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██▌ Artist...: Kaipa ░▐██▌
░▐██ Album....: Sommargryningsljus ░██▌░
▓▐██ Year.....: 2024 ▓▐██▓
▓▐██ Rel. Date: 2024-12-19 ░▐██▓
▐██ Genre....: Progressive Rock ██▌░
░ ██▌ Label....: Inside Out Music / Sony Music ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Retail ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Sommarskymningsljus 1:32
2. Seven Birds 9:49
3. Like Thousand Dawns 11:09
4. Revelationview 9:28
5. Chased by Wolves and Burned by the Sun 10:17
6. Spiderweb Train 15:28
7. Songs in Our Hands 13:01
8. Sommargryningsljus 3:57
9. Sommargryningsljus (Single Edit) 5:22
80:03
In the summer of 1964 Hans Lundin's musical career started when he
became a member of his first band as organist and singer. He says that
the following years were "the best education I could ever get". Nine
years later in 1973 he formed the group KAIPA.
Now 60 years into his career he and his current bandmates Per Nilsson,
Jonas Reingold, Darby Todd, Patrik Lundstr÷m & Aleena Gibson are proud
to announce the release of Kaipa's 15th studio album
"Sommargryningsljus" (Summer Dawn Light).
öA whispering dawn the sun's on its way to open up a brand new day out
of the shadows of the nightö is the opening phrase of the song Songs in
Our Hands.
The dawn theme has always been close to Hans Lundin's heart in his
songwriting. On the self titled debut album released in 1975, 49 years
ago, he wrote about this in the song Se var morgon gry. Also in the
songs Dagens port and Visa i sommaren on the following albums he
returned to this theme. With the new album he closes the circle and
returns to where it all began.
Sommargryningsljus contains eight tracks portraying a nocturnal journey
from dusk until dawn, with the first two tracks representing the
twilight and the closing two indicating dawn. This nighttime odyssey can
be seen as a metaphor for the state between death and rebirth, or as an
allegory of life told in reverse.
As a bonus track, äSommargryningsljus (single edit)ô is included where
the entire song can be heard as it was originally written including
äSommarskymningsljusô.
---
When Roine Stolt seemed to appear from nowhere with 'The Flower King' in
1994, I am sure I was not the only proghead who wondered who Kaipa were,
the band he had been involved with in the Seventies and was determined
to discover more. I was soon playing their 1975 debut, but never thought
the band would exist again, and given the success of his projects I was
somewhat surprised to see Kaipa resurrect 20 years after their initial
breakup with 'Notes From The Past' with Roine Stolt and Hans Lundin now
forming a revised band with Patrik Lundstr÷m, Jonas Reingold and Morgan
┼gren along with various guests, including Aleena Gibson. Fast forward
another 20+ years and Kaipa are back with their tenth album since the
resurrection. Over that time the line-up has stayed remarkably stable,
and although Roine has not been involved for some time, the line-up is
now very similar to that from 2002 with Hans Lundin (keyboards, vocals),
Patrik Lundstr÷m (vocals), Aleena Gibson (vocals), Jonas Reingold
(bass), Per Nilsson (electric & acoustic guitars) and Darby Todd
(drums). Both guests who appeared on the last album 'Urskog', Elin
Rubinsztein (violin) and Olof ┼slund (saxophone) are back again plus
Fredrik Lindqvist (recorders & whistles).
Incredibly, it is now 60 years since Hans Lundin's musical career
started when he became a member of his first band as organist and
singer, before forming Kaipa in 1973. 'Sommargryningsljus' (Summer Dawn
Light) is the band's fifteenth album and contains eight tracks
portraying a nocturnal journey from dusk until dawn, with the first two
tracks representing the twilight and the closing two indicating dawn.
This nighttime odyssey can be seen as a metaphor for the state between
death and rebirth, or as an allegory of life told in reverse. As with
'Urskog', Hans has been revisiting songs he wrote years ago for
inspiration, with the basic structures of both "Seven Birds" and
"Spiderweb Train" initially written when he was working material which
would end up on 'Notes From The Past', which caused him also to revisit
some synths and sounds he had not utilised in some time.
Given the history of the band it is not surprising to find some
similarities with The Flower Kings, which is a bit like finding
similarities between Kansas and Proto Kaw, as there is an intertwined
history both in personnel and influences. This is classic symphonic
prog, but given the band were originally active in its heyday that is
only to be expected, and that it is mostly keyboard driven with the rest
of the guys bringing their elements to the arrangement to keep them as
the central focus is also no shock. The use of different vocalists
allows the band to widen the harmonies and palette of sounds at their
disposal, while it is also intriguing to have songs both in English and
Swedish. There is a real depth here, with music which feels as if it has
been deeply thought through and constructed with care and passion, just
like the old days, resulting in something which can be played multiple
times and explored, with new discoveries each time. Kaipa continue to
produce wonderful old school progressive rock and even if it is somewhat
regressive in many ways, this old proghead finds much in here to enjoy.
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