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Kaipa: Angling Feelings

Roine Stolt may not be in the Kaipa camp anymore but his presence is felt and heard on this new offering from the venerable prog act. No worries there. Where the worrying comes in is when you begin to wonder if Kaipa can still pass muster after umpteen records and umpteen years in the business. It can. The collective gets down to some unspeakably beautiful passages on "Liquid Holes In The Sky" (especially when Aleena Gibson steps up to the mic) and others, namely "The Fleeting Existence Of Time" and "The Glorious Silence Within." There are some less brilliant moments, especially in the record's back quarter with the noodling "Broken Chords" and the less inspired parts of the largely directionless "Where's The Captain."

Still, in all, Angling Feelings captures Kaipa magic as well as any other release from Hans Lundin and Company ever has.


Track Listing
1. Angling Feeling
2. The Glorious Silence Within
3. The Fleeting Existence Of Time
4. Pulsation
5. Liquid Holes In The Sky
6. Solitary Pathway
7. Broken Chords
8. Path Of Humbleness
9. Where's The Captain?
10. This Ship Of Life

Added: June 6th 2007
Reviewer: Jedd Beaudoin
Score:
Related Link: Kaipa Website
Hits: 5028
Language: english

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» SoT Staff Roundtable Reviews:

Kaipa: Angling Feelings
Posted by Murat Batmaz, SoT Staff Writer on 2007-06-06 08:13:42
My Score:

After Roine Stolt announced his departure from all his side projects, including The Tangent and Kaipa, everyone was worried about the band's future. Thankfully, band leader Hans Lundin didn't take another twenty-year break, but actually sat down and wrote and produced the whole album on his own. The results are certainly satisfying; those who enjoyed Kaipa's previous two albums, Mindrevolutions and Keyholder, will certainly find a lot to latch onto on Angling Feelings.

Roine Stolt has been replaced by Scar Symmetry axeman Per Nilsson, whose performance here is a testimony to his diversity. None of his death metal roots have bled over into the Angling Feelings songs; rather, Nilsson's playing eerily evokes that of Stolt, with strong emphasis on improvised jazz solos and melodic content. Contrary to the previous albums, this record carries a stronger folk influence, in part thanks to the flute contribution of Fredrik Lindquist. Also a Ritual member like vocalist Patrik Lundstrom, Lindquist inject healthy doses of flute melodies into songs like "The Glorious Silence Within", defined by a sweet string arrangement, beautifully strummed acoustic guitars, and mesmerizing electric solos topped by Lundin's trademark piano playing. Similarly, the twelve-minute "The Fleeting Existence of Time" is almost entirely based on improvised soundscapes driven by agile melodies, Swedish folk music elements, and both male and female vocals. Aleena Gibson still sings as beautifully as ever, but Patrik Lundstrom's vocals also play an important role on this album.

The rhythm section consisting of drummer Morgan Agren (Mats Morgan, Fredrik Thordendal) and bassist Jonas Reingold (The Flower Kings) is solid as a rock. Much like Mindrevolutions, Reingold's bass playing slowly pushes some Kaipa songs into Karmakanic territory, where the bass is mostly utilised liberally. Morgan Agren is a godly drummer, but little of his skills come to the fore here (check the drum intro and percussion of "Broken Chords" for an idea), but he serves the songs perfectly. Hans Lundin answers Per Nilsson's wide-ranging guitar work with a diverse blend of keyboard sounds, laying down cascades of Hammond, Moog, piano as well as contributing vocals. His solo at the end of "Pulsation" is gorgeous; while his symphonic keyboards on "Solitary Pathway" provide the necessary sound cosmos to the funky rhythms and jam-like free flow of the composition.

"Path of Humbleness" marries the greatest aspects of this album into nine minutes of intense prog rock. Gentle flute melodies, funky rhythms, gorgeous piano colourings, and Aleena Gibson's emotive vocals. The guitar playing is packed with spontaneity and interlaced carefully within the song.

The one setback of the album is that it brings absolutely nothing new to the table. Rather it continues in the same styles of its predecessors, while also slightly lacking the focused songwriting exposed on most of Roine Stolt's material. Still, Angling Feelings is a gem if you like prog rock firmly rooted in the 70's.

Kaipa: Angling Feelings
Posted by Duncan Glenday, SoT Staff Writer on 2007-05-23 23:56:16
My Score:

The new Kaipa - without the benefit of Roine Stolt - is rather like the old Kaipa. The music is third-wave progressive a la Spock's Beard, The Tangent, and of course, the Flower kings. It's all very well done, there are some very pleasing moments and there's a good variety from song to song - but you could be excused for feeling that there's nothing new about it, nothing special, and no stand-out feature.

Funny thing, though - the record seems to improve toward second half. Near the end - although the music is somewhat simpler in places - it has more melodic appeal.

Stolt's absence is very obvious. Per Nilsson does a good job with solid guitar work and provides some pleasing solos.  Listen to his rather straightforward playing in the middle the opening track and you'll understand why many fans will miss Roine's distinctive style. Jonas Reingold's bass work has also always had a strong personality, and that's here in spades - once again, leading Kaipa into the Karmakanic / Flower Kings / Tangent style that is becoming just a tad generic.

Female singer Aleena Gibson has quite a nice voice, that sounds a lot like Tracy Hitchings of Landmarq, and she's a bit under-utilized here. Both Hitchings's and Aleena's vocals are something of a love-it-or-hate-it affair, though. And Patrik Lundström's male vocals are not the album's strongest point. Jan Ternald has designed covers for Swedish acts in the past, and this one is quirky and fun - and it will be nice to see more of his work.

If you liked Kaipa's 2003 Keyholder release, you'll like be comfortable with Angling Feelings. It may not have quite the appeal of the last release - but it will attract the same segment of the fanbase. Fans of third wave prog, the Flower Kings, The Tangent, Karmakanic, Spock's Beard and Trans Atlantic will enjoy this.


Kaipa: Angling Feelings
Posted by Pete Pardo, SoT Staff Writer on 2007-05-11 20:08:06
My Score:

Hard to believe it's been five years since legendary Swedish prog act Kapa reformed back in 2002. Angling Feelings is the bands fourth release in that time span, so they have kept very busy over a short time period. Band leader and keyboard player Hans Lundin once again has put together an impressive batch of symphonic prog rock here, but you'll quickly notice that one Roine Stolt is not on board this time, as the longtime guitarist has decided to concentrate solely on The Flower Kings and has walked away from Kaipa and The Tangent in recent years. In his place comes Scar Symmetry hotshot Per Nilsson, who adds his fluid but decidedly more "metal" chops to this album, giving it a more aggressive edge in spots than you would normally figure from Kaipa. Worry not though-this is a prog album through and through!

Once again at the vocal helm is Patrik Lundstrum (Ritual) and Aleena Gibson, bass is handled by none other than Jonas Reingold, and on drums Morgan Agren. Some of the arrangements here have a quirky, almost Spock's Beard type of flavor, especially on the 12 minute "The Fleeting Existence of Time", with Nilsson's guitar and Lundin's keyboard lines mingling quite well. Elsewhere, expect typical Kapia, which at times sounds like The Flower Kings (yes, Roine's presence is still felt here), like on the catchy rock of "Pulsation" (featuring one of Lundstrum's better vocals on the album), the symphonic "Solitary Pathway", and the complex ditty "Where's the Captain". Mellotron fans will love the gorgeous "Liquid Holes in the Sky", and the pastoral "Path of Humbleness" features some lovely vocals from Gibson.

Angling Feekings has some really nice moments, but if there's one thing that sort of nags at me after a few spins it's that it sounds almost interchangeable with the last couple of CD's the band has released. Probably not a bad thing overall, but there's a level of "samey" that I just can't seem to shake when it comes to Kaipa.

You be the judge...



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