it is an excellent finisher. So well, this RPWL album is really strong, well crafted and enjoyable from last to first, some people have stated this is their best album so far, and I must say I agree. My final grade will be four stars.

Enjoy it!

Since their inception in 1997 as a Pink Floyd cover band, German progressive rock outfit RPWL has established themselves as one of their country's finest musical exports. While I'm only mildly acquainted with their earlier releases, Beyond Man and Time alone is enough to consider them one of the most gifted modern prog bands around. With a sound that takes plenty of hints from Pink Floyd, Porcupine Tree, IQ, and Hogarth-era Marillion, RPWL manages to create a sound that is distinctly their own while still containing plenty of familiar and easily accessible elements. Beyond Man and Time is a very 'modern' sounding album in nearly every sense of the word, and those who wonder what a more melodic version of Porcupine Tree would sound like will definitely want to check this out. This is without a doubt one of 2012's early highlights.

Beyond Man and Time was a bit of a 'grower' for me, and it wasn't until I heard it five or six times that I was truly mesmerized. While part of this is undoubtedly due to the album's lengthy playing time (clocking in at just over 75 minutes), I think a lot has to do with RPWL's ability to disguise their strong melodic sensibilities under a cloak of spacey and melancholic atmospheres. Every song contains a melodic chorus or catchy hook, but the band manages to add an additional layer of 'depth' that many other melodic prog outfits severely lack. So although Beyond Man and Time may not be love at first sight for all listeners, it has a much higher probability of sticking with the listener than many other modern progressive rock albums.

RPWL's sound finds a nice mix between neo-prog, alternative rock, and space rock, with no aspect of the sound overshadowing the other. A strong Pink Floyd influence, especially in the guitar work, gives Beyond Man and Time a bit of a spacey atmosphere, but there's enough modern tendencies in RPWL's style to differentiate them from anything ever recorded by Pink Floyd. Porcupine Tree takes a similar musical approach, but both bands manage to sound distinctly different. I'm also reminded of Hogarth-era Marillion, especially on albums like Brave and Happiness is the Road, during the softer sections. As you can probably imagine, the music here is typically on the more melancholic and reflective side, but without ever sounding 'depressing' and such. Songs like "We Are What We Are", "Beyond Man and Time", "Somewhere in Between", and "The Noon" are absolutely beautiful; even when the band is at their most progressive in songs like "The Fisherman" and "The Ugliest Man in the Universe", a sense of beauty is always achieved in the form of unforgettable choruses. All of the songs here are exceptionally strong, and even though Beyond Man and Time is 75 minutes long, there aren't any weak spots to be found.

I have a tough time finding faults in Beyond Man and Time; the amount of sheer brilliance contained within these compositions is breathtaking, and RPWL's deep understanding of atmospheric songwriting makes this one of 2012's early highlights. This has sparked my interest in re-discovering their earlier albums, and I'd definitely recommend this as a starting point in RPWL's discography. As far as RPWL fans are concerned, I can't imagine them being anything less than blown away by what they've conjured this time around. Although I'm not quite confident in pushing the five-star button, 4.5 stars is definitely the least I can give to Beyond Man and Time. This is one of the best progressive rock albums in recent memory.

Wow..just getting an earfull of RPWL's new album " Beyond Man And Time ". Rich,textured multi-layered storytelling at it's very best. What is it they are putting in the water in Germany? Whatever it is, I want some. First got turned onto German Prog by Pendragon and have been craving more ever since.This album delivers the shivers on every track, so much so that I am in the process this very moment of ordering their 2010 album " The Gentle Art Of Music ". There is so much sameness in contemporary Progressive Music these days and it's been that way for some time. Happily there a a few exceptions, Airbag " All Rights Removed " and " Identity " also The D Project " Big Face " and " The Sagarmatha Dilemma " have really delivered something new and fresh. RPWL in my opinion are amongst the very best Neo Prog bands plying their craft in 2012.

Beyond Man and Time is teeming with creativity this Album contains great sound, melody, vocals and lyrics. Best Tracks are Transformed, The Ugliest Man In The World, The Road Of Creation, and The Fisherman. Every song belongs on this great album it all clicks but does not fall into the trap of many recent concept albums of being repetitive , boring nor are the songs tied together in a less than stellar manner. They remain experimental throughout the album but somehow kept album continuity. No small feat every member showcases their remarkable talents. What lies within contains bits of space rock, symphonic as well as well chosen interludes of non prog elements. They have truly arrived here and created a superior concept album with no filler. They push the boundaries of prog even throwing in sprinklings of ALT and INDIE. Do not be thrown off by that this is done in a tasteful manner. All tracks here contain strong compositions laden with melancholy and are very reflective in nature. They still maintain their Floyd influence but they expanded on it and truly shine. I especially enjoyed Transformed after 3 or 4 listens this stellar instrumental really is amazing and a leap forward for them. This Album is very accessible but by no means unoriginal and retreads from other bands. This impressive album is a must own listen to it with quality headphones and enjoy this gripping sonic extravaganza.

4.5 Stars

Fans of Echolyn, Pink Floyd, IQ, Camel, Big Big Train, Porcupine Tree (early catalogue), and Gabriel / Hackett era Genesis should enjoy this.

RPWL's latest is perhaps their finest, according to pre-release hype from various fans worldwide and the first series of reviews highlight the overall quality of this work. Previously the trend had been towards more pop oriented material and I admit that I started to fade away, interest-wise, not having experienced the "RPWL Experience" album at all.

From the very first strands, it becomes obvious that this will be a vaporous and mystical journey into progland, as the lads waste no time to impress by presenting a real keeper "We Are What We Are", a bejeweled 9 minute opus of atmosphere and substance, the instrumental restraint is not only obvious, it adds even more drama to Yogi Lang's otherwise wistful vocals. The star of the show is a scintillating Moog synthesizer solo, straight out of the Manfred Mann school of pitch and bend and it is followed rapidly by a suppressed series of axe leads, including a lovely slide guitar passage. Oh my! New drummer Marc Turiaux also displays a muscular disposition in keeping things flowing and Lang has never sung better, relaxed yet passionate.

The title track has a warm, settling sun kind of feel to it, chock full of unbraided melancholy, a somewhat pastoral clinking and clanging of acoustic, electric and slide guitars and a massive chorus that floats quite miraculously amid the lyrical despondence of human blindness ("The world could have been a better place").

The über-sensational "Unchain the Earth" chooses to evolve rather organically from a fluttering bloom to a powerful yet uncomplicated melody, the bass rumbling with authority and a mind numbing anthem that hits the mark with the very first audition. This is a perfect prog song, mordant words within a glorious symphony of sound, totally enchanting. Little details abound , such a the slightly distorted vocal passage, some rifling rhythmic guitars and a soaring solo to finish this classic track off!

Appropriately, "The Ugliest Man in the World" does not apply to my ex-wife's current boyfriend (LOL) but concentrates on a rather more aggressive sandblast of riffs (Kalle's talent keeps growing with each release), a tornado of notes that congeal into a new sound , distancing itself from the previous Floydian scapes into a more Manfred Mann Earth Band style , as once again we are served up a flighty synth solo, followed by a Hammond organ blast and some amazing hard riffs, playing the light and shade game brilliantly. The stunning lyrical content aims at hypocrisy and deceit, harsh words gently sung, very thought out!

"The Road to Creation" keeps the mood chugging along, with an insistent buzzing bass ravaging the way, nasty chords slashing the horizon and synth burps for effect. The winks and nods at Porcupine Tree are more vindicated here with Turiaux smashing his kit vigorously. After the reflective and somber "Somewhere in Between" comes another rambunctious piece, "The Shadow" with its 'boom-boom-tchak' beat, and another one of those patented RPWL choruses, promising a future step into the light and adorned by a group of talkative guitar solos with hints of the legendary Phil Manzanera's penchant for texture and sound (aroma of native American tones, for example). "Wise in the Desert" is where they become even more oblique and creative, searching out new sound/sand scapes , whistling synth melodies amid the arid dunes, keeping things simple yet interesting, preparing the platform for the whopping 16 minute+ epic "The Fisherman", a willing distance away from anything approaching formulaic structures. The track is book-ended by an Oriental ?tinged opening and closing, while the Abyss sub- section is launched by a colossal wave of choir mellotron (oh yeah, baby!) that gooses the bumps deliciously that morphs into a polyrhythmic jungle of various complex sounds and swirls, providing depth and adventure (the raging organ solo is to expire over) and is then accentuated by a mammoth Kalle Wallner solo, screeching towards the kissing sun with utter abandon. The vocal part is a pure lullaby of glittering introspection, a crystalline projection of human thought and destiny. More mellotron and more guitar and more organ continue to astound and entice, flowing into a more comprehensive return to the "High as a Mountain" theme. This is as good as it gets, sonically and proves convincingly that RPWL have made the necessary compromises to be a progressive rock leader of the pack once again,"Eternal Moment of Return" indeed.

"Noon" is another of their trademark breezy exit songs, a delicately poignant expression of melancholy, self-analysis and contemplation. A sweet lilt and overtly gorgeous melody that ends not only a glorious return to form but perhaps even one of the finest albums of 2012, complete with lovely artwork and booklet.

Easily 5 failed gods

Pink Floyd meets Weezer ?

This is a pop prog. Until I repeat whole album for three times, I did not realize the excellence of the melodies, but now I can say this is one of the prog finest album. What makes it so: 1. Guitar is beautiful, not only tone but also melody. Song is pop like Weezer. 2. Can you imagine Floyd sounds with Mellotron ? That is nice. 3. This album has ROCK taste like YES. These days I am playing the whole album 3 or 4 times a day.

For me this is the best prog album in 2012 so far. 4.5 stars.

Take your time.

Despite sporting (perhaps) the worst name in progressive rock, RPWL is showing a sincere desire to do things right. They will not throw musical pyrotechnics at your face with this record, but more of a painting. A painting that could not hold your attention fully, but the more and more you take time to look a it, you slowly discover it's true nature.

Is the ghost of Pink Floyd too present? Yes and No. The reminiscences of Pink Floyd are plenty, but not unpleasant at all, at least not for a Division Bell fan. Lang's voice for instance, is certainly Gilmour- oriented, but who doesn't like his tone? I personally regret that Gilmour's voice is such in short supply these days; it's so soothing and rolling like a white billiard ball on a thick green carpet. I certainly won't moan about it for sure.

Apart from the Division Bell/ Momentary Lapse approach, the record is showing more layers than you think. Porcupine Tree and/or Pineapple Tree is showing it's nose, but not staying too long; like the groundhog is afraid of it's shadow. Take your time, divide it in many listens, I know it's a long record. Make the songs your background ambience for a while. After a little while, you will nod and maybe even press repeat.

Not the deepest lake in the county, but certainly a nice place to visit once in a while.

Quite simply I love this album. Why the world is not screaming about it is beyond me.

I went to Germany and saw them in Unna doing the whole album, start to finish to an audience of about 100. Brilliant as I could stand where I liked and got to chat to the band afterwards too. However, I couldn't help but feel sorry for them. If this was released in the 1970's or even 80's, it would have been huge. The show reminded me in presentation of early Genesis. Little budget so impact by lots of costumes, projectors and minimal lighting. Very good and hugely enjoyable. i hope they get to come to the UK.

Its a concept album, but with no weaknessess at all. Its accessable yet also grows on you the more you listen. I think its beauty lies in its variety, but each track is very very good, some better. Unchain the Earth is just brilliant and should be played on the radio as it would definately catch on in a slightly stripped down radio edit. Yet there is lots of hard core Prog too, The Fisherman is a classic. Lots of Floyd influence but others too including Porcupine Tree, Hogarth Marillion, and even Genesis. I don't think its a concious thing, it just comes out in certain situations I guess.

Buy it, you won't regret it.

RPWL began as a Pink Floyd cover band but seem to have ended up exploring an interesting Floyd-that-never-was tangent; specifically, to my ears they sound as though a bit like a version of Pink Floyd that did a somewhat better job of updating their sound and taking modern rock innovations into account during the Division Bell era. The end result is an interesting enough sound though a bit smooth and lacking in bite for my tastes - much like The Division Bell itself, funnily enough. In particular, the band's two keyboardists are a more or less constant presence in the album, rather overpowering their (actually quite good) guitarist Kalle Wallner, and when they're not layering their textures all over everything the production and mixing still doesn't do Kalle many favours - which is a shame, since I think the album would be improved if Kalle could have more chance to come to the forefront, which doesn't happen nearly enough here.

If "World Through my Eyes" showed the world the potential of RPWL, then "Beyond Man and Time" shows us the potential turned into reality. While there is still an underlying Pink Floyd feel to them, they have finally come into their own.

Vocalist Yogi Lang adds a breathy vocal to a spacy atmosphere punctuated by Kalle Wallner's acoustic backing on the first real song, "We Are What We Are". After a relatively standard song build up, we get the first opportunity to hear Yogi's keyboard styling's. (I credit Yogi with the solo as the style is similar to that of the title track to "World Through My Eyes" of which Yogi was the only listed keyboard player, verified by live Youtube performances). His solo at the five minute mark highlights the unique style that he adds to the band with just the right combination of melody and noodling.

"Unchain the Earth" is one of my favorite songs of the year. Despite my earlier statement that they've found their own sound, this particular song could have easily been found on "The Division Belle". It's a poppy (seven minute) song chock full of riffs and lines that stick to you like macaroni and cheese on a cold Tuesday in Boston.

"Ugliest Man on Earth", is a nice bit of alternating acoustic and heavier bits with a killer 'wall of sound' that hits you out of nowhere, another example of chaos materializing into the perfect chord. We do get a blistering Hammond solo towards the end of this song, which I'm attributing to Markus Jehle (again, verified by youtube) as the style is noticeably different from Mr. Lang's.

One negative about RPWL is their sparing use of backing vocals. This is especially noticeable on "The Wise in the Desert", the chorus feels like it needs a little more. My belief is that the band needs to add capable backup singers. I'll hearken back to "World Through My Eyes" which is my favorite song by RPWL, it has a killer chorus with multiple layers of Mr. Lang's voice creating a series of harmonies that are absolutely fantastic and possibly the defining character of the song. The problem though was especially apparent on "Start the Fire", their live CD that came out shortly after "World Through My Eyes". "World Through My Eyes" the song that I loved so much absolutely did not translate well to a live setting, the backing vocals were missing and it was really disappointing. Sorry, that was a lot of words to say that 'needs more backing vocalists'.

While we're going off on tangents, I've never been to Boston.

"The Fisherman" hearkens back to the Indian sounds of (again) "World Through My Eyes", which gives a unique and exotic flair to the epic before going on a tour of vintage sounds. This leads directly into a nice airy guitar solo by Mr. Wallner over a tight 15/8 back beat punctuated by bursts of screaming Hammond only to trade back to the lofty guitar solo. The song even has a sprawling, Roine Stolt style epic ending . . . but wait, rather than the expected big finish we get a whirlwind tour of the epic, summarizing it nicely before a last verse to send us off to the previously expected grandiose ending.

All in all, RPWL is another spacy band somewhere between Pink Floyd and Porcupine Tree. The keys are fantastic through and through while the rest of the band is pretty good as well. "Beyond Man and Time" is easily one of their best and a solid four star CD. If you like good production, atmosphere and a spacy vibe, check this one out.

7/10

A Long, But Extremely Elegant And Sophisticated Odyssey.

'Beyond Man and Time' is the eight studio album by German Prog Rock band RPWL, and this is the band's first great step towards being a much more singular band: because they use to be a Pink Floyd tribute band, they never really lost the grip of their roots, but with this eight album it seems that they're starting to free themselves from that.

First of all, the production of the album is the best the band has ever pulled off; it's extremely clear and sharp, and warmly welcomes the smallest of details to be audible. Details that are for the most part created by the lush, abundant synthesizers, so thick sometimes that it almost feels that you're listening to a New Age record. The thick presence of electronic generated sounds unmasks what the band's evolution is really going towards, a direction that takes to Neo-Prog, more specifically Marillion Hogarth-era. RPWL have also improved their songwriting skills tenfold, which guarantees a top-notch quality for nearly all of the songs here.

But the band still remains very Progressive in their nature, extending their songs to an average length of seven to nine minutes, and including a sixteen minute monster as a second-to-last track. All of these tracks are carefully and elegantly executed by these great musicians, who prove to be able to structure songs neatly and with fabulous flow. Even in the flow of the album as a whole shines: of course, the fact that 'Beyond Man and Time' is a concept album ( each song represents a character, who himself represents a specific philosophy of ideology) motivates a more fluent run of the tracks.

As far as specific songs go, some of the best include the lively 'the Ugliest Man in The World', the more pondering 'We Are What We Are', which has the most amazing keyboard solo of the album, the epic sixteen minute track 'The Fisherman', the polymorphic beast of the LP, or the more groovy and straightforward 'The Shadow'. The album comes near to being a fantastic release: next time, perhaps the band should make something a bit shorter, since this record does run for about 80 minutes. Despite that, the listen is thoroughly entertaining; there's only to hope that the band soon puts out their masterpiece.

The most sophisticated and daring work of a group of musicians entrenched.

Fine tunes to progressive rock service, threads that are built upon competent rhythm section and well designed. Full of synthesizers, bass guitar blunt. Thoughtful rhythm guitars, with great sonic flight. Drums powerful and energetic when appropriate, and quiet, if it must. Always accurate. The songs are making great climates and summits.

From my perspective is the most personal album, and original. A good tour of 6000 years of history, reviewing different ideologies.

The production is much better and more polished than before. And highlights the musical virtues of each member.

Yogi Lang's voice is more refined and makes good use of its peculiarities. Not frightened by the extent of the work. Not monotonous or tiresome.

RPWL started as a Pink Floyd tribute band. They still wear this influence on their sleeves, but have since broaden the pallette to include introspective ballads, U2-type anthemic pop-rockers, Eastern motifs, progressive version of indie/ alternative rock in the vein of Radiohead or Porcupine Tree, etc. Beyond man and time is so far their best work, a concept album that could be read like a textbook on history of philosophy, one of the smartest concept in modern prog to make their Floydian fathers proud, even though it was difficult to realize into lyrics and inspired by a controversial source, the tragicomic figure of Nietzsche (Beyond man and time is a quote from his Thus Spoke Zaratushtra).

If the album's beginning make you feel it's too meek, don't despair. The "meat" is in the middle, with bombastic Ugliest man in the world, surprisingly funky The Shadow and more alternative rock-sounding The road of creation and Wise in the desert, with smart variations in pace and heaviness. If a thing annoys me it's the penchant for distorting/muffling vocals and production, which otherwise is very clear, even minimalistic at times, with ample space between instruments.

One can easily mention the characteristics of legendary prog music , for example the music of Genesis or Yes were considered as being symphonic and melodic; Gentle Giant was complex with great choirs while Pink Floyd was considered simple but great with their "feel" as well as soundscape. RPWL has been pigeon-holed by prog fans as a Pink Floyd- influenced band and many like the band very much. What I can say about RPWL is the simple side of Pink Floyd as RPWL has not so far demonstrated the "feel" part especially with Gilmourian style in playing guitar. Occasionally I know also the music of Cold Play and I would say the music of RPWL is somewhat similar as well with Cold Play even though RPWL is less poppy compared to Cold Play.

You will find this album full of joy while you spin it as each and every individual track has been nicely composed and it flows naturally from start to end with practically regular beats and tempos producing nice grooves. The only exception is the opening track that basically an ambient opening to the album and sets the overall tone of the music featured in this album. You will find some guitar work here and there but it's thinly mixed and not extremely exposed beyond the surface like typical Pink Floyd with stunning guitar solo and feels. It's probably by design as today's youngsters are not quite keen with harsh or heavy guitar solo but they'd like the thin sound instead. You may refer it to the music of Cold Play which basically no exposure with guitar solo.

From the second track "We Are What We Are [The Keeper]" (9:33) you can find right a way how nice the music is especially with its combined melody through the vocal line and the rhythm section that lends itself from the Pink Floyd platform. "Beyond Man And Time [The Blind]" (6:42) provides the nuances of Division Bell's sort of sounds with some guitar solo that makes the music really nice."Unchain The Earth [The Scientist]" (7:19) flows slowly with good ambient as opener plus some guitar fills, moving in crescendo with good soundscapes. The upbeat tempo The Ugliest Man In The World [The Ugly] (8:09) might be of interest to you as it has quite straight forward structure combined with some breaks using acoustic guitar and vocal line. There are some harder parts with a bit of exploration on guitar work. Most of you who adore prog music might want to digest the tenth track "The Fisherman" which has an approx 17 minutes total duration in three movements: High As A Mountain [Part 1], The Abyss and return back to High As A Mountain [Part 2]. One of the reasons could be the use of mellotron-like soun that reminds us to the hey day of progrock in 70s. I also like this epic as it flows nicely from start to end with nice soundscapes.

Of course you would not get something in the nuances of Pink Floyd's "Dos" or "Pigs" or "Have a Cigar" in this album by RPWL. But for sure you can get many things in the vein of Division Bells all along the entire album here. It's a very good album especially for those of you longing for Pink Floyd. Keep on proggin' ...!

Peace on earth and mercy mild - GW

RPWL, who seem to be a perpetual underdog in the prog world when compared to some of the big hitters, have created a wonderfully crafted and artistic rock experience with Beyond Man and Time. From start to finish this album gives us excellently composed songs that are soulful, compelling, and engaging.

One thing I especially like about Beyond Man and Time is the fact that the band strengthens a unique sound beyond the Floydian influence that everyone seems to brand them with. Above me, there are 10 reviews of this album, and the word "pink" shows up 24 times... that's how much people like comparing RPWL's sound to Floyd. I think this is bogus, because the band is great regardless who they take inspiration from, and have a identity and tone that is unique. Beyond Man and Time shines with class and nuance and electric energy that is very different than Shine on You Crazy Diamond!

The album opens very strongly with "We Are What We Are," a great piece of prog with features a complex song structure that shifts between dramatic instrumentals, hook-filled vocals, ambient breaks, and slinky grooves. RPWL brings the total package here, and it sounds great.

In the songs that follow we're given numerous extended tracks and variety. "Beyond Man and Time" emphasizes guitar textures and soloing, "Unchain the Earth" an immensely uplifting and catchy melody, "Ugliest Man in the World" a heavy, driving riff, etc. There isn't a dud in the entire album, and I'm very impressed by the overall groove and feel

Instrumentally the band takes a nuanced approach that almost feels like less-is-more. Wallner's guitar is smooth and effective, stepping into the background frequently to let the band as a whole create a lush sound to the songs. There is a ton of variety to his playing. His soloing, when it occurs, is typically short and sweet. This also goes for Jehle's keyboards, who is also largely responsible for giving Beyond Man and Time it's classic prog feel. Bandleader Lang does a nice job with his vocals and bass duties as well. His voice is rich and emotive though doesn't have a dramatic range.

So where does Beyond Man and Time fit into the band's library? The top. It's very near a 5-star release, and a great example of modern art-rock. Recommended!

Songwriting: 4 - Instrumental Performances: 4 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 5

Beyond Man and Time, 5th studio effort by German Neo proggers RPWL. I'm not very familiar with the band or their catalog, but I do confess I was a little cautious before digging at first when I read they started as a Pink Floyd cover band? I wanted something new not investing time in copycats or soulless bands, fair enough it was not the case with RPWL. I think its fair to say that Yogi Lang's vocal do resemble Gilmour's tone and if we add to the mix Wallner's immediate reference (influence) to his guitar playing it is inevitable to have that same "look and feel" of the later PF's catalog, but that's jut a mirage, this guys have their own sound and identity, and have a lot of wonderful ingredients that are smartly added to the mix? and that statement is evident on the opener, Transformed, an atmospheric instrumental intro that slowly fades and blends with We are what we are, definitely one of the highlights of the album.

According to Lang himself, "The basic idea in this album is a so-called "revaluation of values" in terms of a new way of thinking. In this world there already are creatures of higher knowledge that the protagonist meets allegorically along his way: the keeper of the cave, the willingly blind, the scientist, the ugliest human, the creator, the shadow, the wise man in the desert and the fisherman", and I try to imagine that this 2nd tune marks the beginning of such journey, just guessing? 9mins of powerful display of instruments and hypnotic singing? The title track is a mellower one, kind of bluesy in spots and very melodic, epic and memorable, a place where Wallner feels comfortable and his talent is noted. One of those ear worm melodies, a chorus you will hum hours and hours after the first listen. Unchain the earth is another highlight and one of my favorites, maybe the more PF sounding off the whole record but beautiful and unique in its own merit, I love the tempo and rhythmic section of this tune, so catchy! "Unchain the earth, we don't need the sun anymore". The Ugliest Man in the World, to my ears the best song in the album, with the best team work by the band, with a lot of changes, not complex at all but very dynamic, impossible to get bored. Neo-prog DNA, pure, melancholic and angry at the same time, obscure but beautiful, flawlessly executed? BTW, Markus's keyboards textures are spectacular!

There's always the rocker, The Road to Creation is that rocker, with added depth to the vocals and balanced but distorted riffs that are the faithful conductors for the rest of the band, progressive metal nuances decor the 6min plus song with the delicacy only available with Neo prog structures, memorable again. Unfortunately, at least for me, the weak moment of this album starts with the cool but a little bit short Somewhere in between, Lang's voice is so celestial here that I would have really like more minutes of his singing? The Shadow brings us back to the same musical feel we experienced in the first quarter of the record with straight pop rock vocalizing and instrumentation because these guys can do just that, transform complexity into mainstream sound, both vocals and guitars are the solid bridges that the rest of the band cross to become more or less melodic, more or less heavy, more or less prog, more or less complex, truly amazing. The Wise in the Desert is may least favorite, not that I not a good song, I just simply don't see the fit to the rest of the album, like it belongs to another era of the band, another concept, hard to describe how I feel about it, but it simply doesn't cut it for me? maybe it just need more listens, I guess it sounds too flavorless for me.

The Fisherman starts with the same feel as the previous tune, however it does evolve into a more symphonic groove, maybe a little bit odd but it does work and helps the 16minutes plus be fore enjoyable? I love epics, the longest the better, however I think that The Fisherman could be shorter and still tell the same story and have the same impact? just a thought? but it has to be solid that the guitar work here is really pristine and memorable. Last but not least, The Noon? beautiful vocals and lyrics by Lang who wisely manages the harmonies to sound like something important is coming to an inevitable end, a very strong song to close a very solid album. A must listen for sure!