KALLE WALLNER

Here we have the fourth solo album from RPWL/Blind Ego guitarist Kalle Wallner, recorded like so many, during lockdown when live work was not possible. He turned to bandmate Yogi Lang to assist with the programming and keyboards, providing guitars, bass, keyboards and programming himself, then getting in-demand drummer Marco Minnemann to add his parts. Having already worked with Arno Menses (Subsignal) on his last solo album he was an obvious choice for the one song with lyrics, while Carmen Tannich (whose solo album Kalle co-produced) was brought in on another. This is somewhat unusual in terms of a guitar instrumental album in that these feel more like songs as opposed to guitar workouts. One could never confuse this with an album by the likes of Malmsteen, Vai or Satriani for example, as it is contained and controlled with little in the way of shredding.

Consequently, it is a very musical album which can be listened to and enjoyed on first hearing as Kalle is not trying to blow our senses out with complexity but instead is doing his best to show restraint and control. For example, for the most part "Six" could have vocals layered on top, but when he does cone out with strong lead lines the notes are sustained and it is more about feel and passion (some nice slide) as opposed to being overwhelmed. It is a guitar album, no doubt, but the keyboards play an important part while Minnemann always adds class and finesses to every project he is involved with. A drummer who is as home in jazz as he is in prog, fusion or metal, he always seems to know when to be bombastic and when to add his bit by not playing at all. It is no surprise that Kalle worked closely with Yogi on this as they have been musical partners for may years, the W and L of RPWL, and the bring out the best in each other.

It is an interesting release, with some nice touches here and there, and worth investigating for those who enjoy a more songs-based approach to instrumental guitars.

Kalle WALLNER is the guitarist of RPWL, the L of said group and BLIND EGO, bands with Floydian sounds on one side, ARENA, PORCUPINE TREE and IQ on the other side. An album of voiceless voices where the six numbered instrumental tracks build on each other like a concept album; guitar, rhythm, flowing melodies on 'the harmonious reconciliation of contradictions and the normalization of madness'; an inventive, fresh sound and a song embellished with the voice of the frontman of SUBSIGNAL for a progressive journey made of breaks and drawers where SATRIANI, MOORE or MALMSTEEN can be recognized at least in the chords, in short let's jump in to see how these voices can talk to us without tessitura.

"One" tumbles with a title, the title that makes you happy, the instrumental prog track with a modern tone, punchy, rhythmic, melodic; bewitching. Notes that ring in your ear, a majestic air, an Olympian riff, a current synth for the rock of tomorrow bringing "Two" for a heavier title with spleen drawers on the acoustic guitar, its intimate percussive sound on the drums from Marco incisive, the air haunting and hovering in circumference, slow derivation on a divine solo; everything is perfect so far, we feel like we are in the middle of a space trip taken by the intensity of the stars coming to flirt with our ship; soft guitar hero without frills but with a lot of progressive creativity. "Three" with Arno on vocals for the radio edit and a calm, padded tune, with melodic reminiscences of SUBSIGNAL and BLIND EGO. A title that we would like to hear in a stadium like in the good old days, a square composition with a solo by Kalle and the synths of Yogi very present. "Four" is back on the instrumental but not just any; it's nervous, it heels the hoof, it's pleasantly repetitive of the riff and gently spleen of the slide guitar; the riff comes back like a ground swell and prints an air to the LED ZEPPELIN, heady like a 'Kasmir'; acoustic floydian break, Mellotron and S-F sequencing before starting again on a solo where the drops seem to come out of a waterfall then dissolve in the ether, a bit like on the last RPWL.

"Five" for the interlude in my opinion, the shortest and most sensual title, a flowing melody on a tortured solo, an intense lit rock rhythm, in short, still no reproach. "Six" tumbles, slow acoustic title to which is grafted a monolithic synth and the echoing guitar solo; it's soft, melodic but catchy; it is intimate and vibrant; Tanyc who whispers more than he sings allowing this title to enter an elaborate musical coloring with this divine mid-term break. Bluesy with Gary MOORE, psychedelic like PINK FLOYD, go listen to a little 'Animals' again at the end, in short 10 minutes which pass without thinking until the sober and dark finale. "Seven. Out" for the long title, a musical ode where Gary comes to play with Yngwie MALMSTEEN after a synth intro; notes in crescendo to reach the sublime, the spleen, a moving melodic air where the voice does not need to be present to get out of emotion at all costs; dynamic and repetitive sounding like a wave breaking on a rock, the same but a little different and which makes you wait for the next one, completely hypnotized. Latent air à la Sylvain d'IRIS final before the characteristic floydian flight, metronomic drums, languorous synth which is spaced out, immense that's all.

Kalle WALLNER has just released an instrumental musical bomb; the pandemic will have had it good by giving birth to this opus strong in sensitivity and audacious in melodic lines. An album that can be listened to in one sitting, which has that little bit more emotional that makes it one of my favorites of the year, just for the memories of certain old notes admirably retranslated; rare that a 'vulgurus instrumentalus' takes so high except perhaps because of the quality of his companions giving together the best of themselves.