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Eloy (Germany) / Eloy - The Vision, The Sword & The Pyre - Part 2
« Last post by ObiwanKenomi on January 23, 2019, 05:48:06 PM »
According to Eloy's website, the second part of The Vision, The Sword & The Pyre"" is scheduled for release this spring.

I'm looking forward on this release, because I really liked the first part.

Kaipa (Sweden) / Links & Info
« Last post by ObiwanKenomi on January 23, 2019, 05:41:23 PM »
Kaipa is a progressive rock band from the Sweden, which has been active from 1973 - present.

More on Kaipa can be found in the other topics from this board and on the following website(s):

Kaipa's official website:

Kaipa on Facebook:

Kaipa on Proggnosis:

Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:37:01 PM »
There was no problem finding a new drummer. Olle Romö started to rehearse with the band early in 1982. But after just a few weeks he had to leave, after an invitation from The Euruthmics. So instead, Pelle Andersson took his place, and brought with his drumming a lot of new inspiration to the band.

They started to arrange a lot of new songs penned by Hans, but the other members also added songs and new ideas. The structure of the music was not clearly defined, the free hands ruled and they didn't know exactly what was going to come out of this. They took some inspiration from artists like Peter Gabriel and Talking Heads trying to do some new kind of progressive music. They wanted to continue the musical journey of Kaipa but they didn't want to stay in the 70's locked in their own history. This was a true progressive trip by all means. Everyone that saw this constellation of KAIPA live can confirm that they really enjoyed playing together. By this time Hans was the only member living in Uppsala, all the others lived in Stockholm.

The band had no record contract, but they wanted to record the new songs on an album. So they decided to make the recording by themselves on Hans' 8-track tape recorder in the rehearsal room in Uppsala. Of course this was a situation completely different by all means and very far away from the last recording at Polar Studio.

The record "Nattdjurstid" (Time of Nocturnal Animals) was recorded by the band with no outside help and released in the autumn 1982 on Piglet Records. It received lots of good revives, but that was unfortunately not enough. All the members in the band were professional musicians, but the work with the band didn't give them enough money to live by. So they decided to take a break after the last gig at Studion in Stockholm the 13th December 1982. This break was going to last for almost twenty years.

This band was on their way to develop something great with their music at this time. Four excellent musicians filled with new musical ideas to the limit of their capacity. But the opportunity to do this just blew away into the unknown history with this break.

Several records were actually recorded in Kaipa's rehearsal room located at the address Hamnesplanaden 9 in Uppsala. Today this street has a new name. The address is Sammaritergränd 7.

1. "Kaipa: Nattdjurstid", recorded at Eugen Petrén's Studio. For details about Eugen Petrén refer to chapter 6.
2. "Roine Stolt: Fantasia". There is no information on the original album sleeve about where this record is recorded, but parts of it are recorded in the rehearsal room.
3. "Hans Lundin: Tales" recorded at Sonja Studio. The rehearsal room was located in an old factory, which once produced chocolate and was called "Karamell och Chokladfabriken Sonja".
4. "Hans Lundin": Visions of circles of sounds" recorded at Sonja Studio. These recordings were actually made in the basement of Hans' parents' house.

The band's second tour bus, and the second home for the members during the tours 1975 - 1982 had a name: HELGE.

Kaipa undertook two tours with folksinger Lasse Tennander. Lasse opened the show with a solo acoustic guitar set. For encores, the band came back with Lasse and would perform some of his songs adding a bit of "Kaipa- atmosphere", so that all the musicians could end the gig together. The first tour was in October 1975, and the second one in April 1977. The collaboration peaked on August 17, 1977 with a live recording, recorded by Swedish Radio, at an open-air festival at "Gärdet" Stockholm.

The single "URAKAIPA: För sent/Bay-e bay-o" (1974) actually consists of two songs from the unreleased second album by San Michael's recorded in 1972, with Hans Lundin and Tomas Eriksson together with Gunnar Westbergh on drums and Nane Kvillsäter on guitar.

Some of the words to songs on the album "Händer" were actually written by Mats Löfgren the last minutes before the recording the vocals.

Two songs recorded on the album "Hans Lundin: Tales" were played by Kaipa live on the long tour 1981. The song "Ripples" was the opener, and the first part of "Narrow escape" was used as a joker forcing Max and Hans to progressively increase the tempo.
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:36:27 PM »
The album "Händer" (Hands) was recorded late in the autumn of 1979 at Polar Studio in Stockholm with Leif Mases and Lennart Östlund acting as sound engineers. Hans used only two synthesizers (Yamaha CS-60 & Prophet 5) and a Grand Piano on the recordings. Like most keyboard players at the time he believed in the infinite possibilities of the polyphonic synthesizer and, therefore, sent his Hammond organ on a long vacation. Max was at this moment not completely incorporated in the bands music, which lead to a keyboard-oriented sound on this record. Three instrumental songs penned by Hans still had the characteristic Kaipa structure. Two of these, "El Grandi" and "Regn" (Rain), were included on the album. Another song, "Staden lever" (The City is Alive), was originally longer and contained some "symphonic" parts. These parts were in the songs final form deducted leaving only a short passage in the middle of the song. Most of the other songs on the album obviously proof the difficulties with the earlier mentioned compromise, showing different musical elements side-by-side, not integrated with each other, which was the purpose.

All songs, except the two instrumental songs, were credited to be composed by Bergman/Lundin/Löfgren. This was decided when the discussion about the collective creation was brought to daylight once again. Ingemar made a claim for being considered as part composer to all these songs, although his part of the musical process in some cases was quite limited. Good notices greeted "Händer" when it was released in the spring of 1980, but the album didn't attain the sales of its three predecessors.

The band planned a tour to promote the new album in May 1980. They had found a new bass player in Torkel Thyrell, a veteran who played with Hans in S:t. Michael Sect in the 60's. However, the band was heading for serious trouble. Mats Löfgren felt unmotivated, worn out and generally bad this period. So the last days of rehearsal without excuse, Mats Löfgren just didn't turn up!! A fatal blow to the band who was about to do shows in a few days! The rest of the group gave up after futile attempts to solve the problem: it was simply impossible to get Mats to fulfil his part.

The band had to face the fact that they had to start the tour and take care of the vocal parts on their own without any rehearsal. The first concerts on this tour were improvised in many ways. The vocal parts of the songs were written and arranged for Mats' voice, but after a while the band transposed the songs to the right keys to fit Hans voice, which was not an altogether simple task while on tour.

The band started to look for a new singer. Anne Chaaban was singing in a local blues band. Hans was attracted by her style, filled with power and feeling. He invited her to rehearse with the band, thinking this could be a new start and direction. The intention was good, but the right chemistry never appeared. Anne's way of singing didn't fit in with the rich harmonies of Kaipas music. She didn't feel comfortable and had no experience in singing this type of music. Sometimes she went completely astray in their musical landscape. This constellation lasted only for one tour during November 1980. After that Anne and Torkel left the band.

After all this adversity the three remaining members decided to continue in the original form as a quartet. Max knew a clever bass player and a very nice guy called MATS LINDBERG from Stockholm. (Yes it's true, two different persons with the same name playing the same instrument and in the same band.) His nickname was "Microben" (Microbe).

This time the chemistry was much better. Hans took care of the vocals once again, and they made a lot of new arrangements of old Kaipa songs mixed with new compositions and improvisations. Now the band just wanted to play, touring and bring the joy back into their life and music. So they undertook several tours between April and December 1981 including a concert at "Huset" in Copenhagen broadcast by Danish Radio.

By the end of this year Ingemar decided to leave the band.
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:36:01 PM »
However, encouraged by Michael B. Tretow of ABBA recording fame who said it was "the best demo he heard in his life". Roine started to record his first solo album. The other Kaipa members clearly stated they wanted to use some of his songs for a new Kaipa album. This was a case of solidarity towards his main group, and not easily solved. But as Roine felt the chemistry was not the best in Kaipa at the time and this was probably a way of designing "a way out" of the bad vibe situation, heading towards new musical adventures and a more friendly and possibly ambitious environment. Also, the ambitious Roine, having a clear idea of his arrangements, drum patterns and the synthesizer patches, did not leave much room for the other Kaipa members to use their creativity and imagination. This forced the band into an inevitable situation making Roine the unspoken leader of the band as all the new material that seemed interesting to main part of the band was written by him, but also the member most likely to leave. In fact Hans was, at this moment, too disillusioned by his former attempts to bring new songs to the band, and he was asking himself several times if this was the intention he had when he once started the band, or if this was some kind of nightmare where he was transformed back in time to 1973 acting as a backing musician again, deprived all his creating ability.

By this time the chemistry in the band reached the lowest possible level. Mats Lindberg and Roine were talking about recreating the band or leave Kaipa, these were the only 2 options to stay healthy in a musically mad environment. Mats tried to persuade Roine frequently that they should leave the band and form a new group inspired by among others, UK, Weather Report and Toto. Roine hesitated realizing all the hard work and effort he had put into Kaipa even before Mats joined. Instead he suggested they should ask the others to leave as Ingemar and Mats Löfgren had Ingemar Bergman Troop to concentrate on anyway and Hans Lundin did seem disillusioned and lacking his initial energy and at a creative low at the time.

At this point Kaipa members realized that there was no way back and only one solution remained. They decided to split the band in two, but to fulfil all booked concerts together. The last concert with this constellation was given in Katrineholm on 13 May 1979.

Roine started to record his solo album "Fantasia", feeling relieved but with a sense of loss. Sensing also, understandably enough, a sort of "evil ray" coming from the remaining Kaipa members. So when recording the song "Nytt blod" (Fresh Blood) for his new album, the lyrics, a smiling and light-hearted support of his own progress, "criticize" his former partners for being inhibited and "victims of their own democracy". In fact Hans Lundin felt the democracy was already completely obliterated from the band at this time, left with little to contribute from him musically. Now Roine was gone, but when one goes there may always be someone else to step in, fill the space and claim the crown & throne.

The band was now back to a trio and they needed to find a guitarist and a bassist. Ingemar and Mats had their side project Ingemar Bergman Troop playing simple pop songs without any of the progressive parts that was characteristic for Kaipa. Hans was at this time a guest musician in their band playing on records and touring with the band. Ingemar suggested a fusion of the two bands. Hans wanted Kaipa to keep their profile, playing a progressive music but adding a little more up tempo and rock feeling to the music, and he was not interested in this fusion of bands. Instead they asked an old friend and brilliant guitar player Thomas Arnesen to join the band. Thomas once played in the band Panta Rei and later in several local bands like Hirvi and Puls. He had also filled in for Mats Lindberg, while he was in hospital, playing bass in Kaipa on one tour in 1978. They started to rehearse but, due to Thomas' family affairs, had to cancel the idea. Instead they asked another unknown guitar player recommended to them, Max Åhman from Stockholm, to join the band. He was a brilliant technician but didn't have the same melodic vein in his playing as Roine. They also asked Mats Lindberg to return to the band as a guest musician for a limited period.

The band decided to leave Electra and was signed by POLAR, ABBA's label, for a new album. At this time interest in progressive music had decreased, and the band was a little confused about which musical direction they should choose for the future. The process of making new music was difficult and filled with compromises. Ingemar wanted to act as composer and had some ideas, but his lack of knowledge of chords and other basic musical elements that was the fertile ground of the musical garden of Kaipa turned this into a strange situation. His way of thinking and working in music served a useful purpose in Ingemar Bergman Troop, but it was difficult to incorporate and in distinct contrast to Hans' way of writing and the overall music of Kaipa. Mats Löfgren acted as lyricist and added most of the vocal melodies
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:35:34 PM »
The recording of the album was set for December 1977 in Europa Film Studios in Stockholm, a famous studio complex that was regarded as one of the best in the country. Sessions lasted between 19 and 27 December, with the music recorded onto 24 tracks analogue tape under the eye of sound engineer Olle Ramm. Although Kaipa knew the studio well, it was some time before they could get the synth, drum or synth orchestration sounds they wanted, preferring to record a sound different from that produced by the band on stage. Roine tried to convince the other members of the band of the importance of using a mellotron on the new album. Hans managed to hire one, but it was in such poor condition it could only be used on one track, "Tajgan", and it broke down completely soon after the recording! The uncertain pitch produced by this instrument lends "Tajgan" a bizarre other-worldly atmosphere. Oddly, the band had never owned a mellotron; they'd always hired them.

Roine used some guitar effects, running it backwards, multilayering etc., as practised by players such BRIAN MAY of QUEEN. He used a Fender Stratocaster and a very rare Melody Maker as well as an Ovation acoustic in addition to his own instruments. All his guitar work was treated through a customized pedal-board and run through a new Roland Jazz Chorus Amp. He also resorted to the aforementioned guitar-synth with an Oberheim expander, a customised talk-box and an HH echoplex. Hans used a wide range of keyboards - mini and poly moogs, Korg String 2000, mellotron, Hohner Clavinet, grand piano, Hammond organ and Fender electric piano. Mats Lindberg played a Fender Precision bass, the double-neck Shergold guitar and a Danelectro fretless bass with Moog pedals and Sunn Amps.

Mixing took place between 3 and 5 January 1978. The album was produced by the band and Olle Ramm. It contained even fewer reverb effects than before and the guitar and drums were more to the fore on the soundstage of the record.

The album sleeve was designed by Lars Holm, an artist and friend of the group's who'd given him carte blanche as to the design. The frame of the design was much inspired by JACKSON BROWNE's "Pretender" album. One of the characters in Lars' painting was later to be called "SOLO", just because the band decided to call the album that name after some serious brainstorming. Releasing "Solo" Electra swung into action behind the album, making a great promotional effort with attractive stickers and posters and lots of newspaper advertising.

The album came out in May 1978. It didn't enjoy the immediate success of "Inget nytt under solen" but gradually attained a sales figure of 10,000 copies. In fact, the release of the album, at the start of the Swedish summer, had been very badly timed. The press were highly laudatory, and the band's concerts were invariably sold out. Kaipa had clearly "arrived" as a major Swedish group.

They had cult status in Sweden and they also toured Norway and Denmark. Some of their Copenhagen concerts were recorded for broadcast on Danish radio. The group was on a roll; they were playing many gigs and Finnish and British tours were on the point of being finalised. The group didn't have much in the way of management but many people were always on hand to sort out problems for them.

Kaipa had worked so hard and so intensively that they decided to take a break in December 1978. This was more than necessary; they were weary of touring and rehearsing and of the tensions that inevitably resulted from living together almost every day.

Roine bought himself an 8-track recorder. This gave him the opportunity to start recording of the solo album he had planned as he realised Electra Records wouldn't invest in recording his new music as a solo project at the time, rather concentrating on another Kaipa offspring named Ingemar Bergman Troop!
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:34:51 PM »
After Tomas Eriksson left, the band had the opportunity to ask Lars Hoflund to join up, but he preferred playing blues, and could at the time earn much more playing with Tomas Ledin. Kaipa then called up Mats Lindberg, a schoolmate of Roine who was only 18 years old at that time. Roine and Ingemar knew of his qualities as a bassist, having jammed with him in their rehearsal room. He was also a nice guy and was equally at home playing guitar. He could play 12-string and was able to handle the double-neck guitar left by Tomas. He joined in November 1977.

Tomas' characteristic bass sound and lines had been very much a part of the original Kaipa sound. The group with its two new members, decided to make up for this very considerable absence by throwing themselves into their work, investing all their energy in a new album. By now, having gained quite a reputation as Sweden's premier prog outfit, Kaipa determined to cut an album a year to satisfy the demand and sustain the interest of their public.

Throughout the autumn of 1977, Kaipa worked on new songs and set about rehearsing and perfecting them. At this time Hans had some basic ideas for another epic song like "Skenet bedrar", but he needed the band to carry out his ideas like they had previously. Roine, on the other hand, had grown in his writing and arranging. He could present his new songs in plain terms and give clear instructions to the players, which produced an immediate result. This lead to a completely different way of working in the new band. The new members had almost no connection or relationship with the basic structure in the former Kaipa music. In fact the new band was subdividing into fractions at this time. Roine and Mats Lindberg formed one group, Ingemar and Mats Löfgren another leaving Hans alone in the background. Roine appreciated some of Hans' small pieces like "Tajgan" (The Taiga), "En igelkotts död" (The Death of a Hedgehog) and " Visan i Sommaren" (A Summer Air). He persuaded the others to accept these songs. They relied on melodic traditions and needed no large arrangements. The basic idea of "the epic song" was presented in a simple version by Hans on the organ but the others quickly rejected it and so it fell into oblivion. It was a time of many new music styles including funk, fusion and jazz-rock and several members were leaning more towards that style and even the simpler style of bands like The Eagles, ABBA, Queen, Bad Company and Fleetwood Mac. There was much ambition in the pipeline at that time and the wish for more success of course propelled the members into dissension about how to achieve it. It turned out to be Roine's composing that got most of the interest when compiling the new album, maybe because the time was right or simply because he had more developed demos and ideas. This new way of working, with separate fractions asserting their own interests, disturbed the old balance that was so successful, and it was the beginning of an era that would split the main forces of the original Kaipa completely a year and a half later.

For the new album Kaipa utilised for the first time pre-production techniques, at that time a little-used process. Firstly the band laid down the tracks on demos on a cheap 4-track recorder in October and November 1977. During these sessions, they worked for the first time with some new instruments. Hans played a Poly Moog and Mats used a Moog bass pedal. Roine tried out a new guitarsynth manufactured by the Swedish company Hagstroem in collaboration with Ampeg. A few of the songs originally had English lyrics but the band decided to rewrite them in Swedish. Their efforts to break the international market with an English language version of "Inget nytt under solen" hadn't succeeded, and so Kaipa reverted to their native language.
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:34:16 PM »
"Inget nytt under solen" was released in December 1976 to great critical acclaim. Kaipa's music was often compared to that of GENESIS and YES; this hardly came as a surprise to the band, accustomed as they were to the critical habit of judging records in comparison to others. Kaipa had nonetheless evolved their own distinctive style; if journalists still identified their music with YES' symphonic rock, it was merely due to a common source of inspiration- classical music. Kaipa's second album, however, proved that comparisons are odious; so genuinely original had their music become that one couldn't compare their work with their models. The album even reached the top-50 charts at number 49 for one week, which was very unusual for this type of music. 10,000 copies of were sold in Scandinavia, outside of which it wasn't exported.

The band played their first national TV broadcast around this time, performing their ´crowd-pleaser` "Korståg" to much favourable response; they also played live for Malmö and Stockholm radio stations. In spite of their increasingly tight schedule they still rehearsed daily. Tomas and Ingemar went to England to buy extra sound material, acquiring a new mixing desk and a double-neck bass guitar built for GENESIS' MIKE RUTHERFORD. The band also equipped themselves with a Moog Taurus pedal board and Roine tried out the very first guitar synthesizer, made by Hagstrom/Oberheim and used also by FRANK ZAPPA. Hans got a minimoog directly from Moog's U.S. factory, and also tested the new Polymoog.

In September 1977, the band, faced with their rising popularity in Sweden, began to hope for international recognition; yet they were fully aware of the fact that songs sung in Swedish couldn't help them any further and thus, they proposed Electra to record English versions of some of the tracks from their second album. The label accepted and the four selected songs were translated by Kevin Fickling, an American student living in Gothenburg, who worked as a roadie for the band. Lars Hoflund, a friend of the band's, who played bass in the backing group of the well-known Swedish singer Tomas Ledin, was chosen to sing three of the four vocal parts, as he coupled a strong voice with a correct English pronunciation. The vocals were overdubbed at Bastun Studio in Stockholm on 20 October 1977 by engineer Leif Mases, who also made a rough mix; this was sent to Electra's English subsidiary, which eventually rejected it, disbelieving in the band's commercial potential.

In October 1977 Tomas announced his decision to leave the band, citing ´musical differences` as the cause. Kaipa were thus reduced to a trio once again.

The band was now forced to do some serious thinking about the future; some songs from "Inget nytt" had just been recorded with English lyrics with the aim of breaking the band on the international market. Tomas' departure, however, had thrown the group into crisis.

With their second album, Kaipa established itself as one of the essential Swedish progressive bands of the era, on par with the best international groups in this style of music.

In September 1977, the group discussed signing on a lead singer to allow Hans to concentrate more on his keyboard work. Additionally, they imagined that a singer would have a beneficial effect on the visual aspect of their show. They hoped to find someone with a different voice than Hans', one who would add new colours and dimensions to their music. But finding a singer would prove difficult, given the complex and primarily instrumental nature of their music. No auditions had been planned; the group just decided to go out and find a singer who was free.

Roine considered Magnus Uggla, a highly theatrical singer. He'd released two albums on CBS, and although he hadn't enjoyed much success, his qualities as a performer were plain to see. Live, his stagecraft could offer something new to Kaipa, a band that didn't care much for onstage trickery, apart from the periodic interventions of Ingemar. Nevertheless, Kaipa never contacted Magnus, who subsequently went on to become one of Sweden's most popular singers.

Another singer the group toyed with was Derek Hudson of the folk-rock group Scafell Pike but in the end they plumped for Mats Löfgren, a member of the jazz-rock group Rio Brazzaville and a friend of Ingemar's. After a few conclusive try-outs and demo recordings, Kaipa welcomed him into the fold in October 1977. Mats also had the advantage of being a guitarist and percussionist, and later on he played these instruments live with the band. Nor did Mats bother with visual gimmicks, make-up or costumes - rather like Kaipa themselves.

Hans, who up until then had handled vocals, had a very distinctive voice, but Mats had a deeper tone and a different timbre. The band's followers were suspicious of the change at first but soon grew to appreciate Mats' qualities as a singer. After a while the band's fans adopted him as they got used to the change in the look and sound of the group.
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:33:44 PM »
On the 30th of June 1976 Kaipa re-entered the Marcus Music Studio in Stockholm to record their second album. This was completed in just ten dates on 16 July. Leif Mases acted as sound engineer and co-producer of the album; he turned out to be a better technician than studio owner Marcus Österdahl who had worked on the band's first album. Leif managed to reproduce exactly the sound the group wanted, as close as possible to that of their live gigs with less reverb and more punch to the drum parts. Final overdubs and mixing were done in August.

The band decided to record all the compositions they'd laid down since the release of their debut album. These were all Lundin/Stolt compositions except one, which Roine and Ingemar had co-written. The music had evolved more than ever towards complex arrangements; improvements were also visible in each musician's personal contribution to the completed themes.

The album's opener, "Skenet Bedrar", almost 20 minutes long, couldn't be performed properly as a whole and so was recorded in several sections that were later reassembled in its final form. "Korståg", an audience favourite in concerts, was also a number with a complicated structure, so much so that the Swedish Institute of Musicology would later use it as an example of sophisticated rock composition.

For the recording, Hans augmented his existing array of keyboards (Hammond organ, Yamaha synthesizer, string ensemble, grand piano and Hohner Clavinett) with a mellotron, a Korg synthesizer, and a mallet instrument. Apart from his Rickenbacker, Tomas used an old Fender Jazz bass and a synthesizer bass. Roine played his old Gibson guitar and Ingemar used his new Tama drum kit for the first time.

For the introduction to "Skenet Bedrar", the band used some synthesizer ´pink noise´ processed through a stereo flanger with the addition of some Asian bells; this was recorded while Leif was turning the pitch knob on the 24-track tape recorder. Hans' overdubbed sequence-like arpeggios on his Yamaha synthesizer and Roine's guitar were treated through a phaser; these effects produced the cosmic sounds heard at the beginning of the album.

Hans sang the first part of the theme, followed by Ingemar in the central section; Tomas spoke the bass parts in the finale, "Vilseledd" (Lead Astray). The mellotron is highlighted in "Korståg" and gives the song its imposing feel with a fusion of string and choir sounds. The instrument also crops up on "Skenet Bedrar" and "Inget nytt under solen" (Nothing New under the Sun). The instrumental part of "Ömsom sken" (Alternately Radiance) was composed by Roine. The lead vocal and central part of the composition were courtesy of Ingemar and Roine, whereas Ingemar composed the Chinese-sounding sequences at the end of the track.

The band decided the track order and chose the sleeve, a NASA photo depicting astronauts in a moon buggy. The group selected this photo from several provided by Electra. Roine and Hans wanted to use a painting by Roine similar to the one on the first album. This would have been a logical continuation. But the other members reneged, and the group finally chose this photo, which had no connection to the title. The band's logo was changed, the original lacking originality. It was redesigned in a more personal style by Roine but was slightly distorted at the layout stage.

Among the people named in the credits is one Eugen Petrén, cited by the band for his ´moral and spiritual support`. In fact Petren didn't exist, even though a ´photograph` of him appears in the inner sleeve! The credit was meant as a joke, a skit on rock stars dedicating their records to so-called spiritual masters such as the Maharishi. With similar satirical intent, this photo in fact shows Ingemar ´communing with the universe`!

The album title refers to a remark made by Electra's president Carl-Erik Hjelm who during a meeting with the band inquired "Inget nytt under solen?" which translates as "Nothing new under the sun?". The band decided to use this saying as a title for their second album as it provided an ironic comment on their musical evolution. This they saw as a continuing line from composers like J.S.BACH through rock groups like YES, i.e. an elaborate symphonic music aiming at the expression of emotions and feelings in an aesthetic of formal beauty and melodic perfection. Kaipa, however, intended to differentiate themselves from past and present styles, producing a personal and original music taking its inspiration from the past yet looking to the future.

After recording the album, the band went back on the road. Throughout the following year, they performed over 100 dates, as they were by now very much in demand in Sweden. They toured throughout the autumn of 1976 and also through the winter of 1976-1977.
Kaipa (Sweden) / Re: Kaipa - Biography
« Last post by ObiwanKenomi on January 23, 2019, 05:32:55 PM »
Throughout their first album, Kaipa could certainly stake a claim as one of the leading Scandinavian progressive acts. The music is graceful and sophisticated, boasting arrangements and instrumental developments of great refinement. An album which, one could say with certainly, would equal the best productions of the "Anglo-Saxon" progressive school, but with its own unquestionably original touch in the successful use of Swedish folk material.

Following the release of their debut album in December 75, Kaipa embarked on an extensive tour in the spring of 1976 and quickly attracted a faithful crowd of fans. Sometimes the band would give an afternoon performance in a school before playing a club or theatre in the same town that evening. Onstage Ingemar acted out the role of clown and showman as light relief to the serious and complex music of an almost Wagnerian grandeur. The band's repertory comprised of all the numbers from their debut album and two new compositions pencilled in for the second LP. These were "Skenet bedrar" (The Appearance Deceives) and "Korståg" (Crusade), both augmented by some improvised sequences.

The musicians managed their business, investing most of the money in things like a new tour bus and more equipment. They resumed daily rehearsals, which enabled them to progress musically and enhance group cohesion. Writing new arrangements of existing numbers was as important as composing new pieces; none of the band members considered himself a virtuoso and thus Kaipa had to concentrate on playing a very carefully ´prepared´ music with elaborate orchestrations.

There were discussions about the variations and the details of the rhythm section when rehearsing a couple of new songs. This almost provoked Roine's departure, and in fact, the band's constant perfectionism nearly occasioned a split more than once!

Another discussion dealt with authorship. In Sweden at this time there were lots of absurd and at the same time naïvely romantic ideas floating around, based upon the vision that everybody can create and play music, and no one is better than his brother or sister. (Sometimes there were some peculiar situations during concerts when somebody from the audience, who really believed in these visions, suddenly stood on stage with the band, thinking he could bring the music to a higher level.) Some forces within the band were in some way affected by these thoughts of collectivity and maintained that the Kaipa songs should be considered as a collective creation, and that everybody in the band were equal authors and composers. These thoughts were in some cases definitely correct but only concerning parts of the arrangements. The basic structure of the song, the melodies, the chords and the words were at this time always composed by one single member.
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