INGET NYTT UNDER SOLEN

Kaipa.....this is Swedish prog. in its birth ,this release being from 1976.... its a a beautiful record...the music that is.....an indeed a young Roine Stolt on soaring guitar (Flower kings,Transatlantic).does his thing...and he does it well!! The lyrics are in swedish...never the less..its a great album!! Great music!! Check it out!!

Very good prog, indeed. Not Norwegian, though, as Tonny larz claims, but Swedish. Melodic, much in the vein of early 70's Genesis. The 2000+ incarnation of Kaipa is my favourite, though, "Keyholder" from 2003 has both strong melodic lines and a very "proggy" feel.

"Inget Nytt Under Solen" was KAIPA's 2nd release and is another wonderful release which must be heard. "Inget Nytt Under Solen" has all the elements you would want in a progressive rock band... beautiful captivating songs with superb musicianship. Ronie Stolt's (FLOWER KINGS) impregnates this album with his accurate and lively guitar work, Tomas Eriksson handles most of the vocals and adds some real solid punchy bass lines, Hans Lundin brings his analog keyboard wizardry while Ingemar Bergman delivers some solid percussion throughout. All the songs as very well constructed and are given lots of space the breathe and create some lovely atmospheres. This album opens with an epic 21 minute suite "Skenet Bedrar" which is simply brilliant (must be heard!!!). Vocals are in Swedish except for the bonus numbers which introduce the world to English lyrics in an attempt to attract the world to KAIPA's talents. Overall I love KAIPA's music and "Inget Nytt Under Solen" is a solid offering which fans of FLOWER KINGS, ANYONE'S DAUGHTER etc. will love and treasure...

This album is IMO a true essential masterpiece, nothing else! I've been listening to it for nearly 30 years and I'm still find it fantasic every time I put it on! The first track is a mindblowing masterpiece called "Skenet bedrar" it is a 23 minute essential classic. This track is as good as "Supper's ready", Close to the edge", "Ritual", "Shine on you crazy diamond", "Echoes", "Eruption" or any classic prog-track you can think of. It really is! The next tracks are filled with lovely, charming and innocent symphonic prog. Please give this album a real chance! I beg you! The bonus-tracks on the CD is not that good, for collectors only, IMO. But it doesn't matter at all. Though I'm Swedish, I think this is one of the few real Scandinavian masterpieces. Another one is their next album; "Solo". Have a good time with this piece of heavenly music!

I guess it the best Kaipa album of all times. It includes every element that makes Kaipa music interesting to prog-fans. The first album was a little bit monotonous, Solo is somewhat lightweight, but Inget nytt under solen is the golden middle groud. Beautiful melodies and excellent musicianship are from the beginning till the end of the album. The first epic track is a masterpiece of Swedish prog and the rest of the album is not weaker and includes a lot of various styles.

Inget Nytt Under Solen, second Kaipa's album, is a more ambitious recording than the first one. The suite Skennet bedrar is absolutely wonderful. Other songs are perfectly composed and played. Singing in swedish is really very evocative, even if you don't understand what is about. Hans Lundin plays devices keyboards with a great science of sounds and atmospheres, Roine Stolt plays in a very classic way without too much effects but always trying to serve the composition, Bergman and Erikson play rythmic parts with efficacity and imagination. All in all a very cohesive and brilliant CD with a really distinctive sound. if you just must buy one record of this band it must be Inget. A masterpiece of symphonic prog. No doubt.

Inget Nytt Under Solen is the only album I have heard by KAIPA and after a few listens I was a fan. The music would best be described as jazz influenced symphonic prog and there are many beautiful melodies as well as great riffs/progressions.

Roine Stolt on guitars produces some fantastic music here, it's mostly lead guitar work but it's very exciting, at times it's anthemic, at times triumphant, at times sombre and it times it's a freakout but it's always very interesting and engaging there is some great harmonised guitar work here too which was very intriguing (unfortunately unable to be reproduced on the live bonus tracks). Hans Lundin on synths and keys is the meat and potatoes of this recording his various synths are almost always present throughout the music and more often than not they are a focal point of the music, his performance here shines. To be honest the rythmn section isn't very noticable or prevalent but they are certainly competent and hold the band together well. The vocals are all in swedish (except the bonus live versions where they are in english) and are often fairly sparse but they are fairly good in their own right, I actually like the swedish sung versions better.

The 21 minute 44 second 'skenet bedrar' is the gem of this album and like all good prog epics it portrays recurring musical motifs in new and exciting ways and it navigates through much different emotional and atmospheric territory with great results.

'Inget nytt under solen' the title track is another fantastic song staring off upbeat and then falling into a meandering, spacey, sombre atmosphere - a very well written piece.

Unfortunately there are some very weak songs on this album 'omsun sken', 'stengrodornas parad' and 'dagens port' all seem like filler to me and nothing much really happens there which is what prevented me from giving this album 5 stars. The live tracks almost make up for it though.

Overall an album well worth investigating for fans of symphonic and scandanvian prog, similar to bands such as ANGLAGARD and ATLAS.

I was totally charmed by KAIPA's debut, and when I came across their second album - which has even better rating here - of course I had to buy it. Were my expectations too high? Maybe so. Though it's not a bad album in any sense, I feel a bit disappointed and don't listen to it too often. Whereas the debut had a sort of naiive innocence and somehow very Scandinavian feel to it, this one tastes like they took their progressiveness too ambitiously. They tried too hard. I'm not surprised to read from the leaflet that indeed the second album was harder to make. Even the title ("Nothing New Under the Sun") refers to the lack of inspiration on the way.

The five-part opener 'Skenet bedrar' is a good example of prog ambition taking over the natural beauty of music (which happens, IMO, very often with Flower Kings, the other band of Roine Stolt). Some of the shorter tracks are pretty good, and the undoubted talent of these players shines all over the album. But something is absent and I can't put my finger on it. The music doesn't fill me with joy like the debut.

The CD contains a lot of bonuses, but in fact it's mostly the main album tracks recycled: some are sung in English and 'Skenet bedrar' is played live. In the end those bonuses are not much worth. Anyway, I'd be glad to come across more KAIPA albums even if this one wasn't up to my expectations.

3.5 stars really

Kaipa's second album was the first one I heard from their original formation (I heard Notes From the Past and Keyholder before this one, from the more recent formation).

My main impression is that this is fairly "safe" prog from the 70's and reminds me most of Camel. It has a softness to it and a precision, yet seems to lack power and distinctiveness. This isn't necessarily bad, but this band didn't seem to break new ground. Of course, they do have a slight nordic tinge to the melodies and atmosphere, more than the current Kaipa or any of Roine Stolt's current projects. But aside from that, they are a fairly mellow, well constructed and carefully executed brand of symphonic prog.

I do like this album, but it does seem to lack a certain passion or fire (thought the vocals can get pretty passionate at times) . They seem like they are being very careful, which is a similar impression I get when I listen to much of Camel's 70's work. This is not a band that takes chances or experiments heavily. Still, the songs have some character and the band does have its own sound, more or less. Personally, I think the live version of the opening epic comes across much better than the studio version, so it's nice to have that one included as a bonus track. I'd very much like to hear more live material from this era of the band, especially the rest of the show that the bonus track in question comes from. I suspect this would give a better representation of the band than their studio work does. The other bonus tracks are just songs from the album sung in English, and not really worth more than a single listen.

All in all, an album I enjoy but don't pull out all that often. It is good if you want to hear the current bands roots, or if you want to hear Roine Stolt at an early stage in his career (I think he joined Kaipa at age 16......all things considered his performance is quite good, though certainly not at the level he has been at since the early 90's). For myself, I would consider it 4 stars because I'm glad it's in my collection, but for the archives I think 3 stars is more appropriate.

Symphonic prog in all its splendour. This is what "Kaipa" delivered with this album.

While this band is mostly regarded because of Roine Stolt, one has to know that his role is much less dominant here than within TFK. Nonetheless, the filiation is there already, well ahead the genesis of the band.

So, yes: "Kaipa" has had a major influence on TFK's music. But when released, this album should have been quite a surprise! Unfortunately, these type of records didn't reach continental Europe (as far as I know), and the recognition of the band came much, much later.

There are some great songs, with wonderful instrumental passages like "Korstag". An emotional track almost wholly dedicated to the guitar of Roine. And the epic "Skenet Bedrar" is also of excellent quality. Not boring at all through these twenty-one minutes. High technicality, enjoyable melodies. Another highlight.

Unfortunately, this album also has its weaknesses. The useless "Stengrodornas Parad" for instance or the average "Omsun Sken". But these are only short parts and the damage is not too important.

Vocals are a little weak IMO; and it has nothing to do with the Swedish language. The title track is obviously a good illustration of this aspect. I prefer the melodic voice of Roine when he has a leading role (like within TFK). With "Kaipa", his singing was very limited but he was shining on the guitar ("Inget Nytt Under Solen").

I'm quite hesitant to rate this album. Three stars seem not enough and four are too much. But the decision is easier thanks to the bonus tracks which are much more than fillers.

"Awakening-Bitterness" for instance is again another great melodic moment (sung in English). Surprisingly, vocals during "How Might I Say." are quite good, emotional and again in English. Even the short "Gate Of Day" has its own merit (mainly guitar work.). The work of Roine still needs to be mentioned. He is again the one who lifts a song like "Blow Hard." from average to good.

There is also a shorter (live) version of their epic and opening number "Skenet Bedrar". Impressive but very delicate at the same time. Some might argue that to cut it by seven minutes was not the best treatment, but it doesn't shock me that much. It is always nice to get a bonus of this quality.

Four stars.

Apparently Kaipa were a quite late entry in the prog world, but this fact did not prevent them from becoming succesful in Sweden.During the spring of 76' they launched a great gig tour for promoting their debut album, which surprisingly exceeded the 10,000 mark of sold copies.They also introduced to the public a pair of new songs written for a second album, while Ingemar Bergman used costumes on stage, making the GENESIS comparisons even more evident.At the end of June 76' Kaipa revisited the Marcus Music Studios in Stockholm and recorded ''Inget nytt under solen'', their sophomore effort, through a 10-day schedule.The album was eventually released during the autumn of the same year.

''Inget nytt under solen'' contains one of the best prog epics ever to be written by a Scandinavian band, the almost 22-min. long ''Skenet bedrar'', maybe the Swedish answer to GENESIS' ''Supper's ready'', an absolutely highlight of Kaipa's repertoire and a symphonic piece of untold beauty.Stolt's guitar touch is unmistakable, deeply emotional and extremely melodic, mixing with a great rhythm section, dramatic Swedish vocals and Lundin's majestic keyboard parts, very Classical-influenced, with sharp moog synth flights, dreamy organ and haunting Mellotron passages and delicate piano lines.At the end of the day it feels like ANDY LATIMER has joined GENESIS with STEVE HACKETT in the background.Beautiful and sensitive Symphonic Rock with great variations and extremely solid melodies.On the second side of the original issue, the inspiration is still there, it is just divided in shorter pieces.GENESIS, CAMEL and FOCUS remain the biggest influences of the group, although some Scandinavian flavor is evident through the vocals and a few Folk-tinged textures.The emotions created by the masterful keyboards of Lundin and Stolt's guitar playing are hard to explain.Virtuosic but also melodious music with symphonic tendencies, nice interplays and unique climates unfold a fairytale atmosphere of smooth Progressive Rock with hardly any flaws...except maybe the strong GENESIS vibes.

Failing to meet any international success and having realized that the Swedish lyrics were hard to swallow for the worldwide public, Kaipa started a brief stint with singer Lars Hoflund, who had a great, non-accented voice.Lyrics were translated by American student Kevin Fickling and thus four tracks were recorded in its English versions.These pieces along with a live performance of ''Skenet bedrar'' are available in the CD reissue of Musea Records.Success though never knocked the door of the group, as these tracks were sent to England, soon to be rejected by Electra's British department, which never believed the group could be succesful.

Do yourself a favor and grab this album immediately.Masterful Swedish Symphonic Rock with amazing guitar solos and ethereal keyboards of the greatest quality.Maybe too much GENESIS-influenced, but again, if this album was produced by GENESIS, we would be talking about a masterpiece.Not to be missed...4.5 stars upgraded.

After an impressive debut album, I found this one to be disappointing. Sure, there are some good songs. The opening epic, Skenet Bedrar, despite some annoying shouted vocals, is great, as is the live version tacked on at the end. But my problem with the album is the apparent straining to sound like Genesis. In too many songs keyboardist Hans Lundin sounds like he's trying to imitate Tony Banks' arpeggios. On Awakening / Bitterness, the vocals simulate Peter Gabriel's or Phil Collins' (take your pick) thin, buzzy vocals. On the first album, this band proved that they were better than that. They should have stuck with creating their own style.

A Swedish group that made his more importants works in seventies decade. This second album it's a epic and have some very beautiful music parts. Very melodic with a sound very good with beautiful guitar parts and sound and keiboards and effects very beautiful too. Lyrics are in Swedish but perfectly integrated into the music. We have some Floydian context but some Genesis single parts too in the guitar and keiboards work. I think that this is a important album for the seventies Swedish scene because this is a great album of progressive music. We have some parts when the guitar and keiboards are perfectly integrated in a beatiful music conception. I like very much this work and I give 4 stars and it's highly recomended

Looks like i'm not the only one on this site who feels the debut is better than this the more popular follow-up. After the success of the debut they bought a mellotron (yay) and some better instruments then played some live gigs before recording "Inget Nytt Under Solen".There is mellotron on three of the six tracks.

"Skenet Bedrar" is a side long suite at close to 22 minutes. It's the kind of track that doesn't really grab you right away but I think it is a success. Faint spacey sounds to start that begin to build some.Vocals before 3 minutes as it continues to be laid back. A GENESIS flavour before 7 minutes as the organ pulsates. Nice chunky bass to follow as the guitar solos over top. It then settles back down before picking back up after 10 minutes. Some in your face vocals from the drummer follows with piano.The tempo picks up before 13 minutes with fat bass lines and more. Reserved vocals before 14 minutes as it calms right down. A calm with deep spoken words 19 1/2 minutes in brings the song to an end.

"Omson Sken" opens with keyboards and atmosphere. Reserved vocals after a minute. A calm with vibes only ends it. "Korstag" features prominant bass and keyboards. Mellotron too. Just a great sounding instrumental. "Stengrodornas Parad" is a short humerous tune with a circus vibe. "Dagens Port" opens with reserved vocals and piano. It picks up with synths, then the vocals and piano return but it's a lot fuller than the intro. "Inget Nytt Under Solen" sounds excellent with passionate vocals. Huge bass lines when the vocals stop.The tempo picks up too. It settles right back down 2 1/2 minutes in with reserved vocals. When the vocals stop the guitar comes in leading the way tastefully. Nice.

A good album that I thought would be better. Still I can't give it less than 4 stars.

"Nothing new under the sun?" remarked Elektra's president during a meeting with the band members in 1976. Amused at that statement while in the midst of their creative and performing peak, Kaipa used the phrase for the title of their second record. It's not terribly surprising the LP was not imported outside of Scandinavia when released but it is unfortunate, and reason to appreciate the global and timeless reach the internet age has provided. This is grade-A symphonic rock, at times musically outdoing acts like Triumvirat in its quest for Prog sideshow greatness on the Continent and making better-known ones as Nektar seem amateurish. Kaipa were young (Stolt looking as cherubic as ever), the new instruments and devices were factory fresh, they didn't care much about money, and fame seemed to be a silly byproduct. Bergman, Eriksson, Lundin and Stolt worked hard on continuously refining their material and arrangements even when times were hard. They didn't consider themselves virtuosos and, much like Pink Floyd, would prepare carefully schemed music that could be recorded in pieces, and this is where their strength laid. Plus the Musea reissue has some sweet extras.

The obligatory cosmic cloud slowly opens 'Skenet Bedrar', a majestic 21-minute enormity spanning five movements of gentle heraldings, delightful kidplay with Hans Lundin's faux kinderclavier, and some really fine development that takes its time. If you can ignore the man occasionally yelling in Swedish and a brief appearance of God, this is a real accomplishment of symphonic rock 'n roll. Magisterial 'Korstag' and equally stately 'Dagens Port' hint at early Genesis followed by the strange amalgams of the title cut. Of special interest are four roughly mixed (but remixed and very clean) English versions of tracks sung by Lars Hoflund, a sort of Bon Scott-meets-Peter Gabriel doing a good job interpreting the vocals. Plus a live take of behemoth 'Skenet Bedrar' and little lost treasure 'Fran det ena till det andra' restored from a damaged tape.

Excellent in the context of 1970s Scandi-prog, Kaipa could've been a global contender though I hate to think how they might've gone had that happened. Sometimes it's better for the fan when the band never got the exposure they deserved.

The title means "nothing new under the sun", but on their sophomore effort Kaipa advanced and evolved their sound appreciably, creating a distinct and original style of mellow, melodic prog which proves that even though their more recent releases have been tailored for retro- prog fans, back in the day they were more than able to push the symphonic genre into wholly new directions. With Roine Stolt's guitar work and Hans Lundin's keys working in perfect concert together, the band craft a true prog masterpiece which, alas, came out at precisely the wrong time to attain international attention. Which is a shame, because this deserves to be in the classic prog canon.

The second album from this Swedish symph prog band.

Recorded and released in the 1970s, it most certainly capture the sound and attitude from that time. The twenty odd minutes long Skenet Bedrar is the Scandinavian answer to Supper's Ready. But Genesis is not a default comparisson I would make though. Kaipa's music and sound is in it's entirety shaped and formed from Swedish music. In particular the very popular folk music scene. Add influences from Genesis to the mix and a lot of Swedish church music and hymns and you get Kaipa. Inget Nytt Under Solen has a very distinct Scandinavian sound and identity. A sound based on long and lingering organs and guitar tones. The music is pastoral throughout and could had been performed in a small Swedish wooden church. Church music is what this album sounds like.

The music is very good throughout. But this album is for me a bit step backwards from their debut album. There is very few really good songs here. Skenet Bedrar is at times great, but does not really get anywhere. The same goes for the rest of this album. It is still a very good album, but that's it. But as the inspiration and the blueprint for The Flower Kings, it is still very much worth checking out.

3.5 stars

4.5/10

It is unfortunate that the Kaipa of the 70´s does not equal the new millennium. If your first album was somewhat ambiguous in terms of composition and quality his successor is a retreat of these terms. In fact the only song worthy of note here is the epic Skenet Bedrar, yet it lacks the strength of other songs like Close To The Edge and Dogs (and the song Electric Power Water Notes of their latest album is infinitely better). A major problem here is that while the vocals remain scarce (like its predecessor this is a more instrumental album) make him weak. And it is not as engaging as I supposed. 2 stars.

Kaipa's second album sees the band still toying with the sound of their debut, but in a more structured and focused manner. Inget Nytt Under Solen is probably equivalent sonically to their debut. In fact, nothing much at all is different here. But I believe the band uses their great songwriting abilities and musicianship a bit more effectively here.

The 22-minute epic 'Skenet Bedrar' is the obvious centerpiece of the album, which is able to deliver melody after melody while still having a sense of cohesiveness. Not to mention the multiple dynamic sound, tempo, and mood changes which make this a rather interesting song.

The remaining tracks are all great in their own right. 'Ömson Sken' and 'Stengrodornas Parad' are both light and fun tracks, with the former having little Marimba melody near the end, and the latter being short, but quirky. 'Korståg,' and the title track are probably the strongest, and definitely show the strongest influence from Roine for which his signature guitar sound is all throughout both. The latter also has a few melodies which would be later reused in Roine's solo debut The Flower King.

Overall, I believe this to be a slightly stronger effort than the debut, even though it still isn't ambitious as some of the classic prog or some of the Flower King's output. Whatever it lacks in this area it certainly makes up for in melodic prowess.

7/10

Always on the lookout for more classic seventies prog, I was very interested in hearing what Kaipa sounded like. Their CDs, however, were not cheap, and so I chose this one only because it was the least expensive and easiest to order.

This album reminds me of some other prog albums of a few years earlier where a band would write a side-long song and use up much of their good ideas on this one track and then fill up the other side with shorter songs of varying interest. "Meddle", "Tarkus" and a couple of others that come to mind are all subject to praise for the epic number and criticism for the mixed bag of tricks on the other side.

The side-long epic track here, "Skenet Bedrar", goes through a few phases and changes and at times the band really cruises in the progressive "rock" field. When they are in full swing, I can't help but feel that they are simultaneously an excellent Swedish version of Yes and a long lost older incarnation of the Flower Kings (a young Roine Stolt contributed to the composing and plays guitar). The lyrics are all in Swedish with Ingemar Bergman and Hans Lundin providing the vocals. I don't know which one sings what, but the first vocalist sings in a register similar to that of Jon Anderson but seems to require more force to get the sounds out. The second vocalist sings a little lower but almost seems to shout his head off and on occasion he strays from the note. Though this adds a rock feeling of energy and power, I also feel it shows that he hasn't yet developed his talent as a singer. Vocals aside, most of the music is composed and performed as good as any classic Yes material. For my taste, there are still a couple of parts in the song that I don't really enjoy and I cannot say this song is worthy of ranking next to classics like "Close to the Edge" and "The Revealing Science of God". I bought this album a year ago and didn't listen to it much then; however, it recently has attracted my attention and I've been listening to this side-long track a few times more as well as the rest of the album.

Side two is composed of shorter pieces including two instrumentals, one of which, "Korstag", is rather good and the very short "Stengrodornas Parad" being slightly comical and sounding like one of those short compositions that fill the gaps between the good music of a Flower Kings album. In a way it sounds like an idea that was either shortened due to time constraints on the album or the idea didn't go or fit in anywhere. A third track, "Omson Sken" begins which a short lyric and then changes into an instrumental passage that sounds like the music in a voice-less Scandinavian children's animation. In an interview with the lead member (I've forgotten who that is) I read that Swedish folk songs were an influence in their compositions, so that might explain this part of the song. The title track is perhaps the best of the vocal tracks on side two, sounding like a more traditional song in structure and having more of the Yes style of music, even including a good chunky bass sound.

The reissue I bought is like a mini-record album that opens up with all the original text (in Swedish) and photos. A second bonus disc includes a re-mix of some of the tracks sung in English and some live performances of songs from this album and others. I thought I might like the English versions a little better but actually I don't. The original Swedish recordings have a better bass sound and the style of the vocals sound really different as the singers adjusted their approach to suit the language and audience. The live tracks are interesting for the music but the sound quality is not top notch and I find it a bit of a chore to get through listening to all the live songs.

I've had this CD for a year as I said and though I like it enough to consider buying at least one more 70's Kaipa album, the high price of imports and the songs and music that I didn't warm to have kept me from making that follow-up purchase. For prog effort I would give this four stars but for my own personal taste I give it three.

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.