TRANSMUTATION

Today I'll be listening to the latest release by the band Karmaknic which is a band led by longtime Flower Kings bassist, Jonas Reingold (he was in that band from 1999-2021). He has been called "Sweden's finest bassist." While most closely associated with the Flower Kings and Karmakanic, Reingold has been involved in numerous other musical projects over the years, including: Kaipa, Opus Atlantica, The Tangent, An Endless Sporadic, Agents of Mercy, Nad Sylvan, The Fringe, The Sea Within, Nick D'Virgilio and Steve Hackett. A number of the people he worked with in those various bands make guest appearances on this album, called "Transmutation." This is the sixth Karmakanic album since the band started in 2002, but the first release from them since 2016. I will list the band lineup and guest musicians below as they make up a veritable who's who of modern prog.

Line-up / Musicians - Jonas Reingold / bass, keyboards, electric guitar, vocals (2,7), backing vocals (3,4,6), fretless bass (5) - Krister Jonsson / lead guitar (1,4-7) - Göran Edman / lead vocals (6) - Lalle Larsson / keyboard solo (1), keyboards (7)

With: - Andy Tillison / Hammond organ (1,7), clavinet (1) - Simon Phillips / drums & percussion (2,4,6) - Jan-Olof Jonsson / acoustic guitars (2,7) - Luke Machin / solo guitars (2), nylon acoustic guitar (2) - John Mitchell / lead vocals (2,5-7), vocals (3,4), 12-string guitars (4) - Randy McStine / lead vocals (2), guitars (3,4), backing vocals (3,4), 12-string acoustic guitars (4) - Geri Schuller / piano (2,5,7) - Craig Blundell / drums (3,5) - Dina Höblinger / backing vocals (4), lead vocals (7) - Lelo Nika / accordion (5) - Markus Lukastik / flute (5) - Rob Townsend / tenor & soprano saxophones (5,7) - Tomas Bodin / keyboards (5,6) - Sven Cirnski / electric guitars (6) - Nick D'Virgilio / drums (7) - Steve Hackett / nylon acoustic guitar (7) - Amanda Lehmann / backing vocals (7) - Roger King / keyboards (7)

Let's check it out! As usual, this is a "cold listen."

Track 1 - Bracing for Impact

At only 2:32, this is easily the shortest track on the album, and I suspect it serves as an intro for what is to come. A heavy sounding keyboard and guitar starts us off as if they are warming up. A spectacular drum fill follows, and we are off to the races. This is a quick-tempo piece with some fabulous playing by all involved. It reminds me a bit of something the Dixie Dregs would have done. Reingold shows off his great bass playing after 1:40. Incredible opener!

Track 2 - End of the Road

This is the second longest track on the album at 10:18. It begins with a quiet piano part. A roll on the tom-toms brings the band in with a majestic introduction. Reingold continues to impress with his bass parts. Vocals begin at just after 1 minute, sung by either Jonas Reingold, Randy McStine or John Mitchell, as all are listed as vocalists on this one. We are in a moderate ballad tempo feel. The song continues this way until the bridge at 4:18. The tempo remains but there is a bit of a key change. At 4:45, the meter changes and the rhythms are very syncopated. Simon Phillips is playing a wonderful drum part here. Things get more mellow after the bridge. By 7:20 or so, all instruments drop out except classical guitar and piano. A snare roll brings the band back soon after. The tempo picks up at 8:13 for a guitar solo. Outstanding run at 8:38 from Luke Machin, whom I am not familiar with, but he's a damn fine guitarist based on this track (I looked him up, he has quite a prog resume with bands I know, so I just didn't know it was him). There is a big melodic section following the solo that leads to a piano part that closes out the track. Beautiful!

Track 3 - Cosmic Love

This one fades in with synth sounds. It has a bit of an 80s techno groove. As best as I can tell, I believe John Mitchell is the primary singer on this one. The vocals begin just after 30 seconds and the drums (Craig Blundell) just after 45 seconds. After the one-minute mark, Reingold enters with a bass line reminiscent of Yes' Roundabout (played by the late-great Chris Squire, of course). At 1:30, after the title line, a 12-string acoustic takes over (McStine, I think), and we go into a bridge. The verse that follows is with the full band. I love the big full sound at around 2:30. Another new melody happens after the 3-minute mark. I love the flange effect on the snare drum fill at 4 minutes. An a cappella voice with an effect ends the song on the words "Cosmic Love, Cosmic Wheels." Nice track!

Track 4 - We Got the World in Our Hands

Indistinct conversational sounds and various effects begin this one, and a bright, crisp 12-string acoustic guitar begins a strumming pattern at around 30 seconds (McStine). Chimey electric guitars and an awesome Reingold bass part comes in next, followed by drums (Simon Phillips). The vocals (John Mitchell) enter after that. I love the arrangement on this one. Awesome key change into the chorus! I like the instrumental break around 2:40. Another verse-chorus cycle follows. The groove changes at around 5 minutes during the guitar solo played by Randy McStine. Cool melody at around the 6-minute mark. A great melody in the chorus. As the song ends, there is a pretty piano part, but a sinister laugh happens with it. Good track.

Track 5 - All That Glitters Is Not Gold

This one fades in with accordion and some ambient sounds. There is a lovely arpeggiated guitar part that is layered with multiple guitar tracks, and Reingold's great moving bass lines. Vocals join in by John Mitchell again. The second verse begins around 2 minutes in with the rhythm section on board (Blundell on drums). The following chorus has an unsettling feeling to it. The lead guitar is with a slide (Krister Johnson) There are alternating sections of soothing melodies and sinister lines. Rob Townshend provides various sax solos. The closing part is very dense instrumentally. Very unique and cool track.

Track 6 - Gotta Lose This Ball and Chain

12-string acoustic guitar creates the intro, joined by John Mitchell's vocals. The tune becomes more rhythmic at around 45 seconds, with a bass drum joining in (Phillips). This one has a bit of a "25 or 6 to 4" bass line in the chorus. This album is incredibly well produced and arranged. There are many layers of sound, but it never gets muddy. I like the call and response in some of the vocal sections. There is an uplifting bridge at 3:30. Sven Cirnski takes a fantastic guitar solo on this one. Nice key change towards the end.

Track 7 - Transmutation

Prog albums often end with a "closing epic" and Reingold and company give us a nearly 23 minute one to sink our teeth into here. It begins with symphonic style orchestration, joined by a gentle piano part, and Reingold's melodic bass lines. John Mitchell once again takes the lead vocal (interesting since he is mainly known for his guitar skills). Nick D'Virgilio (Spock's Beard/Big Big Train among others) provides the drumming on this one, and he keeps a nice odd metered beat going on this once he joins in. Female vocalist Dina Höblinger takes the lead vocal for a bit at around 3:30, alternating and duetting with Mitchell as the song proceeds. While the legendary Steve Hackett is credited with nylon string guitar on this one, Krister Johnson seems to be the lead player here. Tangent leader Andy Tillison provides organ on this one. I love the peaceful piano segment at around 6:50 by Geri Schuller. Dina Höblinger takes the lead vocals again at around the 8-minute mark. There is an excellent instrumental break in the middle of the song. Dina's beautiful vocals return at 11 minutes with nice guitar fills between phrases. Mitchell takes back over around 12-minutes in with minimal accompaniment. I love the section at the 13-minute point. The tempo then increases for a fabulous guitar solo. Cool transition to some precision playing at 14:14. Some of the lead lines here are very fusion oriented. Just incredible playing all around! Not only is this the longest track by far on this album, it is the main one with various meters and the "proggiest" overall. Tillison's organ solo hits just before 17 minutes. Things get quiet just before 18 minutes, and Hackett's nylon string part enters and is soon joined by Mitchell's vocals. At around 19:20, choral style vocals take us to a "waive your lighter in the air" style half-time section, with dynamic vocals from both singers. A guitar solo follows. We are gearing up for the big finish at 21 minutes or so. More and more levels of instrumentation join in as we reach the climax of this fantastic epic! I love the pregnant pause before the final chord hits. This is a top-tier prog epic that is sure to get a lot of attention!

OVERALL IMPRESSIONS:

Wow! What a fantastic album this is! If you haven't heard it yet, definitely check it out! 2025 is shaping up to be a banner year for great prog releases! I've already reviewed the new Dream Theater and Pattern Seeking Animals albums. I will be reviewing the new Steven Wilson soon and The Flower Kings have one on the horizon. This is right up there in quality with the DT and PSA. While the first 6 songs are all great, the title-epic is a masterpiece! I'll give this a 4.5 out of 5 stars.

Clicked 5, but really 4.5; but 4 is just too low!

Undone transmutation

Jonas Reingold's latest release under Karmakanic, 'Transmutation', is a testament to his ability to bring together an impressive roster of musicians while maintaining a distinct creative voice. Featuring heavyweights like Steve Hackett, Simon Phillips, and John Mitchell, the album is expertly executed, with every player adding depth to the overall experience. The arrangements are detailed, the production is polished, and the instrumental performances are impeccable.

The album starts off with energy, balancing tight compositions with expressive musicianship. The first few tracks carry a lively momentum, blending symphonic elements with modern progressive rock sensibilities. One of the strongest moments comes with "Cosmic Love," where John Mitchell's vocals bring a Phil Collins-esque warmth, supported by an irresistible groove and rich layers of instrumentation. It's a track that feels both nostalgic and fresh, making it a clear highlight.

As the album progresses, the dynamics shift between lush atmospheres and intricate instrumental interplay, showcasing Reingold's versatility as a composer. The interplay between guitars, keyboards, and bass is often mesmerizing, with standout contributions from all guests, adding texture to the arrangements. There's a lot to appreciate in the details, whether it's the tasteful use of saxophones or the occasional bursts of fusion-like complexity.

However, the album's finale, 'Transmutation (The Constant Change of Everything)', is where things get complicated. At nearly 23 minutes, it aims for grandeur but struggles with pacing. While it contains undeniably beautiful moments -most notably Steve Hackett's masterful acoustic guitar passages- it ultimately loses momentum, cutting the rhythm of the album.

Despite its uneven ending, 'Transmutation' is still a rewarding listen. Reingold's vision remains clear, and the sheer talent involved makes it an album worth revisiting. Even if it stumbles in its final stretch, the high points ensure its place as another strong entry in Karmakanic's catalog.

Music: 4 stars

Lyrics: 4 stars

Execution: 5 stars

Emotion: 4 stars

Production: 4 stars

Artwork: 3 stars

Average: 4

What began as a side project for The Flower King's bassist, Jonas Reingold, in 2002, has developed over the years into one of the premier modern symphonic prog bands, and they are back again, after a 9-year absence with this, their 6th album, and Jonas and band have brought along many wonderful prog guest artists to help out, including Steve Hackett (and all the members of his touring band), Andy Tillison (The Tangent), John Mitchell (Frost, It Bites, Lonely Robot), Randy McStine, Nick D'Virgilio, and Simon Phillips, to produce one of the best albums of the year so far. It opens with a burst of energy in the brief, but powerful rockin' instrumental Bracing For Impact, and then continues to get better and better with each subsequent track, End of the World is a beautiful song (although goes on a bit too long), then Cosmic Love gives a somewhat throwback 80's single sound, like something from Yes' 90125 period. But they are just getting started, as each of the rest are great, such as the fantastic Gotta Lose This Ball and Chain, culminating with the sensational Prog epic title track (23 min), which is stunningly brilliant from beginning to end, with everything you could want in a prog epic, from tender acoustic sections to glorious majestic themes to incredible soloing and exciting instrumental passages, including a dazzling middle section that manages to channel Genesis as a jazz fusion band, then reprising earlier themes for an emotional and majestic finale. Just brilliant, and one of the best epic-length prog tracks in many years, and that can stand among the all-time greats. What I really love about this band and album is that they are extremely creative and inventive in their arrangements, production, and instrumentation, able to turn even fairly simple themes and melodies into wonderful, exciting pieces with their intricate, detailed handling. Just love this album, my absolute favorite of the year so far and sure to be in the running in the end for best album of the year. Best Tracks: Transmutation, Gotta Lose This Ball and Chain, All That Glitters is Not Gold, We Got The World in Our Hands. Rating: 5.0

Jonas Reingold I have seen perform with the Flower Kings as well as with Steve Hackett and he had me shivering with delight, as he is without any doubt among the top bassists in music today. While I did review the Karmakanic debut and quite enjoyed that one, I only paid slight attention to the follow ups , the tasty 'Who is the Boss in the Factory' and 'Dot' (with which I could not connect -pun intended) . On this stellar release, the material seems to be much stronger , with some memorable pieces and the usual splendid playing and highly enjoyable vocals. The only average detail is the perfunctory cover art which reveals little of the pleasures inside, but Jonas does have a nice face .

With a perfect title like "Bracing for Impact", do not expect an ambient xylophone lullaby , but rather a volatile onslaught of gruesome Andy Tillison organ surges, assassin-based bass guitar meanderings from the maestro and incessant drum bashing of the highest order that last 2 and a half minutes and gets all the juices flowing. Keyboardist Lalle Larsson and Krister Jonsson add impressive details to the opening salvo.

Next up is not only a masterpiece track , on the verge of becoming a classic with more airplay, the mesmerizing beauty of "End of the Road" possesses all the ingredients to be a gourmet prog epic. Absolutely every second has staying power, seduction, and melodic content. Geri Schuller defines the ravishing theme on piano (which will take a bow at the end as well), the platform for Simon Phillips to decorate his syncopating technique, Luke Machin showcasing both acoustic and electric guitars, and a vocal barrage of the highest order : Randy McStine and John Mitchell trading the microphone, expressing the 'days of wonder' of 'the end of the road' with succinct passion. Jonas keeps everything nice and tidy as befits a musician of his stature (the images of his red Rickenbacker will remain forever imprinted on my soul). The acoustic guitar reprise with the piano is two steps from heaven genius as the theme detonates for another, more tectonic recap, Machin swerving madly on his lead guitar showcase. I have been humming this melody even in my sleep. You will too. One of the finest tracks for 2025 and beyond.

Craig Blundell takes over the kit on stunning "Cosmic Love", with John on the vocal, Randy on the guitar with Jonas handling the pulse, layering a great harmony chorus to boot, as once again the melody is immediately engrained into the mind of the listener. A slight hint of Spooky Tooth's classic oldie "The Mirror", which is a major compliment. The next trio of pieces could have been a suite loosely put together , as the overall style is similar. "We Got the World in our Hands" has Simon back on the drum stool, John playing a sensational 12 string acoustic and singing, with Jonas twirling in the background. Easy to follow with a few twists into creative sidebars, an inspirational chorus that sounds most comfortable and Krister peeling off an oblique run on his fretboard.

"All That Glitters Is Not Gold" incorporates old pal Tomas Bodin on keyboards, with addition of guest flute, saxophone and accordion, Jonas whipping out his fretless bass for our pleasure. Another crushingly attractive melody solidifies the chorus , that sonically widens with powerful riffs courtesy of Jonsson's axe technique that give off a darker atmosphere that is most welcome. Rob Townsend plays the sax part with his usual aplomb, with Blundell propelling like a turbo charged speedboat.

Original Karmakanic vocalist Goran Edman handles the bluesy "Gotta Lose this Ball and Chain" with his intricate growly voice supported with plenty of backing vocalisms, the molten riffs and athletic drums (Phillips) verging on Led Zeppelin and once again, lest I repeat myself, a theme that sticks the landing immediately! Guest guitarist Sven Cirnski rips a solo that hits the mark, and the finale is a showstopper. Another delicious chapter of this amazing release.

The title track is the coup de grace (please, it's a French word, its pronounced 'coo de grass') takes the exalted listener on a magical 23-minute progressive rock exploration that seeks the raise even further a most lofty bar. Throughout its length, many guests get to shine: Lalle Larsson, Andy Tillison, Geri Schuler, Tomas Bodin and Roger King show their keyboard skills, Steve Hackett shows up on his patented nylon acoustic for a brief spot, along with Jan-Olof Jonsson on acoustic and Krister taking another lead solo flight, Nick D'Virgilio manning the drum side of things , Rob on sax, and the amazing Dina Hoblinger trading the lead vocal with John, with backing help from Amanda Lehmann. Jonas does his reputation proud with some scintillating interventions on his instrument. Do not worry, this mammoth track flows like a majestic iceberg in glacial waters, at times gleaming, then shimmering, always glimmering, unafraid to boldly veer from prog to symphonics on a dime and a jazzy piano spotlight from Schuler this side of Herbie Hancock. The vocals are spectacular, the lyrics deep and the overall tempo is next level genius. Roine, this is a modern epic!

An extraordinary addition to this year's top of the podium finalists for 2025, one of easiest five-star attributions ever. This finely-tuned Prog automobile needs zero repairs or maintenance.

5 conversions

1. Bracing for Impact for the prog metal intro that's searching for itself, that DEEP PURPLE-esque rhythm made me listen, it's like ZZ TOP in the distance and that divine keyboard, well, everything is in place to produce typical prog rock. 2. End of the Road for the beautiful long melodic track that lacks creativity; yes, I feel like I'm on the latest FLOWER KINGS; well, no more, it's like Neal MORSE, yes, on familiar ground. The guitar solo is heartwarming, thanks to Luke for adding some pep. 3. Cosmic Love for its latent, progressive intro, quickly erased by the new-wave electro keyboard, yes, very invigorating; with Randy and John, we get our money's worth. 4. We Got the World in Our Hands, beautiful intro and consensual track, damn! It's going around in circles, it's beautiful, but it lacks the spark to captivate, because my ears still remind me of the sound of the Albion bigwigs who had a lot of fun jamming together on consensual prog rock, ideal for prog fans not looking for new sounds.

5. All That Glitters Is Not Gold for the accordion and the captivating chorus that you'd think you'd already heard elsewhere; the best track for the crescendo that deviates into the proven prog metal side, finally showcasing Göran's voice and the guitar solos that really enjoy themselves; the sax à la 'West Side'; in short, I did well to resist. 6. Gotta Lose This Ball and Chain for the calibrated ballad that reignites the debate on the sound of yesteryear; it's beautiful but conventional, we've already heard that, and what's new? It's clean, without any smudges, but I don't find the air that would make me swoon, or rather, I can't find a sound that would distinguish them from the FLOWER KINGS or BIG BIG TRAIN, pillars of a movement losing creativity. 7. Transmutation (The Constant Change of Everything) with its intro, yes, I'll leave you with that; after that, it's the trap track that seeks to melt the listener with numerous guests... and it works. Between Steve HACKETT's guitar and Andy's Hammond, I thought I heard a GENESIS tune, with Dina's vocals and Amanda's help, Nick's pad parts, how can you remain unmoved? Yes, but too much can kill too, so let's be careful! The velvety, melting, melting mid-track disappointed me, repeating the clichés of symphonic prog; The very beautiful jazzy-ethno-crazy jam suite can be shocking to have such a diversion on ZAPPA, PATTERN, MORSE again. The finale is worth its weight and captivates, bewitches the listener. (3.75)