Tag: Kaipa

Review – Kaipa – Sommargryningsljus – by John Wenlock-Smith

‘Sommargryningsljus’ is the 15th, and latest, from Swedish outfit Kaipa who have been in existence for over 50 years. Whilst they may now have been active for all 50 of those years, when they do regroup and re-emerge, they offer something new and fresh. This new album is a step further for the band after the excellent ‘Urskog’ from 2022, which I reviewed favourably for Progradar, being captivated by its lush symphonic textures and sounds. ‘Sommarskymningsljus’ continues this in a similar vein and sounds really lush, fans of Swedish symphonic prog will find much to appreciate here.

The album begins gently with Sommarskymningsljus, the beautifully clear and expressive voice of Aleena Gibson rising over an expressive melody from Hans Lundin, it is an engaging number that leads us into the equally captivating epic Seven Birds, which builds in a very satisfying way. Layers of sound make for an interesting track with excellent vocals from Aleena again, the mid section has a fine, lengthy keyboard excursion leading into a brief but exciting guitar break from Per Nilsson. A second longer solo occurs later in the song, where Per and Hans play in tandem delivering a great sounding track. Like Thousand Dawns is greatly enlivened by the excellent bass playing from Jonas Reingold, who is very busy on this, track adding foundation and definitions to the track. The song has another stellar vocal from Aleena Gibson, whose powerful vocal is actually a thing of beauty here. The mid part of the track has a twisting, turning part which, again, gives bassist Jonas a chance to impress and he does admirably, leaving room for a few short but dynamic guitar fills from Per Nilsson. It’s another epic song from Kaipa, proving, once again, that their brand and style of progressive rock is both worthwhile and entertaining.

It’s worth pointing out that of the albums 9 tracks, Six are over nine minutes in duration. This means this is an album that will require your involvement and an investment of your time that you will not regret one bit, for this album is full of superb tracks with some excellent extended musical passages featuring the expressive and poignant violin of Elin Rubinsztein and the recorders and whistles of Frederick Lindquist and it greatly benefits from these guest appearances.

Chased by Wolves And Burned By The Sun is another lengthy track with more great violin parts, giving a slight tone of Kansas to proceedings (no bad thing to these ears!) and another chance for some muscular bass lines from Jonas whilst Per provides the insistent riff that underpins the song. I really like the dynamics of this track as it uses the counterpoint of the instruments to really allow the track to evolve and shine, it really is utterly engrossing. Spiderweb Train dates from the 1990’s, as does second track Seven Birds, Hans had to do some extensive reworking of these songs to bring them into today’s age. Spiderweb Train is  the albums longest track at over fifteen and a half minutes. This means it has lot of room for improvisation and for the various parts to emerge. There’s an almost Gothic tone in places and parts that really makes it an interesting and exciting track.

This is followed by the album’s last long track, Songs In Our Hands at just shy of Thirteen minutes, before the shorter title piece Sommargryningsljus. The former track features some very impressive vocals from both Patrick Lindqvist and Aleena Gibson, along with some great synth lines from Hans Lundin, another excellent track from the band. The album closes with a longer take of Sommargryningsljus, allowing the full version of the song to be heard as it was originally envisaged.

The album takes us on an interesting journey through the dark and the early hours before dawn with dawn finally emerging and the darkness falling away. The first two tracks representing Twilight and the last two representing Dawn. As always the artwork is excellent and definitely fits the theme of the album well.

Overall, this is another excellent album from Kaipa who are now a studio band only as they have finished with live performances now. Fans of symphonic progressive music will find much to enjoy herein, it is a wonderful release that is most definitely worthy of investigation.

Released 28th June, 2024.

Pre-order the album here:

Sommargryningsljus (lnk.to)

Interview with Hans Lundin of Kaipa – John Wenlock-Smith

John Wenlock-Smith asks the questions of Hans Lundin ahead of the release of Kaipa’s new album ‘Sommargryningsljus’.

JWS: The album appears to be a cycle of songs that encompass the day shifting to dawn and beyond. Can you explain more about this?

HL: I had written all the songs for the album and the total playing time was seventy minutes, but then something unexpected happened. One day when I was recording with Aleena Gibson, we took a break and went out into my garden to have a cup of coffee. Suddenly Aleena started singing some notes and I said it was beautiful. Okay, let’s write a song, she said. So we returned to the studio and fifteen minutes later a new song had been born. We were both delighted with the result and said that this song must be on the album and the lyrics must be in Swedish. I developed the song and created an interlude built on the same chords. The melody was hovering around in the studio and it landed gracefully in my fingers when I started to play. One early morning a few weeks later, the words suddenly came floating down and landed in my consciousness.

I decided to split the song into two parts ”Sommarskymningsljus” which is about dusk, when the sun goes down and use it as the opening track of the album. The second part ”Sommargryningsljus” (Summer dawn light) is used as the closing track. I thought it was a good idea that felt logical because several of the songs are about dusk and dawn. One song “Chased by Wolves and Burned by the Sun” takes place at night when you can’t fall asleep. So you could say it’s a journey from dusk to dawn even though that wasn’t my intention when I originally wrote the songs.  

JWS: The album title ‘Sommergryningsjus’ is obviously in your own language but what does it mean?

HL: Summer dawn light.

JWS: You really like long songs, as do I, why is that do you think?

HL: I never decide in advance how a song should be. Songwriting is an exciting and unpredictable journey. Sometimes it’s just a little excursion that results in a short little song. But often the imagination takes me on a longer exciting journey and then it becomes a long song.

JWS: A couple of tracks were apparently old ideas that you have restored and developed, were you happy with them?

HL: The basic structures of two of the songs on the album (Seven Birds & Spiderweb Train) were originally written in the late 90’s. The same period as the songs for Kaipas comeback album Notes from the past (2002) were written.

I found two old long instrumental songs that I really liked. I only had the songs mixed on a cassette tape. At the time when they were recorded, I used an Atari computer and the Logic program Notator where I could record midi-files addressed to all my different keyboards. The songs were saved on a floppy disc. I managed to transfer these midi-files into my modern recording system and slowly I could build up these old songs again. I had to dust off a couple of old synthesizers, that had not been used for many years, to find some of the original sounds I used at that time. I edited the songs, removed some parts and wrote some new bridges.

I also decided to use some of the instrumental melodies as vocal tracks and wrote lyrics. One of the songs was called Seven Birds and it inspired me to write lyrics where I could keep the title intact. Some of the synthesizer solos on these tracks are actually recorded in the 90’s. Working with these songs was really fun and inspiring and I felt I was building a bridge between the past and the future, the old and the new. This is the 10th KAIPA album on Inside Out and I think it’s logical to celebrate this with two songs that are like a melting pot, born some 25 years ago and dressed up for success today.

JWS: The artwork for the album is very impressive, does it play a role in telling the stories of the album?

HL: I always try to make a cover that harmonizes with the music on the album. Something you can look at and dream away with while listening to the music.

JWS: Kaipa seem to have burst of activity and then a break, why is that?

HL: When I started Kaipa in 1973, we started from scratch. At that time, no one had heard of the band and we began a long journey towards success. Three years later we had recorded two albums and became Scandinavia’s leading progressive rock band. We did over five hundred concerts, recorded three more albums and continued until 1982. At that time the conditions had changed as people showed more interest in punk and synth groups. So we decided to take a break. However, a reunion never happened and it wasn’t until 2001 when I decided to record a new album that chapter two of Kaipa’s history began.

During the 80’s I continued to write music and released three solo albums: Tales (1984), Visions of Circles of Sounds (1985) and Houses (1989). In 2019 the 6-cd box “Hans Lundin: The Solo Years 1982-1989” was released where the three albums are included remastered + three albums of previously unreleased material also including some Kaipa demos.

JWS: Aleena has such a unique voice, where did you find her?

HL: When we recorded the album “Notes from the Past” in 2001, there was a song I had written, “A Road in my Mind”, that was supposed to be performed by a woman. I asked Patrik Lundström if he knew anyone who could sing it. He returned a few days later with Aleena and when she started singing all the pieces fell into place. That’s how it started and she became a permanent member of the group. We have now collaborated for 23 years.  

JWS: Your music is beautifully layered and very harmonic. It’s classic symphonic progressive rock, it must take a while to plot each track, do you follow a process or is it just intuition?

HL: I usually say that the melodies come knocking on my door and ask me to take care of them. It’s a special feeling when a melody comes out of nowhere and lands in my consciousness. Often it is a long process from the small melody to the finished piece of music. Usually, I continue to make small fine adjustments in the arrangements until it’s time to record.

JWS: What’s next for Kaipa? any live activities planned?

HL: The last Kaipa concert was in December 1982. Kaipa is now a studio project and we never play live. This summer I celebrate my sixtieth anniversary as a musician. I am now an old man and I can look back on many highlights of my life. I am happy when I get inspiration and can create new music and that I have the privilege to collaborate with some of the world’s top musicians. What more could I wish for.

‘Sommergryningsjus’ will be released on 28th June, 2024.

Pre-order the album here:

Sommargryningsljus (lnk.to)

Kaipa release first single & share music video of upcoming album “Sommargryningsljus” / now available for pre-order 

Sweden-born, folkloric progressive rock band Kaipa proudly announce their new album Sommargryningsljus. 49 years after the release of their debut album, the band is set to reveal the 15th longplayer of their musical journey, Sommargryningsljus, which will be released via InsideOutMusic on June 28th, 2024.  Sommargryningsljus is now available for pre-order:

Sommargryningsljus (Single Edit) (lnk.to)

The announcement comes with the release of the first single of the album, which is a mélange of both the opening and closing track of Sommargryningsljus, subsequently named “Sommargryningsljus (Single Edit)”. Two of the songs from the album, the opening track Sommarskymningsljus and the ending track Sommargryningsljus, can be heard together in this single edit version, as they were originally written.

The song is about dusk and a journey through the night to meet the light again at dawn. The single comes with a lyric video that showcases the mystical vibes of twilight and gives a glimpse of the album aesthetics and illustrations.

Watch the video for Sommargryningsljus (Single Edit) here:

Listen to Sommargryningsljus (Single Edit) on your favorite DSPs here:

Kaipa – Sommargryningsljus (lnk.to)

Hans Lund comments:

„I had written all the songs for the album and the total playing time was 70 minutes, but then something unexpected happened. One day when I was recording with Aleena Gibson, we took a break and went out into my garden to have a cup of coffee. Suddenly Aleena started singing some notes and I said it was beautiful. ‘Okay, let’s write a song‘, she said. So we returned to the studio and 15 minutes later a new song had been born. We were both delighted with the result and said that this song must be on the album and the lyrics must be in Swedish. I developed the song and created an interlude built on the same chords. The melody was hovering around in the studio and it landed gracefully in my fingers when I started to play. One early morning a few weeks later, the words suddenly came floating down and landed in my consciousness.“

Sommargryningsljus will be available as

·      Ltd. CD Mediabook with extensive 24-pages booklet

·      12’’ Gatefold 180g 2LP black vinyl

·      digital album

Tracklist:

1.    Sommarskymningsljus 00:01:30

2.    Seven Birds   00:09:50

3.    Like Thousand Dawns 00:11:08

4.    Revelationview 00:09:28

5.    Chased by Wolves And Burned by The Sun 00:10:17

6.    Spiderweb Train 00:15:29

7.    Songs In Our Hands 00:13:00

8.    Sommargryningsljus 00:03:58

9.    Sommargryningsljus (Single Edit) 00:05:24

Kaipa are:

Hans Lundin – keyboards & vocals

Per Nilsson – electric & acoustic guitars

Jonas Reingold – bass

Darby Todd – drums

Patrik Lundström – vocals

Aleena Gibson – vocals 

2022 Progradar’s Best Of The Year – John Wenlock-Smith’s Top 20

Yesterday saw the editor’s top twenty albums of 2022, today we see what made respected contributor John Wenlock-Smith’s list….

John says, “It’s been a great year for music, especially prog, with many fine releases from established and also newer acts. Here are twenty that really struck a chord with me, in no particular order but all worthy of inspection and consideration.”

D’VIRGILIO, MORSE, JENNINGS – TROIKA

In which well known prog aficionados beguile us with their inner CSN&Y. It’s all acoustically in the main but a very strong collection of songs that must warrant a second visit – here’s hoping so at least!

Hats of Gentlemen It’s Adequate – The Confidence Trick 

A wonderful and diverse set of songs around the concept that we are being led by arrogant fools whose overconfidence is actually severely dangerous, examples being Trump, Johnson and, more recently, Liz Truss whose overconfidence nearly destroyed any chance of economic growth.

Stuckfish – Days of Innocence 

A simply marvellous album that impressed many with its thoughtful lyrics and excellent music.

SiX By SiX – Self Titled

A bit of Saga, a bit of Saxon, add Robert Berry’s muscular bass and you have a blistering rock album with very progressive elements and leanings. Again this one impressed greatly.

Kaipa – Urskog

The long established Swedish folk-proggers delivered a truly graceful album with several epics and more than a touch of vintage Yes, a great set of songs.

Derek Sherinian – Vortex 

In which the ex-Dream Theater keyboard man delivers a captivating, electric set of tracks supported by several big name friends including Steve Stevens, Nuno Bettencourt, Bumblefoot and Joe Bonamassa, to name a few. Blistering in parts and excellent overall.

The Mighty Ra – All Secrets Known 

A new band of mainly Welsh prog musicians who began writing together with this rather fine album being the result. An excellent new album with great promise.

Verbal Delirium – Conundrum

This was new to me but what a find! A very classy album with a great vocalist, strong songs and great playing from all, definitely one to discover.

Arc Of Life – Don’t Look Down

The second album from Yes spin off Arc of Life. Jon Davison and Billy Sherwood delivering the album that Yes maybe should have. Epics like Real Time World and Arc of Life were standout tracks in an album of importance and strength.

The Bardic Depths – Promises Of Hope

Literature loving progressive band deliver a fine second album about suicide via a fictional tale of a suicidal queen whose death is prevented by the Gods. Enthralling and with many guests in tow.

Tribe of Names – Evolver 

Evolutionary album from ex-Tinyfish man Simon Godfrey & colleagues that sees them stretching their legs musically. There’s a welcome strong Rush influence throughout and its a superb album overall. 

Phi Yaan Zek – Interdimensional Garden Party

This very strange but satisfying album occupies a realm the sadly departed and much missed Frank Zappa would have graced with its blend of instrumentals and strong songs. Wonderful weirdness is obligatory with such stunning tracks as Wickety Wickety being enough to make anyone smile. A seriously good album that warrants investigation.

John Holden – Kintsugi 

John lives close to me and he delivers a strong fourth album of various pieces with a stellar assembly of guests, a highly varied and ultimately satisfying and enjoyable album.

Pattern Seeking Animals – Only Passing Through

This is the third album from Spock’s Beard writer and contributor John Boegehold. With excellent support from existing members of the band, strong songs and catchy hooks abound.

Red Bazar- Inverted Reality 

Another unexpected pleasure with a harder edged sound and excellent vocals from Peter Jones, this was very welcome indeed.

Dave Brons – Return to Arda 

Simply divine and beautifully melodic Celtic-tinged music from Dave Brons and friends with a concentration on melody with moments of shredding brilliance. Totally sublime and utterly captivating. 

Ghost Of The Machine – Scissorgames

A triumphant debut from ex-This Winter Machine men who, along with sublime vocalist Charlie Bramald, fuse melody and muscle in a devastating combination. Truly awesome, well received by many and rightly so too!

Clive Mitten – Tales From A Misspent Youth Volume 1

Entirely orchestral versions of songs that inspired Clive whilst growing up. His take on key songs from Pink Floyd, Genesis, Supertramp and Rush really are a must to hear. How he brings out hitherto hidden beauties to much loved pieces is gorgeous.

Evership – The Uncrowned King Act 2

The final part of the tale is a sobering statement of intent from fine US proggers Evership and the additional vocals from Saga’s Michael Sadler impress greatly.

David Longdon – Door One

Posthumously released after David’s unexpected death in 2021, this telling collection reveals his continued evolution as a writer and, whilst short, this bittersweet album reminds us of of the great man we lost last year.

So, there you have it, that’s it for 2022 from John and myself, see you on the other side…

Review – Kaipa – Urskog – by John Wenlock-Smith

‘Urskog’ is the latest, and fourteenth album of the folk/fusion progressive rock group, Kaipa. The band was, in earlier times, home to Roine Stolt of The Flower Kings and it’s easy to see just how he was able to be a part of this band’s heritage and sound.

This album is Stolt free but, nonetheless, it is a very accomplished and epic sounding release and takes you on an aural journey through the forests of the Swedish wilderness and its changing seasons. It is all remarkable considering the album only has six tracks, two epics of fifteen plus minutes, one ten minute track, a nine minute instrumental and one, shorter, six minute song. Yet, within its grooves, you will discover a fabulous world of invention and wonder, at least I did.

I could find touches of Yes in the bass work of Jonas Reingold and the fine, fluid guitar of Per Nilsson, not to mention the epic, and often orchestral, keyboards of Hans Lundin, and that’s before we mention the excellent vocals from Patrick Lundstrom and Aleena Gibson. Along with the powerhouse of drummer Darby Todd, they really create a lush and rich, symphonic sound.

Opener The Frozen Dead Of The Night sets the scene for much of what follows, initially gentle before a stirring synth line from Hans is introduced to favorable effect and the music takes a more rhythmic approach. The drums are then brought into play, this opener is quite keyboard heavy in parts but this works well for the song. The next part of the song leads us towards spring and to the excellent fretwork of Per, who really let’s fly on this section. He has a lovely tone and fleet fingers that fly across the fretboard wonderfully, and highly melodically too.

In A World of Pines takes us deep into the forest and into a sensory experience of mindfulness, even as we learn to appreciate the pine forests and the peace that they offer us. There’s lots happening musically in this song too, lots of lovely keyboard sounds and textures. Next is title track Urskog which has a broody tone to its, almost menacing really. Being sung in Swedish reinforces this and without any translation of the lyrics, it doesn’t help, although there are lots of soaring synths on offer herein. There is also a good bass / drum interaction going on throughout which is highly effective in nature, if only I knew what they were on about!

Far Better for me is Wilderness Excursion which features lots of energetic soloing from keyboard player Hans, guitarist Per and bassist Jonas, who channels his inner Chris Squire to pronounced effect. All of this is surrounded by the busy, yet effective, drum work of Darby. With the song being fully instrumental, everyone gets their moment to shine but it is collectively that they really make a point. This is not mere showing off per se, instead it is collectively highlighting their skills together as an ensemble within the track that works so well. This blistering track really shows how well they get together as a unit and can show that on record too.

The Wastelands of My Mind is hinged on a gloriously uplifting violin melody by Elina Rubensztein which, when coupled with a fabulous vocal from Aleena Gibson, really shines and evokes memories of Kansas’ Robbie Steinhardt. Yes, it really is that good and it makes this definitely one of the album’s finest tracks. Final track The Bitter Setting Sun is also a great with another epic setting and keyboard sounds to match and with lot going on in its fifteen plus minutes running time. The song moves between sections excellently with each part being marked by the different sounds that make it run smoothly.

This album is full of life, you can sense how the seasons change and how life develops as a result. The whole record is very life affirming and an absolute joy to listen to. I heartily recommend it to all prog fans, it’s not that folk oriented but does have a fair element of fusion type embellishments. However it’s all excellently overseen and thoroughly enjoyable as a result.

Released 29th April, 2022.

Order here:

Urskog (burningshed.com)

Review – Kaipa – Children of the Sounds – by Roy Hunter

Legendary Swedish progressive rockers Kaipa, led by mastermind Hans Lundin, have announced the release of their new studio album ‘Children of the Sounds’ for 22nd September 2017. The band’s 13th album, and 8th since the act were reborn in 2002, this album features the line-up of Lundin, accompanied by Per Nilsson (Scar Symmetry), Morgan Ågren (Karmakanic), Jonas Reingold (The Flower Kings, Karmakanic), Patrik Lundström (Ritual) & Aleena Gibson, plus a guest appearance from violinist Elin Rubinsztein.

This album is a thing of great beauty, and if you know the extended catalogue of the band, it sits right at the top!! Since Per Nilsson replaced Roine Stolt from the 2007 album ‘Angling Feelings’, there has been subtle change to the style of music. Always melodic, with great interplay between Nilsson’s sometimes frenetic guitar, Reingold’s bass and Lundin’s keys.

Just 5 tracks on here, the opening title track, Children Of The Sounds, sets off with swapped female/male vocal leads interspersed with Nilsson’s piquant guitar floating over all. The rhythm section drive the music along for 11 minutes, and not one minute of this is filler. Aleena Gibson’s voice is an acquired taste I’ll admit, but I can’t imagine anybody else singing her parts!

Track 2 is a 17 minute epic composition that builds right from the off. On The Edge of New Horizons is a lovely long-form work that Kaipa is noted for. Just when you think it is over, Lundin brings in a new melody or revamps an earlier one. Excellent.

The 3rd track Like A Serpentine does what it says on the tin. Beautiful melodies again and great vocal harmonies, Lundin himself taking the lead. Nilsson excels yet again!! The rhythm section to be so understated carries the tune along very sweetly. The violin places yet another layer overall.

The Shadowy Sunlight, track 4, is the shortest at just under 7 minutes. Beautiful folky violin with some fascinating guitar/keyboards interplay here. Multiple key-changes as the tune ascends to a heady climax – the subtle shift from minor to major really awaken a longing for resolution and finally Nilsson delivers! But I wonder why it finished so soon?

The last track What’s Behind The Fields, opens with a feeling of déjà vu… Have we heard this before? Indeed the track develops into a showcase for all the great features of this band:- harmony vocals and instrumental wizardry of the highest calibre!!

Released 22nd September 2017

Buy ‘Children of the Sounds’ from InsideOut