KAIPA

Kaipa, a name that resonates through the history of progressive rock, returns with the album Vittjar. This album is a journey through time and space, where the band skillfully weaves together folk music and symphonic rock. Kaipa plays progressive rock with significant elements of folk music, fusion, and jazz rock. The group continues in its new style, and the album is reminiscent of their previous works since 2003 when the new era of the band began. The group has many positive moments and can create truly great music, reaching high peaks and beautiful melodies.

Vittjar opens with "First Distraction," a folk-inspired march that sets the tone for the rest of the album. "Lightblue and Green" features powerful drums and guitar riffs that somewhat resemble a modern version of Yes. The album's longest track, "Our Silent Ballroom Band," spans over 22 minutes and is a journey in itself. Aleena Gibson's vocals shine brightly, contributing to a cohesive and engaging narrative. The production is crystal clear, making each instrument stand out. Hans Lundin's keyboards and Per Nilsson's guitar work are particularly prominent, while Morgan Ågren's drums and Jonas Reingold's bass create a solid foundation.

I feel this album is somewhat of an intermediate effort; it has many good aspects but also some elements that detract from the overall impression. Without sounding too negative, there are a few things that prevent the album from truly taking off for me. Primarily, the album is too long, clocking in at over 68 minutes, and would have benefited from being trimmed by at least 15 minutes. In fact, all the tracks could be cut by about 25%. Even fairly good songs lose quality when they are stretched out too long. This ties into my difficulty in feeling that the songs have a clear thread, and they are hard to distinguish from each other due to many fillers and interludes that resemble each other, causing the individual character of the songs to disappear and blend together. While I'm on this note, I also find the jazzy outbursts somewhat disruptive at times. Additionally, the vocals can be a bit too shouty and overblown, sometimes even quite weak, to be honest. This is strange because both singers are fundamentally very good and often sing very well, but here it feels like the music demands that they push themselves too hard, making it sound strained.

Vittjar demonstrates Kaipa's ability to stay true to their roots while remaining modern. They are a group that demands and deserves attention, usually rewarding the listener with a rich musical experience. However, I feel this is clearly an intermediate album that doesn't quite maintain the same high quality as their previous works. It actually holds a very high quality that somewhat gets lost in the long playtime.

Review Nº 869

Kaipa is a Swedish progressive rock band that was formed in 1973 by Hans Lundin, Tomas Eriksson and Thomas Sjoberg. The original moniker was Ura Kaipa, after a Swedish stone age chieftain. They went through the usual line up changes and recorded five studio albums before finally splitting up in the end of 1982. In 1974 they recruited Roine Stolt, who would later became the mastermind of The Flower Kings. With him they recorded three studio albums, "Kaipa" in 1975, "Inget Nytt Under Solen" in 1976 and "Solo" in 1978. After a long break the band was reformed in 2000.

So, "Solo" is the third studio album of Kaipa and that was released in 1978. The line up on "Solo" is Mats Lofgren (lead vocals and percussion), Roine Stolt (vocals, electric, acoustic 6 and 12-string acoustic guitars, guitar synthesizer and percussion), Hans Lundin (vocals, Hammond organ, Mellotron, grand piano, Fender Rhodes electric piano, Korh and Moog synthesizers and Hohner clavinet), Mats Lindberg (bass guitar, Taurus bass pedals and percussion) and Ingemar Bergman (backing vocals, voice, drums and percussion).

Kaipa's third studio album is their last great work from the 70's. It's a solid effort, instrumentally strong like the previous two, although seeming to encompass a bit more variety and accessibility due to the addition of the lead vocalist Lofgren. Their sound is a strong melodic rock built on guitars, bass, drums and keys, with roots in traditional Swedish folk to some extent. Some passages rely heavily on the keys to produce a dreamy symphonic atmosphere, while guitarist Stolt displays an amazing versatility. A full half of the tracks here are completely instrumental. It's probably a more confident work than its predecessors. This is melodic progressive rock at its most tuneful with Focus, Genesis and Camel being conspicuous role models, along with traces of Italian bands like Premiata Forneria Marconi.

"Solo" has eleven tracks. The first track "Den Skrattande Grevinnan" kicks off the album in a great style. It's a fine instrumental track with some tasty Lundin's keyboards and Stolt's ever present nimble guitar lines, a formula that's also present on "Flytet". The second track "Sen Repris" has a very psychedelic vibe from the beginning of the 70's. It reminds me The Beatles in their most psychedelic phase and it has also some elements of the early Queen. The third track "Flytet" is very haunting and demonstrates Stolt's mastery of the weeping guitar sound, as pioneered by Jan Akkerman. This is a very melodic track featuring lots of fine moments. "Flytet" Is one of the best tracks. The fourth track "Anar Dig" begins as a calm and soft piece played in a very emotive way and that has also some nice vocal work. I particularly like the guitar work very much. I think this is a very nice track. The fifth track "Frog Funk" is surprisingly an instrumental piece that represents perhaps a tongue-in-cheek moment on the album. Despite it has, somehow, a disco beat, it sounds really nice to my ears. I really don't dislike it. However, maybe we can say that it's somewhat a bit restrained for Kaipa. The sixth track "Visan I Sommaren" is a romantic piece, one of the most vibrant tracks on the album that also features an excellent vocal work. This isn't really in line with the rest of the album but I sincerely like it. The seventh track "Tajgan" is an atmospheric piece of music almost composed by piano and Mellotron. It concludes a brief but tasteful blues solo evocative of David Gilmour. Anyway and as happened with "Frog Funk", it also can be a bit restrained piece for Kaipa. The eighth track "Respektera Min Varld" is a very lively organ driven piece. It's a more song based offer featuring the dual lead vocals of Lofgren and Lundin. This is quirky and melodic prog littered with Lundin's great keyboard textures. It's one more track that sounds great to me. The ninth track "En Igelkotts Dod" is a majestic march with Stolt perfectly capturing the Steve Hackett's stately guitar tone. This is an excellent instrumental piece very poignant and strongly influenced by Genesis. It also really sounds great to me. The tenth track "Total Forvirring" is an energetic piece with its synthesized guitar tracks. It also has a very Genesis' flavour, a real workout for Stolt's legato guitar solos. The eleventh track "Sist Pa Plan" closes out the album in a grand fashion, with a slew of fiery guitar and synth trade-offs between Stolt and Lundin driven by Lindberg's articulate bass line and Bergman's busy drumming.

Conclusion: "Solo" turned out to be Kaipa's last prog album in the 70's. Having recruited a singer, the band wrote a bunch of shorter, though still progressive material. In a way the band followed on this album the same musical path as on their two predecessors meaning making progressive rock music that was very much related to the music bands such as Genesis, Camel and Focus had made in the mid of the 70's. Despite the considerable contributions from the rest of the band, especially Lundin and his arsenal of analogue keyboards, it's the young Stolt who is the high achiever on "Solo", with some of his most memorable playing. It's a real pity then that a full twenty four years would pass before his next appearance on a Kaipa's work. It was a pity too that Kaipa only reappeared twenty years later of its dissolution.

Prog is my Ferrari. Jem Godfrey (Frost*)

When Roine Stolt seemed to appear from nowhere with 'The Flower King' in 1994, I am sure I was not the only proghead who wondered who Kaipa were, the band he had been involved with in the Seventies and was determined to discover more. I was soon playing their 1975 debut, but never thought the band would exist again, and given the success of his projects I was somewhat surprised to see Kaipa resurrect 20 years after their initial breakup with 'Notes From The Past' with Roine Stolt and Hans Lundin now forming a revised band with Patrik Lundström, Jonas Reingold and Morgan Ågren along with various guests, including Aleena Gibson. Fast forward another 20+ years and Kaipa are back with their tenth album since the resurrection. Over that time the line-up has stayed remarkably stable, and although Roine has not been involved for some time, the line-up is now very similar to that from 2002 with Hans Lundin (keyboards, vocals), Patrik Lundström (vocals), Aleena Gibson (vocals), Jonas Reingold (bass), Per Nilsson (electric & acoustic guitars) and Darby Todd (drums). Both guests who appeared on the last album 'Urskog', Elin Rubinsztein (violin) and Olof Åslund (saxophone) are back again plus Fredrik Lindqvist (recorders & whistles).

Incredibly, it is now 60 years since Hans Lundin's musical career started when he became a member of his first band as organist and singer, before forming Kaipa in 1973. 'Sommargryningsljus' (Summer Dawn Light) is the band's fifteenth album and contains eight tracks portraying a nocturnal journey from dusk until dawn, with the first two tracks representing the twilight and the closing two indicating dawn. This nighttime odyssey can be seen as a metaphor for the state between death and rebirth, or as an allegory of life told in reverse. As with 'Urskog', Hans has been revisiting songs he wrote years ago for inspiration, with the basic structures of both "Seven Birds" and "Spiderweb Train" initially written when he was working material which would end up on 'Notes From The Past', which caused him also to revisit some synths and sounds he had not utilised in some time.

Given the history of the band it is not surprising to find some similarities with The Flower Kings, which is a bit like finding similarities between Kansas and Proto Kaw, as there is an intertwined history both in personnel and influences. This is classic symphonic prog, but given the band were originally active in its heyday that is only to be expected, and that it is mostly keyboard driven with the rest of the guys bringing their elements to the arrangement to keep them as the central focus is also no shock. The use of different vocalists allows the band to widen the harmonies and palette of sounds at their disposal, while it is also intriguing to have songs both in English and Swedish. There is a real depth here, with music which feels as if it has been deeply thought through and constructed with care and passion, just like the old days, resulting in something which can be played multiple times and explored, with new discoveries each time. Kaipa continue to produce wonderful old school progressive rock and even if it is somewhat regressive in many ways, this old proghead finds much in here to enjoy.

I love the Kaipa band very much. They have a rich discography full of wonderful music. I started listening to them around 2005, albums from 2002 until today. Every album I discovered from these Swedes was something new for me and I listened to them again and again with joy. Unfortunately, I could not accept this new album as something that would take me to new worlds of their fantasies. Well, I think I listened to the new album at least a dozen times, sometimes very carefully, sometimes casually. Obviously I had high expectations and thought I was going to hear something new, something that almost every prog rock fan would be looking for. The new album Sommargryningsljus is just an average Kaipa album. Completely copy paste arrangements of music and singing from previous albums. Here and there parts of the songs have some new elements that I liked, but they are only elements of a few minutes each. In terms of production, they have gone further, mixing and mastering is phenomenal and it is a real pleasure to listen to that side of their music. I even experimented listening to the album on a 2.0 audio system and on a 9.1 system. On that side, everything is beautiful tonally, but only that and nothing more. 2/5 is my final rating. Album for collectors.

Veteran Swedish Prog band Kaipa has a long history (origins of the band go back nearly 50 yrs). The current version of the band is led by the twin virtuosos of Hans Lundin (keyboards) and Per Nilsson (guitars), and rounded out by Jonas Reingold (Flower Kings, Steve Hackett) on bass, Darby Todd (devin Townsend, Martin Barre) on drums, and vocalists Patrik Lundstrom and Aleena Gibson. This is classic symphonic prog with jazz elements, filled with grand themes and melodies, and abundant instrumental flourishes. The album consists primarily of 6 extended length songs (9-15 minutes each, providing ample space for the band to stretch out and explore the varied musical themes and sections of the songs. These are book-ended by shorter opening and closing theme tracks. In addition to the instrumental virtuosity on display, the male and female vocalists (mostly sung in English, but with some Swedish in the title tracks) add another lovely element, both individually and with fine vocal harmonies throughout. This is excellent symphonic prog that raises the bar for Kaipa as I would say it is the best of any of their more recent albums. Best Tracks: Relationview, Seven Birds, Chased By Wolves and Burned by the Sun, Spiderweb train, Sommargrningsljus. Rating: 4

Since the 70s, Kaipa has been delighting us with the finest sounds of Swedish progressive rock, setting trends in the country and serving as a creative haven for many of the genre's legendary artists. From their iconic debut with a young Roine Stolt on guitar (and, interestingly, painting the cover art), Kaipa has continuously reinvented their sound while maintaining the hallmarks of pastoral, symphonic, and, of course, progressive rock. They achieve a spectacular balance between melodic beauty and virtuosity.

This contrast became even more pronounced with the arrival of guitarist Per Nilsson in 2006, known for his work with Scar Symmetry and Meshuggah. This death metal icon breathed new life into the band with his piercing riffs and incredible, supersonic leads inspired by another Swedish idol, Yngwie Malmsteen. Let's not forget Jonas Reingold's pivotal role, possibly one of the most skilled bassists in modern progressive rock, with contributions to bands like The Flower Kings, The Tangent, and Steve Hackett.

Hans Lundin is the only original member of Kaipa still playing on this album. Once again, he dazzles us with his incredible compositional skills and signature keyboards. Undoubtedly, he is the mastermind behind this magical and ever-burning project.

This album follows in the footsteps of its predecessor, Urskog, and we believe it elevates this style to the next level, showcasing the band's best at an outstanding level of excellence. Folk melodies paint sunsets and mornings with violins, flutes, Hammonds, and Mellotrons, all alongside the boldness of a jazzy, hypnotic rhythm section, unbeatable bass runs, and well-crafted atmospheres with brilliant pads and multiple harmonic layers.

The guitar has its moments of prominence and accompaniment, being a fundamental pillar for structuring the songs (mostly long epics) in both modes, layering syncopated rhythms and creating discomfort and beauty simultaneously. The solos are spectacular, incredibly fast yet with enough melodic insight, sometimes touching a style akin to Guthrie Govan or Allan Holdsworth. In each of these long compositions, there's a guitar moment that often serves as the climax of the piece, showcasing unparalleled virtuosity.

Kaipa captures the full spectrum of nature's colors, offering melancholic introspective moments where tensions synergize indefinitely, as well as beautiful sunrise sections with barbershop-worthy vocal harmonies, enhanced by the combined energy of the two melodic singers, Aleena Gibson and Patrik Lundström. Each track on the album feels like an ineffable story, an experience worth exploring.

"Sommarskymningsljus" (Summer Twilight Light) opens the album with a captivating title that conjures a melody of the same nature, setting the emotional tone for this sensational journey.

"Seven Birds" brings forth everything we love about retro-prog: spectacular Mellotron melodies, vocal harmonies, and catchy hooks. Darkness lurks within the beauty and light of many passages, appearing in bold notes that enrich the melodies. Both vocalists weave their magic into a majestic harmonic display alongside the thunderous guitar that carves solos into every corner of this piece.

"Like Thousand Dawns" presents itself with an incredible introduction featuring irregular time signatures, a lead guitar, and rhythmic juggling. This track, sung in English unlike the first and last songs on the album, has captivating vocal passages narrated by Aleena's voice, sparking pure imagination that soars with the keyboards and dynamic shifts. This song includes some of the album's most ethereal passages and a spectacular use of vocal harmonies to create transcendent sections. The sweep picking intensifies towards the end, altering the chorus structure and concluding with an impressive prog display.

"Revelationview" is the second single from the album, already available for listening, and the reasons for its selection are evident. The emotional intensity of the voices and the otherworldly melodies show a different, darker, and more melancholic side of Kaipa that transforms under the subtle rays of late light. After two minutes, a spectacular violin theme emerges, reappearing until it dominates the orchestra of our minds, accompanied by the constant beat of Jonas Reingold's bass.

In the final section, a flute joins the violin's main theme, creating one of the most emotional endings of the album. Harmonic fireworks erupt at unexpected moments, and a pagan dance superbly closes the curtain after a simply inexplicable guitar solo.

Soft organ and pure jazz: these unrepentant chords start "Chased by Wolves and Burned by the Sun," pure summer brilliance with chaotic roots unfolding over ten minutes of pastoral melodies in the style of YES. The song's transformations lead to Per Nilsson's syncopated guitar dominating the verses in a tense conversation with Patrik. Repetition and hypnosis return to jazz and the keyboard/guitar solos, now clearly reminiscent of Allan Holdsworth.

Perhaps the elephant in the room, "Spiderweb Train": an impressive, bizarre, and pompous story in the purest style of The Flower Kings. Fifteen minutes of a song that can be interpreted as a critique of authoritarianism or mob mentality. It unfolds slowly between keyboard and bass solos, reviving the Reingold/Bodin duo from TFK. It is constantly interwoven with the darkness of its thrilling chorus, which simultaneously infects the rest of the instruments, interpreting this motif in each solo. The drum fills are striking, as are the dynamic changes, where we find marches, scherzos, circus rhythms, and slow rides, allowing each instrument to shine as it should.

In several sections, the song seems to lose its way and then find it again, which has a strong emotional impact on the listener. In other words, there are moments when you don't know where to focus, too many solos and majesty that require repeated listens and patience to process. What leaves me speechless are the last five minutes; I have no idea how they programmed the metronome, learned the solos, hit those notes, played so fast, etc. An overdose of prog with a chorus that sounds like a jingle for a malevolent dictator, nothing can go wrong.

"Like Thousand Dawns" stands out for its moving and 80s atmosphere, with open, reverberated drums and constant pads in exchange; something in Patrik's vocal inflections reminds me of Queen at times. The intricate guitar solos sprinkle this song from top to bottom, always satisfying the melodic standards of the work. It's a more neo-prog approach to Kaipa's sound, and I think this extra solemnity suits them excellently.

To close the album, we find the melody that introduced us to this natural journey, "Sommargryningsljus" (Summer Dawn Light). Together with its brother track, it conjures the emotions of the sun in an emotional chant with weeping guitars and Aleena Gibson, who, like a fairy, traps us in an eternal nuclear fusion.

On June 28th, we are treated to a record full of folk beauty; eighty minutes of an impressionistic landscape waiting to be experienced. Lakes, mountains, volcanoes, and lush greenery in an organic composition of progressive sounds for any listener, any time of day, any feeling? Kaipa at its finest.

Originally written for: Nacion Progresiva.

Kaipa is in a weird spot between being a retro prog band, and a classic?symphonic prog group. They started in the 70s with their eponymous debut in 1975. They would go for a couple of years since then, releasing about five or so symphonic prog records before disbanding in 1982 after their new wave flop of Nattdjurstid. They then reformed in the 2000s with Notes From The Past, marking their new shift as what many would consider a retro prog group, with brand new members such as Patrik Lundström of Ritual, and some older members like Roine Stolt popping in to help the group out. This new iteration of Kaipa is not to be confused with Kaipa Da Capo, which features predominantly the older members of the classic Kaipa from the 70s. This timeline sort of makes Kaipa a time piece of sorts for both the old days of prog rock, and the modern music being put out.

Personally, I am more of a fan of their newer stuff. My journey with Kaipa actually started quite early in my prog rock adventure. You see, in early 2021 I was obsessed with the track 'In The Wake Of Poseidon' by King Crimson. I tried to scour any renditions or versions of the song the best I could. This was how I discovered the Italian band La Maschera Di Cera as they played that song live on their Belgium 2005 album. Whilst continuing my search for lofty Crimson covers, I managed to find the title track of the album I am currently reviewing. I didn't think much of it, I liked the song and carried on with my search. Then 2022 rolled around, and I discovered Kaipa once more through Urskog, which I still think is their best record they've released. I decided then to check more of their stuff out, even looking back at their older records. I wasn't obsessed, but I certainly had quite the infatuation in the summer of 2022. Then I eventually wound back right to where I started, In The Wake Of Evolution.

I gotta say, this album is certainly one of their best they've put out to me. This album is the second release of what I dub their 'butterfly era', which started with Angling Feelings in 2007, through Vittjar in 2012. I dub this the butterfly era, as their logo then had a butterfly over the i. They stopped this era with Sattyg in 2014. I haven't heard Vittjar yet, but out of the two I have heard from this era, Wake Of Evolution takes the cake.

I really love this album because of the joyous energy Kaipa has on here. Kaipa, and most retro prog in general, always had quite a celebratory energy, but here it feels like they took that power to a whole new level, which they continued to hold in the albums after. The title track has this very bouncy feel, Folkia's First Decision feels like I am in a glamorous medieval pub, Arcs of Sound has this absolutely fun guitar solo; You would be hard pressed not to find something enjoyable here, or at least something that doesn't make you smile while tapping your feet.

The title track in particular is really fun. A 10 minute extravaganza of these bouncy keyboards, fun guitar medleys, and super enjoyable vocal performances from Aleena Gibson and Patrik Lundström. I consider this track to be Kaipa's bonafide masterpiece, and that's not counting my slight nostalgia for it. It's also the best longer track on the album, which leads a bit to the issues I have here.

Aside from the title track, of course, the longer tracks feel just a tad too long for me. I know, "GASP!" a prog fan finds a song too long, but it's true. The epic of Electric Power Water Notes, and the final 10 minute track of The Seven Oceans of Our Mind just feel like they are played for much longer than they probably should, if I am being honest. Electric Power Water Notes ends quite greatly after the 11 minute mark, and would be a good end to the song with that nice guitar solo, but then it keeps going for much longer, and with a pretty not so satisfying ending too. It feels more obligatory than it should.

The Seven Oceans of Our Mind isn't the worst offender here, but it's certainly not the best either. It has a perfect cap on the song with the 6 minute mark, being a reprisal of the first lyrics sung off the track. It would be a great way to end off the album, but then we get an additional 3 minutes of guitar solos and music, and while it is admittedly good music, I cannot help but feel it is also very unnecessary. These two long tracks feel more enforced, and certainly show that later Kaipa releases have a better understanding of how to implement these longer songs much better into the track listings.

However, a remedy is found within the lyrics. A lot of Kaipa releases don't quite follow the same thematics this album includes, being that of questions that the new generations may have to answer, and how the future for the youth doesn't seem to be better than the present we have now. It is very conscious, and I think this album certainly holds some of the group's best lyrics, which is admittedly not a high bar to set since the group is more instrumently focused than lyrically.

While imperfect, this record holds some of the best moments of Kaipa, and Swedish prog in general, and is just in general a very good-feeling record to listen to. While I say listen to Notes From The Past first if you want a taste of modern Kaipa, give this one a try too if you dig the group's retro prog stylings. You can never go wrong with a good Kaipa release, that's for sure.

Best tracks: In the Wake of Evolution, Folkia's First Decision, Arcs of Sound

Worst tracks: Electric Power Water Notes, The Seven Oceans of Our Mind

Review Nº 644

Kaipa is definitely one of the best Swedish progressive rock bands and one of the most interesting from the 70's. Their first three albums are highly and deservedly praised and are occasionally available individually to can be purchased. However, this compilation "The Decca Years 1975-1978" has more than that. It's comprised by the three mentioned studio albums, a demo which was previously unreleased and a previously unreleased live set. This collection is the only place where you can obtain the demo and the live set. The main problem is that this is a limited edition hard to get.

So, "The Decca Years 1975-1978" is a box set with five CD's of Kaipa. It has the three first studio albums of the band, "Kaipa" from 1975, "Inget Nytt Under Solen" from 1976 and "Solo" from 1978, plus two bonus CD's, "Kaipa Live" with eleven tracks of concert material from the same period and one called "1974 Unedited Master Demo Recording", which also has eleven tracks and speaks for itself with regard to its content. So, we have here a total of fifty-three tracks in all on the five discs. Each one is housed in a mini LP replica sleeve and the whole set is packaged in a nice top close style box and includes a thick booklet with tons of photos and details about this legendary Swedish prog band's history.

I'm going to write in a short way what are my thoughts about the five CD's contained on "The Decca Years 1975- 1978".

"Kaipa": Kaipa's debut album should actually appeal to all friends of the melodic variety of the progressive rock of the 70's. The elegiac elements predominate and one should not expect complex cabinet pieces. For me, Kaipa is still one of the really big bands of the 70's, probably the biggest Swedish prog band in those years. I know few other prog bands that possessed such a keen sense of a so elegant and beautiful melody. Unfortunately, this outstanding band is usually only mentioned in a subordinate clause when talking about Roine Stolt's Flower Kings. So, Kaipa's debut is overall an impressive 70's prog rock classic that should satisfy fans of Genesis, Yes, Camel and the melodic prog rock in general.

"Inget Nytt Under Solen": "Inget Nytt Under Solen" captures the band at the peak of their exploration ride and is one of the most essential Swedish prog albums of the 70's. It has all the elements you would want in a prog band, beautiful captivating songs with superb musicianship. The band managed to create a right balance between the energetic parts and the emotional melancholic parts. All tracks are well constructed, having been given to them lots of space to breathe and to create some lovely atmospheres. Stolt brings his accurate and lively guitar work, Lundin brings his analogue keyboard wizardry, Eriksson adds some real solid punchy bass lines and Bergman delivers some solid percussion.

"Solo": "Solo" turned out to be Kaipa's last prog album in the 70's. Having recruited a singer, the band wrote a bunch of shorter, though still progressive material. In a way the band followed on this album the same musical path as on their two predecessors meaning making progressive rock music that was very much related to the music of bands such as Genesis, Camel and Focus had made in the mid of the 70's. Despite the considerable contributions from the rest of the band, especially Lundin and his arsenal of analogue keyboards, it's the young Stolt who is the high achiever on "Solo", with some of his most memorable playing. It's really a pity that Kaipa only reappeared twenty years later of its split.

"Kaipa Live": The tracks were recorded in different time and places. Tracks 1-7 were recorded at Huset, Copenhagen, Denmark in 1978, tracks 8-9 were recorded at Ostanaskolan, Eksjo, Sweden in 1976, track 10 was recorded at Bullerbyn, Stockholm, Sweden in 1977 and track 11 was recorded at Stenungsundsgymnasiet, Stenungsund, Sweden in 1977. There are really some fairly great cuts here in which the youth of the musicians is belied by the maturity and depth arrangements. I especially enjoy "Total Forvirring", "Skenet Bedrar", "Musiken Ar Ljuset", and "Se Var Morgon Gry".

"1974 Unedited Master Demo Recording": This is a CD with eleven tracks. As its name indicates, they were all recorded in 1974. Of these eleven tracks only two "Saker Har Tva Sidor" and "Allting Har Sin Borjan Genom Solen" were used on the eponymous debut studio album of Kaipa. Still, the arrangements were in some places drastically changed and some parts were excluded. The rest are all unreleased tracks. They were all gradually exchanged during 1975 in favour of new compositions to their debut. I really like of these tracks that show Kaipa's early promise that would be fully confirmed.

Conclusion: "The Decca Years 1975-1978" gives a complete overview of the years of the first Kaipa's incarnation. Even if you already own Kaipa's old albums, it's worth buying this box set because of the almost sensationally good live recordings, even if the sound quality fluctuates at times, and of course, the original unreleased demos cuts, which show that it's really Hans Lundin and his ideas that are the driving force behind Kaipa, despite some amazing guitar work displayed by the young Roine Stolt. If you haven't had any of the old Kaipa's albums yet, you're in good hands here anyway. The downside is that is very difficult to put your hands in one of them. So, go for it, like me, if you can.

Prog is my Ferrari. Jem Godfrey (Frost*)

For some reason or another it has been years since I last reviewed Kaipa, and I actually think Roine Stolt was still playing with them back then but he left some years ago, which means the only founder member still there is keyboard players Hans Lundin. However, since they reformed in 2000 there has been some wonderful consistency with singers Patrik Lundström and Aleena Gibson plus bassist Jonas Reingold having been there throughout, and then guitarist Per Nilsson replacing Roine in 2006. The only recent change is the departure of drummer Morgan Ågren who left the band prior to this album as he was unable to commit to the recording, so he has now been replaced by Darby Todd (Devin Townsend, The Darkness, Gary Moore, Martin Barre etc.).

Apparently, most of the songs were written in 2018 when Hans was working on the six CD set 'Hans Lundin: The Solo Years', and listening to his older songs influenced what he was working on, and in some cases he actually took a fragment of an old song and turned it into something new as well as sampling some '80's sounds which were included. It would be very easy for people to say Kaipa cannot exist without Stolt, especially as he has formed Kaipa Da Capo, but unless he is working with another very strong individual it is very easy for Roine to turn the band into The Flower Kings, which is why Transatlantic work so well as there are four musicians who all have their own very strong identities. Pers is a very fluid and enjoyable guitarist who is not Roine and so consequently plays in a quite different manner but with Hans at the helm as he has since the very beginning some 50 years ago, this is most definitely Kaipa. There are some wonderful instrumental passages on this album, with "In A World Of Pines" containing some fine examples with both Pers and Hans having a blast with some wonderful runs, while Jonas delivers the melodic and bouncing basslines we have all come to expect. Darby may be a new member of this band, but he has worked with different progressive and metal bands over the years and he has fitted in incredibly well, not sounding like a newbie at all as he brings structure and plenty of nuances to his performance. I do prefer Patrik's vocals over Aleena, but she does have a nice range and when they are both singing at full blast it is quite something.

This rarely sounds like a modern progressive rock album, and is quite firmly in the Seventies with some Eighties influences, but given that this band has been around for so long I have no issue with that, and who can resist a Mellotron anyway? A very strong album with much contained within for any proghead.

If I counted correctly KAIPA arrives in this year at fifteen albums released. What about with this latest installment, did they finally stand out from Roine's weight?

'The Frozen Dead of the Night' to have fun and realize that the KAIPA sound has evolved; layered keyboards from Hans, a guitar from Per that stands out, fruity, twirling and Patrik who uses his voice like a certain QUEEN singer. 'In a World of Pines' for the voice of Aleena, beautiful but which requires getting used to the vocal duality. 'Urskog' for being sung in the mother tongue. 'Wilderness Excursion' for the slap of the album, let me explain: it starts out jazzy-prog and it irritates my hair, I don't see the point even if it's nervous and well done; then it really starts around 3 minutes for a punchy instrumental; well nothing new but a title ... well done. 'In the Wastelands of My Mind' which bluffs its audience with an intro where the shadow of KANSAS floats, ah this violin; then the addition of the acoustic guitar gives new blood, it's still beautiful but always in the same vein. 'The Bitter Setting Sun' for the epic piece, a condensed, progressive melting-pot of what can be good in this slightly sclerotic world, beautiful flights of synths, rhythm guitar, solo, a sax that is reminiscent of the 70's and 80's; in short, beautiful things that also turn irremediably in circles.

KAIPA has therefore released a beautiful album of progressive rock, the kind of music that brings back and recalls the work of the great elders, from GENESIS to YES in particular. It's professional but/and it reminds me a little too much of the magnificent opuses of FLOWER KINGS, SPOCK'S BEARD and other Neal MORSE; it is in the continuity of a de facto symphonic prog rock, to be listened to preferably during the long winter nights. I can already hear the old progs throwing stones at me, while they unfortunately forget that this music could be shortened a bit to reach an audience, otherwise the prog will go into deep lethargy.