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Kaipa DaCapo - {Dårskapens Monotoni}

Label - CD Foxtrot Records
Reviewed by:

Max

Genre:
(Prog Rock)
Country:
Sweden
Length:
66:35
Release Date:
11/7/2016
Band Members: Michael Stolt / lead vocals, guitar, keyboards Roine Stolt / guitars, keyboards, vocals, producer
  Max Lorentz / keyboards, vocals Tomas Eriksson / bass
  Ingemar Bergman / drums Merit Hemmingson / vocals (4)
  Otto Åberg / vocals (6) Ludde Lorentz / sax (6)
  Peter Lindberg: / steel guitar (3,7)
Track Listing: 1.)- Dårskapens Monotoni (10:30)  
  2.)- När Jag Var En Pojk (10:40)  
  3.)-Vi Lever Här (6:20)  
  4.)- Det Tysta Guldet (10:20)  
  5.)-Spår Av Vår Tid (5:40)  
  6.)-Tonerna (17:20)  
  7.)-Monoliten (5:45)  
     

Review:

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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