KAIPA

The vocals and instrumental passages are blended together to form pleasing compositons that one can listen to time and time again and it gets better time and time again, where the endless noodling/jamming becomes tedious.

Too many masterpieces out there to give this one a 5 star rating.

As a personal note, prog artists should check the Allman Brothers live recordings on how to make masterpieces involving noodling/jamming. They (Allmans) aren't prog, but they know how to do well.

The DREAM THEATER like title track opens the ball and I get the (angling ?) feeling that I am on a train I have never travelled on before. This mix of male and female vocals are special to say at least. The song even breaks into Swedish folk rock halfway through. This song is great. Another great song is the epic thirteen minutes long The Fleeting Existence Of Time. This song is very symphonic with a great hook and time shifts. The references to GENESIS are pretty obvious here. The rest of the album is good to, but these are the only truly great songs on this album.

Music wise, this album is a blend of fusion, symphonic prog and Swedish folk music. References are DREAM THEATER, GENESIS and THE FLOWER KINGS. The female vocals makes this an unusual album, to say at least. But most of the music is most definate symphonic prog with a strange twist. The disappearance of Roine Stolt from the band has maybe left a vacuum, but I think Kaipa has done a good job without him. I have no idea if this is Kaipa's swansong. I hope not. I happens to like this album and I have withdrawn it from my sales page at Amazon. This is one I want to keep for myself.

3.75 stars.

02. Saker Har Två Sidor Classical piano at the beginning and a voice that I still not sure who it is, but it was very good. A row of low Tomas Eriksson also very good, the vocalizations were fantastic. A battery of Ingemar Bergman is also the other case because they are very well built and played. O solo de teclado por aqui é bem Keith Emerson inicialmente, mas logo ele já dá lugar ao solo de guitarra que diga-se de passagem é muito diferente de qualquer outra banda progressiva já vista, normalmente as guitarras servem de pano de fundo mesmo em solos (with exceptions of course), here not mount Stolt knew everything very well. The vocalizations can not leave my head, were very nice.

03. Ankaret Almost a lullaby! I would say this is not a progressive band (laughs), but has all the progressive bands musical influences of the world I do not doubt that the idea had left then right. And once again the guitars of Roine are fantastic. And of course a save low to the ground as well. Beautiful land!

04. Skogspromenad Here are the keys for a guitar company, has a face full folk, because the melody requires that. More a song if I am not mistaken the region of the guys.

05. Allting Har Sin Början Riff initial cool the battery in my opinion mix a little bit ahead too, but nothing to panic. One song led by guitar, with a work of very competent bass and drums and keyboards with very soft in the first part. The second part became a jazz fusion with crazy land of keyboards furiosíssimos.

06. If Var Morgon Gry This time who does the role of melodist are the keyboards, the guitar hardly appears in this first part. But then the guitar is who emerges as the main character of history. The theme returns, return the guitars. The voice once more killers, as are few enjoy very well. After a couple of vocal solos of keyboard invoked the hellish depths of the soul (laughs). Until a few bandolins has lost.

07. I Förlorad Istanbul Latinidade in vein. Until seem a band exit the tropics of Latin America here. Mexico's most anything else. Very good!

08. Oceane Föder Liv A low and instigating this track and a synthesizer and present. It has a samba here! Or almost! It is the most you can get the gringos (laughter), do not know if it was the intention, but with the whole man is to be. An instrumental and worked very well with a guitar base near disc, but sensational. And of course face many of battery, and the melodic guitar solos. Voice, voice, I love, instrumental are fantastic but I need words and ideas. Water running, songs and a tecladinho smart, a perfect alchemy, a state of heady sense without leaving the place. Some discussions of foreign soil and drums, bass, guitar and keyboard in a jazz-fusion crazy.

Man, how good bands discover 'new' when I discovered that Roine Stolt of the Flower Kings (band that I love a lot) was the guitarist kaip and I was curious when a friend sent me the disc I came across a progressive very well.

www.progshine.com

This is my honest impression I've heard this album for the first time. Huh, Kaipa? Indeed the songs are so well, but I suggest it's a little hard to understand for old-Kaipa or old-Roine fans. That is, please let me say, current Kaipa should not make the revival of old Kaipa but get reborn.

Surely in the album there's an old-Kaipa flavour here and there, so I suppose the members (especially Roine?) should remember and recall the flavour. In other words, the flavour is only a flavour.

About 80 minutes the album can let us give hard and active, but smooth sounds. I'm sure they will be very impressive for some listeners. Personally, I love the work. I hope old-Kaipa fans could listen to it as New-Kaipa's or another group's one.

What I found here is the same fine melodies, great musicanship of all involved, creative and tasteful arrangements, some interesting vocals (ok, maybe not everyone's cup of tea, but still very well done. I liked the alternating male and female voices here). The production is excellent and the songwriting, if not on their peak, it is quite inspired. I found no fillers on this album and the 25 minute opus of the title track is one of Kaipa's best epics ever. Lush vintage keyboards sounds and fine guitar solos are present in generous doses. The rhythm section is strong and versatile (some may say that the omnious Jonas Reingold is a bit repetitive at times, but that does not bother me, he is an accomplished bassist and his style suits well in Kaipa).

It's my guess people just expect too much from such genius as Roine Stolt and Hans Lundin. This album may have nothing really new or groundbreaking, but it is still excellent in all other aspects. And to me, this fine, well craft symphonic progressive set of tunes is well above of at least 90% of what is called new and original nowadays. If you like strong and inspired, 70's influenced , prog music, Mindrevolutions is recommended.

The last time he wasn't featured on a "Kaipa" album ("Nattdjurstid"), it was a total nightmare. "Angling Feelings" is not as poor as that one, but it is only a repetition of prior releases.

Vocals are not great (even Aleena has known better days IMO). Most songs have a sound of "déjà entendu" and don't bring any variety in "Kaipa" repertoire. It is the same stuff over again.

The guitar style from Roine is taken over almost exactly, the jazzy and complex textures of TFK are here, the same sort of keyboard sounds can be experienced throughout the album (which is very short, in terms of "Kaipa" output: only sixty-four minutes! They must have been short of inspiration.).

I guess that there is nothing wrong with a band who is sticking to a very similar work, but with the addition of TFK ones, this output is just too much of the same. I quite liked their first three album, as well as their coming back one ("Notes from the Past"). These should be sufficient to any symphonic prog lover to avoid such repetitive efforts as this one.

If you are deeply in love with "Kaipa", this is not their worse record. Actually, I would even judge it slightly better than its predecessor ("Mindrevolutions"). The guitar work from Per Nilsson is very good (even if he remains overshadowed by Roine in his musical style).

After a weak middle part, the album is caching up nicely again with "Path Of Humbleness" (although, I am not sure that the title is justified). It is a fine symphonic composition with Aleena at her best. My preferred song from this album (together with the more jazzy "The Feeling Existence Of Time").

Some more folk atmosphere (like in their debut) can be appreciated during "Where's The Captain?" and the closing track is just on par with the first two opening ones (which means good).

In all, this Kaipa effort is on the edge between average to good. Three stars.

I have to say that it is quite interesting to listen to him in an epic as "Mindrevolutions", but he is also in great shape while performing on "Remains Of The Day". Of course, he is not perfect, but he had to adapt to a new musical genre quite rapidly; and unfortunately he won't be able to repeat this challenge. RIP, Freddie.

Apart from that, this TFK offering is not very different from the other ones. This is fine and symphonic music which reminds you some of the giants from the seventies (nothing new, right?), emotional guitar solo, nice keyboards etc.

The major problem is that there is almost no diversity in the song writing; which is condemning this (very) long album. There is not a single bad track (although I don't like "The Doodger") and if you're not too much of an old reluctant regressive music hunter, there are lots of possibilities that this work will appeal to you.

Actually this TFK album deserves two stars for his many very good instrumental and female vocal passages, but when Freddie's clone is on duty, my interest is lying quite low ("A Pair Of Sunbeams", "Shadow Of Time" for instance).

Oh "Yes", this is a "Kaipa" album. I almost mix it up with TFK. I wonder why!

The core duo (Lundin / Stolt) is still on the command and the music is even more TFK oriented. You'll get the fine vocal harmonies (thanks to Aleena), symphonic and jazzy atmospheres, fine guitar breaks (but less that in TFK) and an almost eighty minutes album. It must be a disease...

The start of the album is very catchy and promising. Both "Lifetime of a Journey" and "A complex Work of Art" do belong to the best of the band. So moving, all the way through. Even Patrik Lundström is convincing during his vocal work during the former song. Unfortunately, it is not the case any longer with "The Wheel of All Mankind" in which he starts to sing as sub-par Freddie Mercury. Not really needed IMO. I fully agree with Dan's review about this aspect of the album (and it will be more true with their next effort).

The deeper one analyses this album, the more one notices that there are almost no difference with a TFK album (except the vocals). I wonder why they released this project under the "Kaipa" umbrella. So similar. Too similar actually.

Same "Yes" oriented music overall, at times the emulation goes more into the KC direction like "End of the Rope" which is heavier and less melodic during the instrumental parts (with a very good drumming work) even if the finale is 100% in the TFK vein again.

So, it's really up to you: if you don't have enough TFK music, you might combine it with this work (and the previous one). But to be so cloned to a derivative band is a bit too much.

Still, this work is pleasant and I will rate it with three stars. A good TFK album. Sorry, "Kaipa" album.

I admit that I was a while between the 4 and 5 stars rating for this album...but it didn't last long...because I just asked myself:''How much would you rate this if it were a GENESIS album?...

Actually, this is not truly a "Kaipa" reunion since only the duo Stolt-Lundin is represented. I have to say that it is pleasant to see both men working again together. IMHHO, "Kaipa" work after Roine's departure were average ("Händer") to poor ("Nattdjurstid") and this come back could be a good sign.

As soon as one listens to the title track (part one), which opens this album, TFK's influence is noticeable. But, originally "Kaipa"s style (at least in "Solo") was heralding what would later become TFK. The loop has been looped.

This album is 100% in the symphonic vein and it is true to say that Roine's mark is much more important here that during the early releases of the band (but he was so young at the time.).

One is projected during the whole length of this album (which clocks at almost eighty minutes, another TFK habit) into a beautiful world of melodies, fine guitar breaks of course and superb keyboards sounds of all kinds. At times, it is a real enchantment ("Leaving The Horizon") even if the similarity with TFK is annoying.

Vocals are real touching for most of the time and "Mirrors Of Yesterday" is a perfect example to illustrate this. The instrumental break (first the keys followed by some extraordinary and so melodic guitar) is just great. Another highlight of this very good album so far.

Even some short pieces ("In The Space Of A Twinkle" or "Folke's Final Decision") although not memorable, have their own merit (mostly thanks to the guitar work to be honest). But we're in for epics, aren't we?

So, let's get to "The Name Belongs To You", the second of its kind on this album. I have to say that "Leaving The Horizon" worked better on me. This one is too much jam / jazz-oriented to my ears. The guitar is wilder and not as polished: the whole sounds rather chaotic. It seems more to be a showcase for Roine. But too much is too much.

The beautiful vocals from Aleena (who will be the lead singer on their next album) are truly splendid. She brings "A Road In My Mind" to a high level, really. A wonderful and melodic song. Which is all the contrary of the long and dull "Organism". Ten minutes of a noisy and jazzy jam that leads nowhere, even if the finale is more atmospheric. Press next.

This fine album ends as it has started. "Notes From The Past" (part two) is just as pleasant as the intro. Melody, atmosphere...

In all, this is a very good album. I could have missed "Organism", for sure. But even so I rate this one with four stars. Symphonic prog lovers should appreciate this album but the relation with TFK's work is quite strong.