RPWL

The setlist features six more tracks from all over the band's catalogue as the overwhelming performance continues, with great tracks like 'Unchain the Earth', 'The Shadow', or the fabulous album closer 'Roses', arguably the band's hit song. The entire performance is impressive, and this live album captures a seasoned band at its prime, playing some of their best material. As far as I'm concerned, this is the perfect representation of RPWL, both in terms of the depth and scope of their music, and their dedication to the excellent live performance, all topped by the superb quality of the recording, just a joy to hear.

And this captivating, eerie and atmospheric album starts off with 'Victim of Desire', a well-composed song offering an interesting variation to the RPWL formula, all the subtle shifts within it are rather pleasing and rewarding, followed by the "love song" that is 'Red Rose', a hauntingly beautiful track that resonates with the listener long after the music has ceased to play. 'A Cold Spring Day In '22' is shorter but no less substantial than the rest of the album, a livelier number with a memorable chorus and great harmonies. 'Life in a Cage', on the other hand, is a moody excursion with some great synths and a menacing but interesting use of vocal effects, a surprising and welcome number on the album, followed by the 13-minute centerpiece 'King of the World', the more virtuosic and adventurous composition from the bunch. The fuzz guitars of the closing track and its uplifting and hopeful tones allow this record to end on a high note, all while Lang's great singing voice is on full display. Just an excellent concept record from one of the masters of the art rock scene, carefully conceived and excellently executed work of greatness.

With the vibrant Silenced, the band immediately makes it clear how they want to go about on this album. The song, based on a strong guitar riff, bass guitar even keyboards, exudes a delightful energy that relies not so much on its heaviness but on its persuasive power. This steamy composition features an extensive keyboard extravaganza by Yogi Lang, who once again lets his Manfred Mann inspiration shine through. Meanwhile, that raw riff keeps pushing forward, creating an almost hypnotic effect.

The following Breathe In, Breathe Out with its wide-sweeping guitar arpeggios is an unmistakable RPWL song in the realm of mid-tempo compositions. However, there is something that makes the song more than deserving of its place on this album that is the gritty foundation in which the plucked strings thrive. We also hear this combination in Where Can I Go, where there is room for blissful Gilmour-esque slide guitar. This juxtaposition between originality and Pink Floyd-like elements hangs over the album consistently you never feel that it is insincere.

A notable song is This Is Not A Prog Song, which, as the title suggests, deviates from the rest. RPWL presents an infectious rock song here, with the lyrics being a recitation of quotes from negative reviews. The band's Pink Floyd-like sound is heavily criticized, so it's amusing that the preceding track, Masters Of War, almost bursts with comparisons.

The album boasts an abundance of variety, which is remarkable considering that diversity has never been the band's strong suit until then. The fact that your taste buds are swirled in all directions on "The RPWL Experience" is an extraordinarily pleasant experience make no mistake: RPWL never denies its true identity. I Watch Myself Sleeping is a delightful little piece with a groove that is just a tad too fine, while the dark Alone And Scared and the punk-ish Choose What You Want To Look At stir up emotions. These songs gain extra cachet from the intervening tracks Stranger and Talk To The River. The fact that both songs bring an epic structure to the album is as welcome as? fill in the blank.

The dynamic Stranger is full of vibrant guitar riffs that swirl delightfully the song also features blissful Moog squawks from King Lang. Another defining aspect of the band's sound is the endearing vocals of Lang himself. Without indulging in extravagant expressions, he knows exactly how much to give in each song. The opening section of Talk To The River is a beautiful example of this, as his warm voice blends perfectly with Kalle Wallner's subtle guitar playing.

The album has two closers. First, there is the beautiful Turn Back The Clock, which concludes the regular album then this special edition ends with the even more beautiful Reach For The Sun, which carries a delightful Genesis atmosphere towards the end. These two songs leave the listener with a satisfied feeling that is precisely what a closer should do.

RPWL has done themselves a great service with "The RPWL Experience". The strength of the work is that it is typically an album from a band that is already doing well and then suddenly takes a huge leap forward. Praise, praise more praise.

Orginally posted on www.progenrock.com

I personally find the contrast between Lang's gentle voice and the gruesome characters he sings about fantastic. Lang draws inspiration from stories like Karl Denke, the serial killer and cannibal from Münsterberg who killed many people, ate them, or sold their meat on the market as pork. There's also the beautiful ballad Red Rose, which sings of the twisted love of the infatuated Florida doctor, Carl Tanzler, who stole the corpse of his beautiful patient, embalmed it, and kept it in his bed for seven years.

It's hard to believe that such monsters exist, one might say. However, Lang illuminates all these horrors in his lyrics from the broadest possible perspective. The singer also touches on more general issues, as in the intriguing Life Is A Cage, which addresses domestic violence today. But I'm not really one for lyrics; I'd rather talk about the music, so hang up your coat ? I'm not done talking yet.

Every note of "Crime Scene" is truly sublime, and these notes shine brightly due to the brilliant production by Lang and Kalle Wallner. It's Yogi Lang again and his mastery of the keys. It's a delight to hear his Manfred Mann-inspired Moog playing in the last few songs on the album. However, the most awe-inspiring is guitarist Kalle Wallner. This might be stating the obvious, as Wallner is typically the band's main attraction. But this time, his string playing is "larger than life."

He lets the intro of the opening track, Victim Of Desire, explode into ecstasy, and the guitar tones that follow are perfectly timed. The rhythmic riffs further on are equally delightful. The song also features beautiful dynamic shifts, which he supports with sparkling play. There's even a fiery short solo, pure indulgence.

In essence, "Crime Scene" is a sequence of strong segments. Melody lines, solos, transitions, themes, changes in tempo and mood, you name it ? everything keeps you on the edge of your seat. A Cold Spring Day In '22 is particularly captivating, describing the Gruber family's tragedy, a farm raid that turned into a gruesome slaughter where six people were beheaded. This intense track, of course, includes a melancholic guitar solo. I can totally immerse myself in it, as well as in Life In A Cage, where the choruses are beautifully supported by vocoder-like sounds. Lang sings so movingly here that even the iciest hearts will melt, especially when that fantastic climax with a driving bass and an enthralling solo by Kalle Wallner comes in. With the epic King Of The World, RPWL takes it to another level, showcasing immense musical talent. King Of The World carries a hopeful message about a world without fears and tears. A groovy bassline introduces the song, highlighting the talent of newcomer bassist Markus Grützner. The beauty of this riff is that it appears multiple times in the song in different arrangements. It's an emotionally charged piece of music, intense and passionate, with a highlight being the solo section where Lang and Wallner truly shine. The fact that this solo spot is filled with mellotron sounds is a stroke of compositional genius, especially when the previously mentioned riff, played on the electric guitar this time, revs up the piece again. In the finale, Lang bursts at the seams, much like the band itself, with bombast to the max. The closing track, Another Life Beyond Control, kicks off with a gritty guitar riff reminiscent of Hendrix. The song develops in two directions. On one hand, it tells the story of Karl Denke, the owner of the axe on the album cover, and on the other hand, it serves as the conclusion of the concept. Musically, it's a delightful blend of Lenny Kravitz and Pink Floyd. I can live with that just fine.

This incredible album has an abrupt ending, which, in my opinion, symbolizes the many lives that have come to a sudden stop.

Originally posted on www.progenrock.com

Take for example the love song which is "Red Rose". At first hearing it sounds pleasant enough, then one realises something isn't quite right, with the lyrics "All my help appeared to fail, But down to your last breath, I know that you're my bride to be". The reference to the year 1933 gives us another clue, and we soon realise Yogi is singing from the viewpoint of Carl Tanzer, who became obsessed with a patient and two years after he death he stole her corpse and kept it in his home until it was discovered some seven years later. The sweetness and light contrast heavily with the darkness and disgust, "Now everything's prepared, So please come back to life, Let's show the world our undying love" which causes us to rethink everything we are listening to. The lyrics are complex with depth which fits in powerfully with the multi-layered approach of the arrangements, which often have a lot of acoustic guitar.

I have followed RPWL since their debut 'God Has Failed' more than 20 years ago, and this is one of the most interesting and intriguing as we study the lyrics and then start searching out more information. Yet the terrible events Yogi is singing about are often delivered in a manner which is very light, with the contrasting darkness coming more from our minds. This is easily one of their most intriguing and interesting albums to date, one which can be both studied and listened to gently. Powerful stuff.

The aptly titled "Victim of Desire" serves as a perfect aural anaesthesia, with a swooping and modern entrance, that is both chaotic and moodily cerebral, with long-time patients Kalle Wallner on guitars, drum meister Marc Turiaux, vocalist, and ivory man Yogi Lang, all locked in their studio gaol with newcomer bassist Markus Gruetzner, who really dazzles throughout this penitence. Through the 8 minute + epic, all the now classic RPWL ingredients are firmly in place, locked in with huge melodies, first-rate singing and exemplary mood and atmosphere. Acoustic guitar serenity greets "Red Rose", the overall disquietingly airy and sweet beginning perhaps hiding an inner demon of some kind, as the guitar scours effusively and the 'undying' echo flutters into the heavens. This segues into "A Cold Spring Day in '22", a tingling guitar spiderwebs its way into a floating guitar jangle that proves once again what a fine axeman Kalle is, as Yogi's vocalized 'footsteps' set the eerie tale in motion, where innocence, home security and family are all extinguished in a brutal act of insanity. The main melody is accessible, in an almost insouciant manner, as if to underline how tragedy can just wait around the corner, ready to pounce. The percussive led "Life in a Cage" suggests mental desolation, forlorn anxiety, architectural compression, and controlled claustrophobia, as if a free flying bird is now doomed forevermore. The extended instrumental section is phenomenal, as the blitzing bass rumble weaves amid the depth-charged drumbeats. Wallner unleashes quite the anguished axe solo, yearning to break away and find some semblance of normalcy. The angst is palpable and disturbing.

"King of the World" is definitely the main attraction here, a nearly 13-minute behemoth of sound and fury. When a serpentine bass introduces the main theme, ably supported by shrill guitar phrasings, sizzling synth squeaks that ping and pong, echoing off the oft-scratched walls, you are prepared for the effusive vocal, letting Lang tell his gloomy tale. This piece may well be one of the band's finest moments ever, as musically it is absolute dynamite in all facets of creativity. French 17th century philosopher Blaise Pascal's monumental essay "Pensées" could have a soundtrack for his masterful analysis of the human condition (please look it up, if you wish). The sweeping mellotron strings evoke a sense of imminent tempest, as the bass sneaks between the grey clouds and the thunderous drum nastily snap branches off the tress. The bombastic finale is pure, unadulterated emotion, powerfully imposing, truth finally revealed. "Find a way to be Alive ? for one night". The final cut (oops, sorry, Rog!) offers a slash of the wrists guitar expression that shoulders the cacophony of despair, the swampy lead, the choppy drums, and the blood all over the place singing, all together make for a most appropriate conclusion. The extended mid-section guitar solo is suitably frantic, delirious, and yearning for escape. The synthesizer venture takes the track on a slippery slope onto the dark side of the room, a genuine apology, perhaps even regret. The track acts abruptly, as if the imaginary guillotine has just put an end to all this misery. Silence.

4.5 evil ways (Roll it, Carlos)

'Victim of Desire' just the intro makes me want to go see them; gradual build-up with a soaring solo from Kalle, the sampled voice of Yogi; it reminds me of the modern transition of PENDRAGON on 'Pure'; emotion, languor, wanderings on the FLOYD whatever we say in more rock; spatial break and jerky riff, good cinematic evolution for the slap with a solo flirting with those of Michel from MYSTERY. 'Red Rose' piano ballad for a funky bass melody and an underlying macabre story best left undisclosed; RPWL floydian atmosphere for the romanticism and melting solo then spleen if that is possible. 'A Cold Spring Day in '22' short, radio-edit, about gruesome Bavarian murder, yes prog isn't all gay; a playful, ironic chorus and a melodic tune. 'Life in a Cage' intro which I like between Peter GABRIEL 'Biko' and TALKING HEADS; cavernous rhythm box, discordant synths pouring into melancholy for a dark atmosphere, a Gilmourian solo even if we know that it is Kalle at the scraper. 'King of the World' masterpiece for the duration, the convolutions, changes of tempo, the appearance of a Moog, the plaintive guitar; intimate break and a flight of spleen notes, in short, the whole panoply of today's progressive rock; the second instrumental break brings up the beauty and brutality of rock, a piece to be listened to again for a long time. 'Another Life Beyond Control' wow, HENDRIX, the scratchy sounding WHITE STRIPES, a saturated fat bluesy riff old as my dresses, a catchy chorus; the break, what to say innovative, psyche; hovering final return with a Yogi solo to perfect the image of nervous prog rock.

RPWL will be criticized, evolving without denying its basics; modern, intricate clutter at its best; a duration short enough to keep you going and induce cravings; power not to fall asleep, problem of some current groups. A superb album much more innovative and catchy, melodic, of the very beautiful prog of a great group. (4.5)

Over the years the band has released some superb albums, and although these days only Kalle and Yogi are still there, the decision was made to get out on the road to celebrate the 20th anniversary of the debut. However, Covid got in the way, but given that the band was fully rehearsed and ready to go they decided to film a live studio session of the entire album and make it available. So, what we have here is just that, a live recording of the debut (I only have the audio but it is also available on blu-ray, DVD etc.), back when the band were still showing how much they were influenced by Pink Floyd. It is impossible to play this album without referencing that band, as although RPWL have moved in their own direction over the last two decades, back then they were showing how much they had been impacted by that one band. But, and this is an important element, although they used very similar techniques and melodic stylings as Floyd, their songs were never amateurish renderings of already existing material but rather was delicate and soaring, much in the way of the band in the Seventies.

We get acoustic guitar, wonderful soaring female vocals (both as backing and lead), delicate piano and swathes of keyboards, rock guitar, strong melodies, great vocals, in fact all one would want from a Floyd-style band. To be honest, I enjoyed this far more than the original recording as by now the guys have the confidence of 20 years' experience behind them and they are no longer a new band, but one who has toured and released plenty of their own material. In many ways, this is a great introduction to the early period of RPWL, while fans of Floyd can also get involved to see what all the fuss is about. It is wonderful to hear this album now sounding so much better than it did back in the day.

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

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

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