06.02.2017 SW – Lund – Into Music
07.02.2017 DE – Hamburg – Markthalle
08.02.2017 DE – Oberhausen – Zentr. Altenberg
09.02.2017 DE – Köln – Yard Club
10.02.2017 NL – Zwolle – Hedon
11.02.2017 NL – Uden – De Pul
13.02.2017 DE – Bremen – Meisenfrei
14.02.2017 DE – Fürth – KOFFERFABRIK
15.02.2017 DE – Mannheim – 7 Er Club
16.02.2017 DE – Rüsselsheim – DAS RIND
17.02.2017 DE – Berlin – Musik & Frieden
19.02.2017 DK – Hvidovre – Medborgarsal
25.02.2017 SW – Stockholm -Bryggarsalen
01.04.2017 SW – Uppsala – Katalin
Kaipa Da Capo is the current incarnation of iconic Swedish progressive rock band Kaipa. Guitarist Roine Stolt and two other original Kaipa musicians have recorded new music with vocals in Swedish.
“Dårskapens Monotoni” begins with the title track featuring epic symphonic progressive rock showcasing Stolt’s outstanding solo guitar work along with masterful electric organ, synths and mellotron by Max Lorentz. There’s fascinating interplay together with catchy, sing along vocal sections.
Track 2, “När Jag Var En Pojk,” is over 10 minutes long and begins as a great blues rock song. Halfway throughout the piece, the band shifts towards progressive rock with a spectacular organ and epic electric guitar that lead to climactic conclusion.
In terms of progressive rock, track 3, “Vi Lever Här” is the weakest song. It has an AOR feel with pop hooks.
With track 4, “Det Tysta Guldet,” Kaipa Da Capo returns to exquisite progressive rock. This piece has really strong Focus influence in the guitar, organ and arrangements. Although the keyboards also seem to have a strong Rick Wakeman influence.
“Spår Av Vår Tid” is a beautiful laid back song with a strong Genesis flavor in the acoustic guitars and symphonic keyboards. This track has the best lead and harmony vocals on the album.
Track 6, “Tonerna” is the longest piece on the album, bringing together progressive rock and jazz improvisation, featuring superior guitars and keyboards as well as saxophone. As expected, this composition has some of the best guitar and keyboard work on the album. Roine Stolt does not disappoint and delivers a fabulous ending.
The last song is “Monoliten,” a finely-crafted ballad with one of the best, and longest, guitar solos on the album.
The lineup on the album includes Tomas Eriksson on Rickenbacker and Fender bass; Roine Stolt on acoustic, lapsteel and electric guitars, vocals, Moog bass, grand piano and synthesizers; Michael Stolt on lead vocals, guitars, Keyboards, Moog bass, and tubular bells; Max Lorentz: on Hammond B3 and pipe organs, mellotron, Rhodes, cembalo, mini Moog, flute, vocals, piano, bass, recorder, tuba and percussion; and Ingemar Bergman on drums and percussion.
Guests are Merit Hemmingsson on vocals; Ludde Lorentz on saxophones; and Peter Lindberg on steel guitar.
Although we’re used to English vocals in many of Roine Stolt’s recordings, listening to progressive rock in other languages, in this case Swedish, has a special charm. Yet another great album by one of the busiest musicians in the progressive rock arena.