RPWL

Maybe Pink Floyd influence (but only influence, not clone), but for example Sugar For Ape doesn't even like influenced by PF, right ? It sounds like some grunge song. Anyway, if PF infl, then it's post-Waters as some may wonder. And maybe more like David Gilmour solo work (On a Island anyone?). Because in contrast to Pink Floyd work, this sounds like pop. But that's my point, we can't compare everything with PF, right ? I already managed to fill this review with Floyd references, so let's return to the music. As I said in previous one (first album), many facts and emotions still are in place. However, this album sounds more experimental, with distinct synth elements, trying to find some way to "improve", or boost their sound. Simply, experimenting.

4(-), slightly worse than their debut album, but I'm not much sure why. I feel it, that's important for me. For you, dear readers, I can only tell you my opinion, throw in some facts to wrap these feelings and let you decide.

The problem is that I don't believe much in this whole "clone" thing, more like I do believe in influencing each other. So it doesn't matter when vocalist sounds like Gilmour (here), or in other cases (bands) for example like Gabriel / Wilson / Anderson (Ian). The music is great and this is important. Being prog is too, but guess what, I believe in another thing that relates to this and does have a weight in reviewing. I rely a lot on my feelings with just addition of knowledge and facts. This is not masterpiece, I'm that sane not to push it that far, but it's far too good album to be drowned under liquid surface of prog water's good rating. If something that's good here, it's atmosphere. And guitar solos. And again, like in previous review (unreleased material CD), vocals seems pretty harmonic to me. Reminds me (far into future) album Parzivals Eyes.

4(+), because I'm pleased, prog goals were more or less fulfilled a because this good albums doesn't deserve being mocked more than it's necessary. I'm not willing to take this responsibility on my back and carry the burden away. Maybe my rating system can be little bit weird and my measure system twisted out, but be sure in one thing. This is beauty music, pleasant and nice. And it's prog, the album that made their breakthrough.

And with what to start if now "damned-by-all" best of (but it's unreleased material and there should be some kind of difference - nobody wants best ofs, because they just collects material from studio albums, but unreleased is far more interesting) from band that seems to be recommended by everyone, yet having their ratings around 3-4 (so not 4-5). Also, this can serve as my first review in 2010. I planned to write this before midnight, but well, I fell asleep. And this album is very interesting. I know just this one, so I can't compare (and this makes reviewing unique, I'm not obliged to know everything, but it helps) with their studio albums, but I know one thing for sure. This is not bad album and remember, it's my starter. Unreleased material as starter, but it end up pretty well, as I like these songs. Now I can hear this reason that made them unreleased. I wouldn't call it neo-prog, as it's mostly calm music with a lot of acoustic parts (I call it "no-wild-zone"). With pleasant vocals (something I sometimes fail to hear with German bands, you know why).

4(-), but after all, this is a good album. Looking forward to their studio albums

Easy listening which demands your full attention

On February 16th and 17th 2009, Metal Mind Productions put together another festival of fine prog bands in Katowice, Poland. Apart from near neighbours RPWL from Germany, DeeExpus, Shadowlands, and Tinyfish were among the bands who performed on those two nights, and DVDs of the performances all these bands have now been released.

This fine set brings us RPWL's gig in all its glory, featuring no less than fourteen songs plus some fine extras. There are a couple of line up variations to report, with Marc Tauriaux stepping in on drums and Markus Fehle adding extra keyboards. All four of the band's studio albums are covered, the night also featuring a couple of Pink Floyd related surprises (of which more later). Favourites such as "Hole In The Sky", "Breathe In, Breathe Out", and "3 Lights" are all placed up front in the running order making for a remarkably strong opening gambit.

The Floydian, or to be more precise Gilmourian, influences are apparent, especially in the superb guitar work, but the overall feel is more akin to bands such as Pendragon, Pallas, IQ and Final Conflict. The band's insistence on capturing strong melodies and lush pleasing sounds makes this a very easy listen, but one which simultaneously demands the listener's full attention. On tracks such as the wonderful "Silenced", one can find oneself unknowingly carried to the most delightful soundscapes, such is the sublime beauty of the guitar and keyboard breaks.

The band show their lighter side with the self depreciating "This is not a prog song" from their latest studio album, which perversely must be a potential hit single! The song segues into a brief rendition of John Fogerty's "Rockin' all over the world" (the song made famous by Status Quo) and a couple of further diversions. Who said Germans don't have a sense of humour!?

The aforementioned Pink Floyd surprises include covers of Syd Barrett's solo track "Opel"(from RPWL's "Stock" compilation) and the early Pink Floyd song "Biding my time". A highlight later in the set is the anthemic "Roses", a song originally featuring Ray Wilson on guest vocals, but heard here for the first time with Yogi Lang singing it himself.

The gig runs to about 1 hour 40 minutes, the production and sound qualities being of the usual superb standard we now expect from Metal Mind. The extras include an interview (in English) with vocalist and keyboards player Yogi Lang and guitarist Karlheinz Wallner. We also have a video clip for "Breathe in, breathe out" and some brief tour footage from 2006.

In all, an excellent set captured perfectly in terms of audio and video quality. Both fans of the band and those with a casual interest in them would be well advised to consider this DVD an essential acquisition.

Not easy. No, it's not easy speaking of a DVD from a concert when you saw the band live recently. Is it the joy of meeting old friends again? Feeling the same musical emotion, the same communion again? Yes, when they are friends, more precisely people you met, interviewed, discovering a depth, kindness, sense of humour you rarely find in this musical world, it's difficult. Not so easy analysing the kind of happiness you feel. But if I just began by saying those guys are brilliant, this would be the best way, don't you think?! When speaking of RPWL, the comparison to Pink Floyd comes to the mind quickly! But who cares? It's not so easy playing like those megastars! An influence the band recognizes: they generally play gorgeous reprises of the British combo. Here we have 'Biding my Time'. An honest, merry tribute but not an awesome one. I remember a more vibrating version of 'Cymbaline'. And I forget to mention this DVD also features a tremendous version of Syd Barett's 'Opel'. Except the reprises, this DVD is a must by the selection the songs of RPWL's repertoire, by the instrumentation (vintage keyboards, fluid guitars close to Gilmour's of course) and the omnipresence of Yogi 'Bear' Lang. The whole lot illustrated by a splendid lightshow with images, cartoons... You need some highlights? 'Hole in the Sky', '3 Lights', 'Silenced' (I like the political lyrics of this song), the humorous 'This is not a Prog Song' (and the reprises including Status Quo's 'Rock around the World' and even a French nursery rhyme!), the poetic 'Waiting for a Smile', the Oriental touches of 'Trying to Kiss the Sun'... Add a perfect sound and image, an evident joy in playing, positive vibrations while underlining some deep problems of our society (communication breakdown, greed ('Wasted Land'), war?). Yes, believe me, this RPWL Experience is an unforgettable one.

I get really picky with live albums especially when I have the ingrained feel of the studio album firmly implanted in my memory banks and the concert setting is not as proficient. Certainly masterpieces like Porcupine Tree's Coma Divine, Grobschnitt's Solar Musick, Hawkwind's Space Ritual and Wishbone Ash's Live Dates are not always a common occurrence (even in our techno-not-so- perfect world). In RPWL's case, this massive live memento provides the platform to showcase a darker, more elusive mood, knowing that they could have easily opted for a more sterile (read= more accessible) sound. There is an underlying grit as they polish off extended versions of their repertoire (early Floydian stylistics with latter Eloy-like flourishes) and it works! It remains my favorite RPWL album and by far. The recently penned "Sleep" is harder-edged than the glossy studio version, same as with the follow up "Start the Fire" which launches forward with a hoarser vocal from Yogi Lang and hence, rocks more convincingly , kissed off by a rousing organ solo ramming through the theme . "Who Do You Think We Are" is their rather clever wordplay on being a PF cover band, complete with an outright Waters melody/chorus that would make the wall crumble in shame, growling bass forward and massed vocals combining to give Kalle Wallner's guitar to roam a tad in the finest "bones by the fire" tradition. "Day on My Pillow" is remolded into an undemanding procession that shows off the truer ambitions of modern psychedelia, paying homage to the past yet keeping it simple with a puerile melody that one can hum to, if needed. Some organ, guitar twanging in the background, peeling off a countrified solo that is quite amazing, really! A "looking better in your wardrobe" nod to Genesis does this piece proud. "Roses" is a masterful progressive pop song that features Ray Wilson (who sang the studio version as well!) and in the livelier setting, this one really blows like a gale storm in the South Atlantic, with the entire band kicking it up a notch while Wilson smokes the microphone with a howling vocal delivery that trembles with authenticity. Can't help humming along to this one, guv! Wallner unleashes his fingers with impassioned restraint, preferring the solemn rhythm and then exploding in ecstasy. A highlight reel track, to be sure. To add even more oomphian bravado, Wilson stays on to sing "Not about Us" , one of the better tracks off the much-maligned Calling All Stations album, a confident take on a sublime melody with valuable and meaningful lyrics , certainly far from a standard twice-licked pop candy. "The Gentle Art of Swimming" is a track off the "Opel" album and suggests a deeper dirge that gives Wallner, drummer Mueller and keyboardist Jehle some breathing room to roam into swirling sonic realms, whistling synths leading the cavalry charge and combine with the guitar attack to seek out new dimensions. There is a Manfred Mann-like synth torture that is quite breathtaking and when Lang bellows again, this one really gets quite exciting. The copious applause only seals the deal. "Wasted Land" resorts to more hymn-like choruses, something like a proggier U2, what with that chugging guitar and relentless pounding plowing mercilessly ahead. Love that rolling bass and another colossal synthian delight! Ach, du! "Crazy Lane" as the title implies is straight out of the Floyd kitchen, more of a tribute meddling song that anything else and it does even proclaim otherwise. Honest and fragile, when do you get lyrics like "Don't give up because love will find a way" in your daily prog ration? "Trying to Kiss the Sun" ends up side one, not one of my fave tracks anyway. The second CD shows the band in complete control with the great "World Through My Eyes", a glassy, wuthering epic that resonates deeply within the moodier realms of psychedelia that conjures up images and sounds of deep galactic travels, the synthesizer adventure is inspired pushed along by rousing organ in true psych tradition. The guitar spotlight is spellbinding, slowly twirling in apparent frenzy, Wallner intensifying his sustained fury with a deft "maitrise". This is pure genius that I can only applaud even though I am not IN the audience. Then we plunge into the overt Floydian section, first an early Syd Barrett classic "Opel", complete with that brooding madcap laugh and bruising playing by all, the early Gilmour-era and masterfully expressed and outright jewel "Cymbaline", a clamorous 15 minute travelogue and finally, my all-time second fave PF song a seven minute version of "Welcome to the Machine" (First being "the Great Gig", for those who are curious!). Nearly 23 minutes of pure bliss that would make Waters drool and contact his barristers! What a momentous ride, worth the price of the album alone! Sit back and let it glide??.. On the first , when bassist Chris Postl winks at the organ, the mood dives into the Hendrixian assaults of Herr Wallner, careening, wrenching, thrashing and howling like some untamed Comanche mustang, this you got to hear folks, Phew!!!!!! Incredible and intense. This is what Space/Psych is all about, kids, just a modern exam played by modern students of an old, underappreciated Floyd classic. The final six string sortie is psyche blowing. Machine is very married and virtuous towards the original, a tad harsher perhaps which gives it a doom-laden feel as opposed to the studio original's glossy sheen. "I Don't Know" is a catchy shorter piece a brief reprieve before the final hurrah, the epic and signature farewell " Hole in the Sky", their finest piece off their debut disc containing a majestic main theme, a graceful vocal and a scintillating guitar-infested chorus and a standout track on its own. A bonus unreleased full version studio track is the cherry on the cake, "New Stars are Born" is a 12 minute romp that has all the usual suspects firmly in place, slowly blooming into another psychedelic journey into the deeper regions of the universe. As masterful as the previously named live juggernauts, perhaps not, but close. 4 lit matches

What an album! RPWL was brand new to me when I first picked up this album. It is definitely more mainstream than some may like,but I am a sucker for a great melody. That is where I feel this album really delivers. After listening to the album, you find yourself humming the melodies for the rest of the day. There are no real epics that stretch out and display incredible musical chops, but that isn't what this album is about. This album seems to be more concerned with solid song structures that are moody and heavily textured. You can hear shreds of Floyd and Porcupine Tree, but the overall sound is all their own. If you are a fan of prog that isn't afraid to sounda little mainstream for the sake of the music, check it out.

01. Hole In The Sky Part 1: Fly Part 2: Crawl To You A bang, as if they were voices of films, and a fingering that Floyd is not know what there is (laughs). The keyboards imitating violins, a footprint at the same time Neo former, identical to the voice of David Gilmour, but the few who learn to distinguish. One of those refrões short but certeiros. And every time the dialogues comes into play, which gives a very warm feeling, that's the truth, listen to this track gives me the feeling of home. The guitar has the timbre of Karlheinz perfect for the climate.

02. Who Do You Think We Are This is totally out the top and George Harrison tune, Beatles on vocals. Man, this band is the best that could have influence. A climate sensational from start to finish.

03. Wait Five Years Beautiful guitar, vocals in the background, as if they were being sung by some extra ground, an angel (at least is the impression I have). Then the music takes you.

04. What I Need ... Leaving Sensational, it's time to open the shop, sounds, and guitar ... fingering with orchestra. Beautiful!

05. What I Need ... What I Need The guitar around here, but with a voice and a slightly acute impeccable interpretation of the great Yogi. Chorus full of emotion and vocal, even I am impressed how the songs are beautiful. When the battery from Phil and Chris to come down in the song the whole thing is already won (laughter), because we won.

06. In Your Dreams One more fully Floyd, but without crisis. Though I do not love the stage Floyd / Gilmour with RPWL staff is excellent! I would say that the band followed the steps of the gang. Excellent voice and the melodies of half do it, soon after the 'conversation', also another strong point of the disc, the various dialogues and in the middle of songs. The low and simple way to striking unintentionally command the whole thing, while the keyboards give the tone and melodic guitar all the beauty of the battery while the whole sustenção that they need. Final surprising as it should be.

07. It's Alright This one is almost a soul / pop, but do not be fooled by its nature is excellent. Basically, the bottom of the rock is good and full of details you find out with fascinating melody.

08. Crazy Lane Again the villain (or would be guitar, laughing) the story begins a track and full of emotional climates. And again the chorus timeless and brilliant, full of simple melodies that touch the soul background, in a way that only the best bands / composers can.

09. Fool Fool begins as a ballad. What continues to the end (more laughter), but an excellent way to tell if ticket. Some bodies are highlighted in the final.

10. Hole In The Sky Part 3: The Promise Birds logo of guy, a great way to start, then the guitar melody of the first part of the theme (since this is the third party) enter and recognize the man. This time it's time to mourn their sorrows guitar without fear. 11. Spring Of Freedom Spring Life begins (pardon me the pun), and with it the sound full of line breaks for guitar and bass striking. I think that something sensational sounds and noises in the middle of songs.

12. Farewell Many of synthesizer chords of this range would be excellent at any sound, gives the incredible support all the rest, little attention in such details, but get them from now see, everything collapses. A great song!

13. God Has Failed An outcome worthy of his position, a mixture of the season The Final Cut (the sad melodies and bucolic), with a bid later, full of pianos and guitars. Very nice! This disk is for being heard or two, or a good state of mind, because it is quiet, beautiful and without a shadow of doubt pearl.

www.progshine.com

So far my only acqaintance with this band was the streamtrack on PA called Opel from their 2003 compilation. I wasn't blown away by it to say the least but decided to give them a try with their 2008 release. After all it's neo prog and I want to check these kind of bands out.

First song appeared to be a true highlight after a few listens of the entire album. It's the almost 10 minute clocking slightly epical Silenced. The song is already pretty good for the first 6,5 minutes but the last 3 or so are almost mindblowing to me. Fantastic climax of a very good song (4,25*). After such an overture you always hope it's the prelude for a great album but that's not the case I can give away already. It's a versatile album in style and quality and I'm not sure if I am too pleased with that. But it is what it is and I will have to live with it I'm afraid.

Second is Breathe in, Breathe out and this song is less compelling than the opener. This song shows that RPWL is actually a borderline case of prog, it's almost pop-like at times but we will come back to that later ! This song is the first example of that but it's a good song anyway (3,25*).

Where can I go ? is actually a song in the same vein as previous, a lot longer though and therefore it seems proggier but I'm not really convinced. The song has the same sort of flatness their compatriots Sylvan show in many of their songs. At the end the song gets a bit better (3,25*).

Masters of War is a bit of a slow song and after some 3 minutes it starts to resemble On the Turning Away by Pink Floyd a lot. It's hard even to listen through it without keeping thinking about it all the time. It's probably the rhythm that's for a big part responsable for the resemblance (3,5*).

With the 5th I will come back to my promise in the second song where I said I would come back to the statement of this bands poppiness. Here they admit this themselves with the funny title This is not a Prog Song and in the lyrics they even refer to Pink Floyd which proves my statement in previous song. A very honest song in the sense of what this band is about obviously. And even though this indeed is not a prog song it sounds quite nice (3,25*).

I watch myself Sleeping is a slower track again and here they fall back in their flatness I fear. It's all pretty accessible what this band does. Except for the vocals it resembles Coldplay every now and then, not quite an insult in my opinion but another proof of the borderline progressiveness of RPWL (3*).

Next the second longest track, called Stranger. This is more of a versatile and much more progressive song with some great rock elements as well as more quiet parts. Second highlight on this album, great track (4*).

After this, the shortest track, Alone and Scarred, is a sort of remix of several other songs, bit spacey and messy, not really RPWL I would say. But ok, obviously they felt like producing this (3*). Appears to be a bonus track by the way. Strangely placed somewhere in the middle of the album (??)

Talk to the River is a fine ballad and they prove they can also do something like this (3,25*).

Choose what you want to look at is a fast and furious one and proves to be a track of my liking. Though most songs are accessible I must admit it's not a boring and monotonous album. Good song this (3,5*).

Turn back the clock is again more ballad-like another less interesting one at first until towards the end two fine guitar solos saves it a bit and makes it end up in a good song in the end (3,25*).

Reach for the Sun is another bonus track, another more quiet and slow song and alas another flat one (3*).

After doing the maths it appears what I was already afraid of: right in the middle of 3 and 4 stars. I was already puzzled about what I was going to give it and it's indeed a headache case. I'm afraid I will have to round down for three reasons: first, the exact average is 3,45. Second, the bonus tracks don't really lift the album and third reason, the description of a 4 star rating is: excellent album to ANY prog collection and that is not the case here. Good but non essential (3 stars) sounds better but the album is surely better than this description. And I would still recommend it to lovers of the more prog related category.

Special Edition with 2 bonus track

Many years back I witnessed a RPWL gig during a Dutch progrock festival, I can remember the very Floydian inspired guitarplay. While listening to this new CD I can trace some Floydian guitarwork like in Watch Myself Sleeping (dreamy, then more lush and compelling) but more in the vein of Pink Floyd after Roger Waters his departure. The other 11 compositions sound like a blend of progressive pop, rock and symphonic, very modern and professional. In general the climates change from mellow (featuring twanging guitars, soaring keyboards and pleasant vocals) to compelling and bombastic. At some moments we can enjoy majestic violin-Mellotron eruptions like in Where Can I Go?, I Watch Myself Sleeping and Stranger (tight beat and biting wah-wah drenched guitar). I am mostly pleased with the captivating first song Silenced (almost 10 minutes): a propulsive guitar riff, a part with acoustic rhythm guitar and vocals, fat electronic sounds, a Floydian oriented synthesizer solo and sensitive guitar work.

On this new CD RPWL sounds dynamic and modern, this year they will go on tour and visit countries, from Germany, Belgium and Holland to Poland and even the USA, I am sure they will delight the progheads who like modern prog. My rating: 3,5 stars.

www.progwalhalla.com