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KAIPA

Symphonic Prog • Sweden


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Kaipa picture
Kaipa biography
Founded in 1973 as "Ura Kaipa" - Disbanded in 1982 - Reformed in 2000

In their early years, KAIPA was one of Sweden's best Symphonic Prog bands. Roine STOLT from THE FLOWER KINGS was a member of KAIPA. Their albums contain mostly instrumental music, drawing its influences from classic progressive Rock bands (CAMEL, YES, GENESIS...), Classical music (BACH), and also Swedish Folk music.

The first three albums ("Kaipa", "Inget Nytt Under Solen" and "Solo") are beautiful and probably most representative of their style - dreamy Symphonic Rock with simple, yet very effective melodies and a great deal of emotion. "Notes From The Past" is their 6th studio album since 1975 and the first one since 1982. All colours of the unique KAIPA-music from the 70's are present but with a brand new collection of masterpieces. With the new album "Keyholder", Hans LUNDIN and Roine STOLT perform some new music, searching for a new level of progress, yet echoing fragments of the glorious 70's, trying to bring the new Kaipa-sound to a higher level. The melodies linger on and will probably stay with you for decades to entertain and to thrill. An essential band for fans of Symphonic progressive Rock!

See also: KAIPA DA CAPO

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KAIPA discography


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KAIPA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 231 ratings
Kaipa
1975
4.00 | 212 ratings
Inget Nytt Under Solen
1976
4.01 | 204 ratings
Solo
1978
2.40 | 68 ratings
Händer
1980
1.85 | 73 ratings
Nattdjurstid
1982
3.83 | 212 ratings
Notes from the Past
2002
3.80 | 251 ratings
Keyholder
2003
3.20 | 171 ratings
Mindrevolutions
2005
3.48 | 181 ratings
Angling Feelings
2007
3.83 | 386 ratings
In The Wake Of Evolution
2010
3.90 | 314 ratings
Vittjar
2012
3.86 | 236 ratings
Sattyg
2014
3.78 | 149 ratings
Children Of The Sounds
2017

KAIPA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

KAIPA Videos (DVD, Blu-ray, VHS etc)

KAIPA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.57 | 35 ratings
The Decca Years 1975-1978
2005
4.60 | 10 ratings
Discovering Kaipa
2015

KAIPA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.67 | 3 ratings
För Sent / Bay-e Bay-o
1974
3.25 | 4 ratings
Sen Repris / Visa i Sommaren
1978
3.33 | 3 ratings
Äntligen / Staden Lever
1980
3.00 | 3 ratings
Cellskräck / Bländad Ikväll
1982
3.23 | 33 ratings
Stockholm Symphonie
1993

KAIPA Reviews


Showing last 10 reviews only
 Inget Nytt Under Solen by KAIPA album cover Studio Album, 1976
4.00 | 212 ratings

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Inget Nytt Under Solen
Kaipa Symphonic Prog

Review by sgtpepper

5 stars This album captures the band at the peak of their exploration ride and belongs to the most essential Swedish progressive rock albums of the 70's. The band managed to create a right balance between energetic and more emotional melancholic parts, mainly uses instrumental power although singing in Swedish is not bad either. Playing is very competent with aggressive sound by bass guitar, sometimes also coupled with guitar. Keyboards have many faces from more traditional organ and piano to the contemporary first league Moog/synths/mellotron and even modern electric piano, clavinet and Fender Rhodes. He can create a powerful atmosphere. The band manages to create their own sound and emotions. The first composition is very representative, it has classical music influence, a few hard-rock elements but first of all, it is original and sounds like Kaipa. Instrumental parts like 12-13th minute or 17th minute are very pleasant to listen and completely different from each other. Guitar playing by the young Roine Stolt is melodic, tasty and emotional. And as I said, the keyboard player is so versatile with his array of keyboards. The other tracks are also very good, although shorter. They are melodic and well constructed. Listen to the typical Swedish prog sound in "Korståg" which has the smoking guitar and is purely instrumental. "Dagens Port" is a very symphonic and solemn track with strong chords structure given by keyboards.

The last track is the title track and it is a more reflective track with a sliding guitar motive that is mellow but typical Stolt's.

Highly recommended and one of a kind.

 Sattyg by KAIPA album cover Studio Album, 2014
3.86 | 236 ratings

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Sattyg
Kaipa Symphonic Prog

Review by friso
Prog Reviewer

4 stars This Swedish symphonic prog group (dating back from the mid-seventies) plays a mixture of fusion-prog and Swedish folk. Add a layer of seventies glam-prog singing and endless lines of virtuoso fusion-metal guitar and you get the picture. This album is perfectly produced (oh boy, does it sound thick and steady) and the band is really tight, both in playing as in stylistic continuity. The talent and fiery motivation of all involved is felt throughout. I own the InsideOut 2LP and this label never lets us down with well printed vinyls and nice artwork.

Kaipa makes compositions in which the verses and the refrains serve only as a main body for the long list of themes, variations and solo's it has to offer. The folky themes sounded a bit cheesy at first, but I kind of came around and started liking them a lot. It's quite interesting how Kaipa found this natural sounding mix of fusion and folk. The male and female vocals by Gibson and Lundstrum are a bit over the top, but never disruptive of the flow of the music. Though 'Sattyg' means darkness, this album will function as a feel-good and girlfriend friendly album in collection. Kaipa doesn't seem to want to impose its seriousness on the listener - in stead offering pleasantness in a high-temp and highly technical fashion. The lead themes on keyboards sound like a distorted fuzz guitar. The 'real' electric guitars by Per Nilsson are however well distinguishable, for he is one of the genre most technically gifted players. The over- abundance of his technical yet harmonically safe solo's diminishes the impact a bit though. The last track 'Without Time - Beyond Time' could have easily been left out without damaging this otherwise excellent album.

Conclusion. This album will not impress with the soul crushing impact of its individual parts, but as a whole its extremely pleasant and easy to listen to. You have to get a sense of the fun of it all. Don't bother about the lyrics or the grander scheme of it. This is fusion- folk-prog played by the greatest the progressive genre has to offer and I liked it more then I ever would have thought. I don't expect to buy another Kaipa LP though and had I already owned more Kaipa records like this one, I probably would have never rated it with four stars.

 In The Wake Of Evolution by KAIPA album cover Studio Album, 2010
3.83 | 386 ratings

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In The Wake Of Evolution
Kaipa Symphonic Prog

Review by ZowieZiggy
Prog Reviewer

3 stars I just found out that I wrote a review for this album some...five years ago and never uploaded it. So...

Another Kaipa / TFK album ? My answer is definitely yes ! Even if Roine is not there...

An excellent opening number full of energy, melody, symphony augurs very well of a very good album. The only minus point is that this track could have been on each of the (very) long TFK story. Same sort of fine vocal harmony, same sort of 'Yes' feel, same sort of excellent guitar breaks. But I 've been hearing this quite a few times already (being 'Kaipa' or 'TFK').

The problem is that after this very good opening, the rest of the album is quite flat and not really worth your attention. There are melancholic vocals, some folkish atmosphere ('In The Heart'' or the short 'Folkia's First Decision'), sweet guitar etc. But at the end of the day; this sounds too much of the same. And it is not the first time that I can come with this conclusion while reviewing a 'Kaipa' album.

As a passionate of the symphonic genre, there are of course some very good moments, but globally this sounds too much repetitive and finally a lack of creativity is severely felt while listening to this album.

The best to depict this is probably the epic 'Electric Power Water Notes' which is full of all the clich's we would like to disappear. Some call this retro-prog; I call this prog with little innovation. You name it.

This album is also much, much too long to raise the interest from start to finish. At least it is my opinion. Over seventy minutes of about the same is quite a long exercise when you have to concentrate on the music to write a review about it.

An EP would have been sufficient to translate the ideas of 'Kaipa' here. As such, I can't be as optimistic as some of my fellow reviewers. By no means is this a poor album, but in terms of creativity it is a desert. Only die-hard 'Kaipa' or TFK fans can really elevate this work to the prog Walhalla. I am just an average one of them.

What comes after 'Electric Power''is rather average and isn't really worth a mention. Fillers all the way through IMHHO ('The Words Are Like Leaves'). One great opening song, a decent epic: this is how I can best summarize this album.

There are little to no surprise while listening to this album. But this is probably what the fans are expecting. But I was expecting a bit more. Still, three stars sound legitimate ('Arcs Of Sound' is not too bad after all).

 Nattdjurstid by KAIPA album cover Studio Album, 1982
1.85 | 73 ratings

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Nattdjurstid
Kaipa Symphonic Prog

Review by axeman

2 stars

There are stinkers like Timmar Av Glas on this album. But I found it an interesting listen. I really started to like the title track Nattdjurstid, but mainly on an outre rock level. The pulsing bass and saw mill guitar were really catchy. Skipping right over the aforementioned Timmar Av Glas , the next song that catches my interest is Zepapo. I like a little funk now and then. (Funk guitar can be pretty fun to play.) Of course, I like the wild distorted guitar and the interludes of spacey keyboards that make a little cool jazz interludes, which really make the song a better listen. Identitetkris starts out like techno pop, but it quickly adds some dischordant and fanfare keyboard motifs which kind of sound like something in the general area of Alan Parsons, Saga, some of what you could hear from Steve Hackett, and even kind of themes the Steve Morse might have played.

I have to say I don't mind the aggressive vocals nor the brief interludes of straight pop elements, because Kaipa here was pretty good about not just leaving you there. Inam oss has to be seen as pretty much an attempt at New Wave, which I don't think fails.

I remember the 80s as a prog fan. It was no surprise to see yet another band let you down and start producing something more current. And we heard a lot of "Our music has changed". So I can understand the disgust with this album. On the otherhand Kaipa wasn't ever a band I listened to. And the more aggressive tone I heard on this album surprised me, beacause Kaipa usually runs a little twee for me. I saw this come up in my Spotify recommendations, and I was giving it a couple of tracks, because I didn't recognize it, and the difference between what I expected and what I heard, and what I thought was interesting enough to spin through it a couple times.

I think it's really an interesting attempt to maintain some semblance of music integrity at the same time as trying to stay alive in the market. I'm pretty sure it's at this time that Kerry Livgren of Kansas started writing his per-album record-companies-suck-song, so I've always chalked it up to increased pressure by record companies on all fronts.

 Children Of The Sounds by KAIPA album cover Studio Album, 2017
3.78 | 149 ratings

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Children Of The Sounds
Kaipa Symphonic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

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

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

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

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

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

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

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

 Children Of The Sounds by KAIPA album cover Studio Album, 2017
3.78 | 149 ratings

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Children Of The Sounds
Kaipa Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Legendary Seventies Swedish proggers Kaipa reformed back in the early years of the new millennium around two of the original members, founding keyboardist Hans Lundin and future Flower Kings guitarist Roine Stolt, with the duo delivering `Notes from the Past' in 2002. Since that time, Stolt has departed once again after 2005's `Mindrevolutions', even going on to form a related splinter group Kaipa Da Capo in the last couple of years, but Lundin has carried on forging a whole new unique sound for this modern Kaipa. This distinctive fresh identity is especially aided by Ritual's vocalist Patrik Lundström, Flower Kings/Karmakanic/The Tangent bass player extraordinaire Jonas Reingold and spirited female singer Aleena Gibson, and it is mostly this line-up that has remained in place for several years now, delivering another fine symphonic folk work here, `Children of the Sounds', in 2017.

Both opener `Children Of The Sounds' and the seventeen minute `On the Edge of New Horizons' instantly call to mind plenty of modern Kaipa songs of the last decade, as well as setting the template for much of the disc, with luxurious acoustic guitars and grandiose synth passages weaving bombastic folk-flecked prog-rock symphonies. The prettiness is ingrained to propulsive electric guitar soloing (sometimes briefly drifting into jazz-fusion territory), Jonas' fluid and thick bass backing and Morgan Ågren's busy complex drumming, and Patrik's Freddie Mercury-esque tone remains commanding with conviction while Aleena retains her boisterous hippie-chick colour and spunk! Stolt's replacement for several albums now, talented guitarist Per Nilsson, brings a heavier attack than his predecessor of many albums back, perhaps unsurprisingly due to his heavy metal background with Scar Symmetry and more recently Meshuggah, but he offers a very unique, curiously weighty backing to the fanciful acoustic folk passages here. Lyrically, there's a welcome positivity to the words that constantly focus on nature, nostalgia and spirit, with examples like `We are descendants of the sound cloud', `We are universal soldiers of art, the guardians of light' giving a good idea to the mindset the modern version of Kaipa operates from.

But the album really climbs to a higher level once guest Elin Rubinsztein's violin is introduced for all the remaining pieces. The near-thirteen minute lyrically reflective `Like A Serpentine' is an overall highlight of the disc, where carefully executed heavier rushes blend with a sweeping prettier whimsy of orchestral-like instrumentation, and it reminds how frequently lovely it is when Patrick and Aleena sing sweetly in unison or offer softly sighing harmonies. The shortest piece `The Shadowy Sunlight' fuses prancing violin and romantic moods with some heavier guitar bite, giving its bookended folk whimsy (the best parts of the piece) a touch of weight, conviction and light gothic flavours. Closer `What's Behind The Fields' is pounded with blustery symphonic Hammond/Mellotron blasts, with plenty of drawn out breathy vocals in between the twirling violin, jangling acoustic guitars and rambunctious drumming infiltrating the harder edged bursts, and a suitably grand extended guitar solo from Per perfectly farewells the album.

What we have with `Children of the Sounds' is another reliable and impeccably performed modern Kaipa album, however it does admittedly sound exactly like...pretty much the last six Kaipa albums in a row. The biggest diehard fans of the band likely won't mind, and newcomers discovering the group with this album will greatly enjoy it, but for others, it kind of renders the LP as `just another Kaipa album', which lets down the always superb efforts of the various performers here, and it runs the risk of some listeners becoming more disinterested in the group in the future. A definite rethink is in order here, where Lundin and his Kaipa friends need to shake up their sound and take a few more chances - perhaps they could deliver a purely acoustic work, or maybe a concept album with branching lyrical themes? Still, taken on its own merits, `Children of the Sound' remains a fine folk-flavoured symphonic work, and there's endless things to enjoy about it.

Four stars...and bonus points for Thomas Ewerhard's luscious pastoral cover art that looks especially lovely on the LP edition.

 Children Of The Sounds by KAIPA album cover Studio Album, 2017
3.78 | 149 ratings

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Children Of The Sounds
Kaipa Symphonic Prog

Review by Booba Kastorsky

4 stars Modern Kaipa don't discover Americas or invent the wheel, but they deliver what you expect from them. I'm not a "big fan" or long term follower, but I like them. In fact I "discovered" them last year and liked their album. This year, they delivered another stellar record. Their secret weapons are guitarist Per Nilsson and violinist Elin Rubinsztein. Their solos are beautiful and really enhance the band's musical palette. Their solos always play in the right place at the right time, and last exactly as long as necessary! I'm not a big fan of their vocals, though. Aleena's vocal is ok, but often lacks warm and deep, in my opinion. But male vocal is even worse and often doesn't fit music. This is especially evident on the last song that is almost ruined by shrill, harsh male vocal that sound like cat's song in March. Brrrrr.... Oh, yeah, he is one of the leading female vocal in Swedish prog, apparently, as I read recently...:) Thankfully, that doesn't last long, and then violin and guitar turn this song that started so miserable into another nice musical journey. Just like in the case with The Tangent and their vocals, these guys would rather shut up and play, really! :)
 Children Of The Sounds by KAIPA album cover Studio Album, 2017
3.78 | 149 ratings

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Children Of The Sounds
Kaipa Symphonic Prog

Review by The Jester

3 stars Review # 68. Children of the Sounds is the brand new album of the Swedish band Kaipa, which was released a few weeks ago. It is their 13th studio album, and the 8th since the band was re-formed in 2000. It comes 3 years after the release of - the very good - Sattyg, but I'm afraid that this is a 'weaker' album. I have the band's latest four releases in my collection, and I believe that "Children" is the less interesting of all four. The style of the album is the usual style of Kaipa, with the familiar Folk Rock influences, the beautiful guitar passages, the nice female vocals on most occasions, and the long complicated compositions. But there is something missing, and I can't realize what. Maybe the fact that many songs remind me of other songs from the band's previous albums, but this time they are not so inspired. The album includes five songs and has a total running time of almost an hour. There are three songs more than ten minutes in length, and the remaining two songs are seven and nine minutes long. I must also mention the wonderful cover, that continues the line of the beautiful album covers of Kaipa. Speaking for myself, I listened to the album 4-5 times so far, but almost every time I stop and turn back to their previous works. That surely means something, don't you think? Favorite songs: Like a Serpentine and What's Behind the Fields. Children of the Sounds is a decent album, but I wouldn't recommend it easily to people who are not fond of the music of Kaipa. I'm afraid I cannot give more than 3.0 (out of 5.0) stars.
 Children Of The Sounds by KAIPA album cover Studio Album, 2017
3.78 | 149 ratings

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Children Of The Sounds
Kaipa Symphonic Prog

Review by proghaven

4 stars The fest continues. The genuine dawn of Kaipa, a veteran Swedish prog band, occurred in 2002, twenty years after the band went to history. What was before that? Their sickly-sweet debut in 1975, their creative peak in 1978 with Solo, their shameful decline in 1982 with Nattdjurstid - and finally, their glorious return with Notes From The Past, an album that brought notes from the future in fact. Old Kaipa was mostly Roine Stolt and Hans Lundin (as usual I speak only of those who wrote the music, not about 'guitar riffs', 'driving rhythms', 'keyboard layers' and other things of low importance). And it was musically rather pan-European than Swedish. New Kaipa is almost exclusively Hans Lundin. And musically it's completely Swedish. (I'm especially happy to underline this moment because Russian and Scandinavian traditional music exerted massive mutual influence throughout centuries.) Apart from that, as the band leader grows older, his music becomes younger. Today it's heavier, more complex, inventive and fresh than forty years ago.

Since 2002, one album followed another, all brilliant, all somewhat uniform but refined and sophisticated, all full of magnificent musical ideas. Perhaps the peak was reached with In The Wake Of Evolution and Vittjar. Sattyg was sustained overall at the same level as Vittjar, with no progress and no decline. And now, the new Kaipa album seems to show some relaxation from really dramatic tension of the previous releases. Yes it's still Kaipa at their best, yes the music is still sunny and shiny, very romantic and very progressive (sic!), but... The opening self-titled track is rather imitating complexity than really complex. As for On The Edge Of New Horizons, Like A Serpentine and What's Behind The Fields, their complexity and sophistication are not of the same nature as before.

More precisely, it's typical not for Kaipa only. The prog music of 2000s-2010s in its entirety moved in the same direction since the very beginning. I think the foundation was laid by Spock's Beard and Dream Theater in mid and late 1990s. The complexity and virtuosity of 1970s prog had a 'visceral', natural, spontaneous origin. The complexity and virtuosity of modern prog often takes its root in the musicians' craft and skill. Nowadays, prog music is ceasing to be a living being, a sort of a tree that grows by itself, and preparing to become an 'academic' (if not 'museum') area, just like so-called classical music. Soon we'll see portraits of Tony Banks, Keith Emerson, Rick Wakeman, Ian Anderson, Jon Anderson etc in conservatories and music colleges, alternately with portraits of Bach, Mozart, Mussorgsky etc, and theory of 20th-21st century progressive rock will be taught at Royal Academy of Music and Moscow Conservatory on par with harmony and counterpoint.

On the one hand, this is fine. This means that prog music is ready to take the place in hierarchy of human culture it really deserves. On the other hand, this may also mean that progressive music is becoming senile and slowly moving from 'actual' to 'archived' status. So, the academic perfection of Kaipa's Children Of The Sounds, as well as some other new releases, especially from young prog bands, has a dark side. In The Court Of The Crimson King and Trespass were new springs - if not geysers - in music. Now, in late 2010s, we see widened streams but no new geyser. A crowd of honours pupils playing musical instruments better than their teachers, but no pioneer. Hailstorms of idioadaptations but no aromorphosis. And the progsters of old generation only aggravate the tendency. We've got used to bronze Beethoven - is the time really right for getting used to bronze Lundin?

 Nattdjurstid by KAIPA album cover Studio Album, 1982
1.85 | 73 ratings

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Nattdjurstid
Kaipa Symphonic Prog

Review by Matti
Prog Reviewer

1 stars This album is so unbearable that it makes me laugh. Today I received three remaster CD's of KAIPA '78 - '82 to be reviewed. Knowing in advance this one is regarded as the worst of them, I listened to it at first, trying to be as open-minded as I could. Sure, the synth-oriented pop/rock of the early eighties can be pretty good, even if made by a former prog band. For example Duke (1980) by Genesis isn't a bad album at all, and Peter Gabriel re-invented himself and made his first masterpiece (1980). There are some elements in Nattdjurstid [= Time of Nocturnal Animals] not so far from these mentioned albums -- think of 'Man of Our Times', the worst track of Duke, or PG songs such as 'Not One of Us'. Another influence for KAIPA at this time must have been TALKING HEADS. Musically, this album does have a peculiar and relatively original nature and it would be worth multiple listens, but... the vocals are the final insult to my ears and steal the second star from my rating.

And it's the same guy, Hans Lundin, whose bright and deeply emotional vocals I appreciate a lot in the Kaipa debut (1975)! Here he's not actually singing, he is YELLING. This is why the only track I actually like is the instrumental 'Identitetskris'. Some of the songs would be interesting if only the vocals were good. They all are in a rather fast tempo and the playing often has clever angularity comparable to the 80's KING CRIMSON (yeah, I mean it).

The recent CD release by Tempus Fugit includes three bonuses, the single 'Cellskräck' / 'Bländad ikväll' plus the previously unreleased 'Armé av lust' from the album sessions, all quite similar to the album's stuff, but the less vocal-oriented 'Armé' is in fact one of the best tracks. Well, anywhere else than on a PROG site, maybe two stars would be earned...

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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