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Review:
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Roine Stolt returns with Kaipa reuniting the original
line, the 70s, and with it takes to play the songs of the
first album, now distant in time and sung in Swedish. A
motorcycle nostalgia, perhaps a desire to revive a past
season; the fact is that an essentially live project born
within a few years has resulted in the creation of an album
called Dårskapens Monotoni under the explanatory moniker
Kaipa DaCapo.***
Personally I was a little surprised about this initiative,
because I have not focused as you enter and what will determine
in the future within the Scandinavian band Galaxy; on the
other hand, however, curious to hear is quite lively. The
line up gathered around the blond guitarist and Uppsala
manufacturer provides the original rhythm section, formed
by Tomas Eriksson (low) and Ingemar Bergman (drums); Besides
these complete the roster Max Lorentz on keyboards and Stolt's
brother, Michael, such as voice and second guitarist. Also
present were singers and additional musicians.***
The album, a good hour of its duration, consists of
seven songs of which four quite substantial and basically
gives two faces: a startup rather stuck on plots and nostalgic
sounds of yore, instead follows a second part most brilliant
and effective, when the band pulls out all the best aspects
of their repertoire, proposing alternative and perhaps less
obvious solutions.***
Given that the Swedish language does not help much
in understanding the texts, I must necessarily limit myself
to tell only the musical side of the compositions. The long
title track placed at the beginning will surely delight
of the loyal group, faithful in diagram a lot of things
produced in time; an increasingly rhythmic dynamic, important
segments of the keyboards, the usual alternation of mood
and, above all, the Roine Stolt guitar prevail.***
In the same period, 10 minutes abundant, När Jag Var
En Pojk opens with the flavor of blues-rock ballad, the
warm timbre of Michael Stolt in the foreground; rhythm that
gradually rises, and with it the log of the singer. A first
guitar break before a short interlude suspended and then
breaks loose Hammond, dubbed by the six strings. The final
phase, instrumental, located fabulous colors.***
There Lever Här (trad. We live here) is a piece in
a tone somewhat resigned, flat and sounds not exactly overwhelming,
the plot is perhaps less compelling, only partly revived
by the intervention of a steel guitar (Peter Lindberg).***
Here here the album changes gears, the score is not
the only one known, the tribute to the past has now been
bestowed. Det Tysta Guldet have 10 minutes of a calibrated
sound, well-kept, in which some have growing irrepressible
energy and cross-references between keyboards and guitar
are very fine grain. The quality of the structure acquires
thickness and that only boiling square RS before the closed,
Epic, remains to be framed.***
Declined by a romantic arpeggio of twelve strings,
Spår Av Vår Tid is the song from the emotional side gives
more joy. Vocals, synth and bass lines in the background
anticipate opening melodic creepy, impossible here not to
think of Genesis but at the same time, even at current Big
Big Train. The pathos is expected to rise further due to
good vocal mixes and a very sweet swing as a whole.***
Tap therefore the most conspicuous passage in minutaggio
(17 '), Tonerna. Great pace, we're almost in Fusion territory
until they are again the Hammond B3 and a sax (Ludde Lorentz)
to strongly mark the piece. The full-bodied instrumental
digression extends up to a RS insert that introduces the
entrance of the singer, for a part polyphonic and more soft,
round. Robust instrumental fractions and short sung parts
follow one another, therefore, interspersed with suggestive
of the guitar break or keyboards, until the conclusion.***
Monoliten complete the lineup of soft colors and the
sound of the steel guitar. A Michael Stolt particularly
inspired, echoes and reverberations of sound bouncing from
side to side, the usual and precious embroideries Roine
Stolt.***
As I said then, Dårskapens Monotoni reveals two speeds;
I think the second and main part is much more focused and
full of ideas over the first three songs, coherent and well
played, as usual, but too much in debt to the past. Overall
a good try but it just adds to the catalog provided Kaipa.***
Ages
Of Rock
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