IN THE WAKE OF EVOLUTION

This album follows Kaipa's landmark of perfect meeting of prog music with classical and folk influences, making their music an "easy-to-enjoy" experience, based upon rich and colourful melodies and a great guitar and key work.

The leaving of Roine Stolt was with no doubt hard for the band, but I think Per Nilsson is doing a great job in this record, prooving to be a good replacement for Stolt. A very well done production give this record a kind of analogical flavour while using perfectly all the new digitial tech facilities, allowing the listeners to appreciate the whole experience of compositions as "The Words Are Like Leaves", "The Seven Oceans Of Our Minds" or "Electric Power Water Notes".

Kaipa's albums arent normally considered as true masterpieces (to my ears Mindrevolutions IS a masterpiece, but I have to admit that a lot of people think differently), but they always deliver quality, and "In The Wake Of Evolution" is undoubtedly a worthy effort.

Holy monkeys, Kaipa managed to pull together an album just as strong as 'Inget Nytt Under Solen' this year, and boy what a ride it is! From the amazingly carnival ride that is the title track through delicious quirky folk numbers such as 'The Words Are Like Leaves', this is symphonic progressive rock taken from the territory we're all good and familiar with to glorious new heights.

Roine Stolt or not, this is as good as it gets folks. Patrik Lundstrom from Ritual provides one hell of a vocal talent, whilst Jonas Reingold of The Flower Kings cracks down monstrous basslines to delicous, delirious effect. Great material, a great lineup...what more could you ask for?

It's a bit early, but I think we have an early Prog. Album of the Year candidate here: clever arrangements, distinctive vocals, memorable guitar and bass, and a splendid visual presentation should definitely make 'In The Wake Of Evolution' a must-have for anyone who loves progressive rock that takes names and kicks ass while doing it.

5/5, no contest.

I did not know Kaipa was releasing a new album until I saw it on PA. I immediately got myself a copy of this album and I am impressed. While Ronnie Stolt is not playing guitar here, Kaipa prove that they don't need Stolt to make a fantastic record. In The Wake of Evolition is that album.

It starts off strong with the 10 minute title track and doesn't look back. Every song is great and it even has a nice 17 minute epic thrown in. Personally I think this album is just as good as keyholder and mindrevolutions. Overall this is a great purchase for anyone looking for nice symphonic prog music. This is another great gem I heard this year so far.

Well well well, what do we have here ? Another Kaipa album without Roine's touch, but fortunately, it's a good one. In The Wake Of Evolution begins with typical, new "Kaipa" sound, but soon (after two minutes), we are instantly presented by Prog Ballad (yes, it is in ballad type, but done in Prog style, which I appreciate, interesting combination). It's weird again, because it may remind both Karmakanic (melancholic feeling) and The Flower Kings (long, uplifting at times compositions). First woman vocals, then man joins, then their duet. Singing some kind of story about past times.

I like evolution. And this album is evolution in being melodic, while still containing Prog elements (I don't want to go to debate about "how much" Prog TFK + related are Prog or not, but that's how I feel. It's more what I like & feel like it's good & should be well rated than any academic knowledge / education, because I don't have any. It's just my feeling and my short time experience (few years with Prog).

Whole album sounds very emotional and "full", dense and well made. After all, it took them four years to produce new album, so ideas were gathered and accumulated here, so the result is very well managed. I don't have necessary bad feeling about it, there are no "first-look" negatives.

But because of overlaying epic theme, thoughts that this is the most beautiful (yes, such term exist in my mind) from this year (and by beautiful I mean Symphonic) album of 2010.

4(-), because of mentioned things. I really like this one, so let it to swallow you.

EDIT: After some time, it's still interesting, but there are flaws in whole impression this albums makes on me. There are highlights, bright moments and it all has TFK impression. But it's not as strong as I thought before.

Less than 3 years after the brilliant (but, alas, criminally underrated) Angling Feelings comes In The Wake Of Evolution, Kaipa´s fifth release since their come back in the 2000´s. Honestly, I was not expecting such powerful (and long) CD in such a short time span. but here it is: 70 minutes of pure 24 carat symphonic prog music. As you may have guessed by its title, the album is strongly influenced by the 70´s classic bands, specially Yes (they even quote the band in one of the opener´s lines: "We´re closer to the edge than yesterday", plus the same Hammond sounds you hear from that era in The Yes Album). And you know what? I love it! At least they´re doing it their own, swedish style.

The line up is the same as on Angling Feelings, with songwriter and keyboards maestro Hand Lundin proving to be one of the best and most prolific prog composers of today. Guitarist Per NIlsson is playing better than ever, showing that he was a very good pick to replace the irreplaceable Roine Stolt. His style of playing is quite similar of that of Stolt´s, so the sound kept its high quality trademark. Vocals are on the controversial side of the band and I reckon they are not everybody´s cup of tea. Still I think the combination of Aleena Gibson´s and Patrick Lundström´s voices work very well within the musical context of the album. You have to admit their unique delivering is quite original and very much part of Kaipa´s sound nowadays. They make the music here sound more modern and less derivative than most retro bands.

Lundun´s songwriting abilities are stunning that combined with the tasteful arrangements and the superb performances of al musicians (and singers) make this CD one of the most enjoyable and exciting releases I´ve heard this year. There is not one weak tune in the whole album. The good production enhanced the strong and enthusiastic playing. The inclusion of recorders and violin on some tracks also gave a slightly sweden folkish and baroque flavour here and there. Nice!

If you´re into classic symphonic prog of the great bands of the 70´s you can´t miss this one! . Rating: between 4,5 and 5 stars. Highly recommended!

Ladies & Gentlemen ! Here is a fabulous new entry ! After many listenings since I got this fantastic CD, I can say, simply, that it is my favorite one. At the top of my Top-100 list, in front of everyone, including all Genesis, TFK, GlassHammer ! Everyone. The best prog CD that I own; period !!! The band Kaipa has constantly evolved and gotten better each time. Everyone of their CD's of the 2000's has something interesting, and their 'sound' is easily recognized from the other bands. With ITWOE, they will have a lot of trouble in surpassing that, the next time. In fact, as a colleague here said, this CD is a serious candidate as CD of the year. It personally hits what I like in prog music (see below) and I already can say that I do not see another outing beating this one in 2010 !

At first listen, I have felt thrills ! From song #1 to the last ! It is rare that those things happen. I knew at first I had bought a special and unique CD. Surprising since I have other CD's from Kaipa.

Here we have an original story, an awesome music, super-complex and beautifully linked from the instrumentists. The additions of multiple keyboard sounds and variations renders each track most interesting to listen. The guitar and bass plays add to this complex music but the result is amazing. Everything is well developed and musical themes come and go and come again in a slightly different form. Both singers show a lot of energy and they participate well in the overall splendid effect that each song gives to the listener. The sound quality is excellent and generates power at moments. Since I have all 2000-era Kaipa CD's, I knew they produce quality albums and I get their new opus automatically. But, even if I did not write any review on them to date, because I only started a few weeks ago and I have a lot to check around, I take time especially for this one, because I strongly feel that this is by far their best effort. A new CD like that must be known. I like to rate my CD's, just as does this beautiful site, and I already know ITWOE will be in my Top-5 preferred ones !! (the exact position... to follow.... in my book). Why ? Because I am a symphonic prog fan, and this CD displays every single quality that this genre is supposed to show : complex music, very unpredictable melodies, odd-time signatures and rythms, special lyrics, musicians that are athletes on their instrument, intensities. The songs are constantly changing tones and it is impressive, from a musical standpoint; a marvelous effect.

And there is something very unique that I have never heard anywhere... certain rhythmic sections, completely new to my ears ! It is most original, and surprising when one expects a style from a known band. I was positively stunned to hear such new elements, never encountered. These are in the 3rd and 6th track. Wow ! And an additional positive note : the hope message for futures generations in the text. At the complete opposite of those 'black' messages that we hear sometimes. Refreshing ! I really don't know how they could have all this inspiration ! Really...

There is really no weak part... You could try to search for one or two, but the overall effect is fantastic and beautiful. It is strong all-over the place. This CD has enough awesome music for one to discover something new at every listening. For lasting good a very long time. If you like psychedelic, metal, folk... you might not like this one (why bother to review then ?). But if you like symphonic and intricate musician plays, it is for you ! Very modern... and a classical prog gem at the same time. Perfect note !

Quick links for good music

Introduction

Oh well well well, what we got here? Personally I don't trust too much the "most popular album" link, first of all you need to be a mind opened person to take an unknow artist and start to listen at him (and it's not for the mere ''gold'' but for a bunch of reasons that varies from the simple fact that you haven't any kind of feedback even from reviews to a more complicated ''wrong label''), in a second stance think about the trauma to discover a good (really good) effort! I really hope that for everyone of you that use the ''most popular album'' link catch a good album ;)

Main theme

Ok enough talking about my ways to ''scout'' new music and get to the review: as I said before Kaipa were almost unknown for me before the nice cover on the link (shame on me I watch the cover first, always!), apart from the cover that with a second watch isn't anything special this Wake bring with him a very good start and the main track begin with a very powerfull intro supported with the wonderfull voice of Aleena Gibson (not the same thing of Heater Findlay - exMostly Autumn - but nice enough to be compared to Maggie Reilly - see Mike Oldfield's Moonlight Shadow and other works), the following of the track keep the same structure, again strong music piece singing (from Lundstrom), and again music. The track goes smooth and the 11min track even doesn't seems to have passed. After we get a slow ballad again with Aleena at voice leading a crescendo of music that gives me the ''magic feel'' of growness, ending in the main track of the album with his 18 minutes of music, a bad use of vocals may get scared the listeners but I think the ''Freddie Mercury's clone'' make his work well here and the long music parts works fine even alone, appreciated the counterpoints from drums and guitar, follow a folk ballade (man I love it) almost in Mostly Autumn style (maybe less dynamic, but still good). With the 5th track comes out another part from Aleena Gibson and another good music carpet under her words for a crescendo when voices (from her and Lundsrtom) join toghether. From here I always get the sensation of something ''used'' Arcs of Sound is a boring track, skip it since doesn't add anything apart some other Mercury's clone moment, Smoke from a Secret Source blinks the eye to a fast and simple music on the background, nothing special but a nice improvement from Arcs. Last track is a nice stepback to the beginning and start with simple guitar background only to morph slowly at the middle, if u cut the middle part (hunhunhunhun to be clear) make the pair with first part and after all its a very strong end for the album that fits perfectly in that place.

Coda

I can say that clicking on the link went well After all, and since this is my first review from some time I can say I'm satisfied of this album givint it a full 4 stars. Isn't 5 since it's not a masterpiece: some moments and passages are repated giving the sense of useless to the track Arcs, maybe the guy need to leave his Mercury's intentions out from the discs (seriously those singings ruin the work from musicians). Even with these bad marks Wake keep itself as a good album, listen to it if you want something new and like symphonic/folkish prog and if u don't, think about it: it's a good album after all and give a nice 50 (more or less, counting bad parts) mins of very good music at all levels.

I'll go out on a limb and, only a third of the way through the year, declare this album one of the best of 2010. The songs are lush, spectacular and energetic, and the performance, by all involved is first rate. There is even no drop off at guitar, with Per Nilsson (for a second album) in place of Roine Stolt. Bassist Jonas Reingold (of The Flower Kings) and drummer Morgan Ågren far outshine the original rhythm section of Kaipa.

The songs are powerhouse examples of strong symphonic progressive rock. Even the two weaker songs, Arcs Of Sound and The Seven Oceans Of Our Mind have great instrumental sections.

The recording quality is crisp and perfect. It would take a real curmudgeon to dislike this album.

This is symphonic prog at its best!

Kaipa has managed to produce 70 minutes of solid classic 70s symphonic rock sound, somewhat akin to Yes but with more electric guitar and less prominent bass. Even the vocals manage to sound like Jon Anderson (not to mention borrowing a few lyrics from Close to the Edge). In this respect they have nothing new to offer, but how can they? Symphonic prog is symphonic prog.

What makes this album a masterpiece are the musical ideas. For a band that is not new to the prog rock scene, these ideas are fresh -- not to mention perfectly developed and masterfully performed. In the Wake of Evolution is certainly better than any Kaipa album of the 70s and among the best symphonic albums of this decade.

Archetype of modern symphonic rock

After a long period without reviewing albums and even longer period without giving 5 stars rating, I return with a review about this brilliant symphonic album by swedish veterans from Kaipa. And it's not accidentally, but naturally! In my opinion, the best album of 2010 so far! It's what I dream of all the time when I pronounce the words symphonic rock. Exceptionally balanced album without weak (or even just good) moments. It's full of surprises and emotional parts as well as great guitar solos, saturated sound, and original development of the ideas. Probably the most important moment of the album are the complicated and reasonable structure of the musical themes and their combination with the vocal parts. The combination of male and female vocals is just divine. Impressive performance and quality of the vocals, which's not typical for most of progressive rock music. All the instruments perform remarkably. There're no weak components all around the album. As a general conclusion I would say - perfect combination of songwriting and musicianship. All these superlatives raise In the Wake of Evolution to the heights of modern progressive rock culture!

I heard the last working Kaipa carefully and honestly do not understand all this enthusiasm for an album that seems very trivial. It is true that it is very listenable and sometimes even pleasant, but to tell the whole truth, in my opinion, the disc ends on an easy pop in too many times. There is no trace of originality in the project, a remake of the original musical moments too little influenced by Yes, especially Going for the One. Stolt but lacks the Flower Kings dictate timing and musical structure. It even seems that the two items will help the album to come out of memories of other well-titrated groups + prog scene. Essentially a disc certainly enjoyable, as are many records of banal pop, but nothing more for me thought I heard. Strange indeed enthusiasm, but perhaps I am to understand the Prog otherwise.

I'm sorry. Too retro. While I certainly respect the efforts and musicianship of Kaipa and The Flower Kings and Transatlantic, I don't want to go back, to recreate the music of the 70's. The music of the 70's is done, classic, almost sacred. I want NEW music, new styles, structures, and innovations. Everything I hear from Kaipa is a repeat of The Flower Kings which is mostly a repeat of Yes with a Canterbury twist. Plus, Aleena Gibson's voice is not aging well: It's too gravelly, even grating to me, and has trouble singing in the within the key structure the musicians are using. Probably a fun concert band on the summer Progfest or rennaissance festival tours, but not a band with anything new to draw me in. Sorry.

In a way prog is an extreme type of rock, stretching the genre to its limits and exploring the outskirts of its possibilities. This has created some of the best rock music ever but unfortunately, as it goes with extremities, the balance can shift entirely the other way as well and produce very distressing kitsch. That is what happened on In The Wake Of Evolution.

When it comes to stale symphonic bombast, In The Wake Of Evolution easily surpasses all competition. First of all there's the in your face Yes plagiarism. Mimicking another band is not wrong as such, but unluckily Kaipa doesn't capture the creative genius of Yes at all. This is a gaudy Yes make-over that sounds more like Tormato then like any other album. The synths are loud and tasteless, the guitar lines overwrought, the solos pointless, the melodies cliché and so on. In short, everything that can go wrong with a symphonic album does go wrong here.

If the hollow Yes style-exercises won't warn you off, the plenty AOR influences on this album sure might. In the Heart of her own Magic Field for instance is flat commercial FM-rock. The folk commonplace added on top won't help. And on it goes for a full 70 grating minutes in total. Only the closing track has an anthemic chorus that kind of works, even if it's as old as the hills.

This music sounds completely fake to me, while wearing the glitter cloak of prog, there is not one minute on this album that is blessed with the true spirit of progressive rock: there is no heart in this music, no personality, no creativity, no artistic vision, no decent compositions and no emotion.

In The Wake Of Evolution is a flashy pastiche of symphonic prog that offers striking arguments for all prog bashers to claim prog as the worst and most tasteless music ever made. Who can blame them when hearing this album. It's a shame really, prog produced and continues to produce some of the most stellar music ever. Kaipa however is catered for sympho die-hards only; the remainder of the world has no need for this album at all. Formulaic and forgettable.

This album was my first approach to this progressive rock band called Kaipa. I've to read some reviews all around the web, some guys stated that one of the best albums ever, few said overrated and hyped. Well, I started listening without any expectations, and when it's ended the first thing came to my mind "play it again!" Those well-instrumented epic melodies cannot be found anywhere else in the whole music industry. Makes you fly over grass plains and cities, then gets heavy and forcing you to land - just set free your imagination. If you don't want to search for influences, listen like a sceptical critic or stick to one and only genre you will enjoy this album too.

Well what's all the fuss about it?

Certainly- I recognize it- They are talented musicians, as for their experience (especially regarding the long career which has characterized the role of Roine Stolte within his recent groups- such as Transatlantic, Flower Kings and of course the present Kaipa), but I'm a little bit disturbed when the typical sound of the seventies begins to "flow" in their compositions!!... Ok- by considering this album "In The Wake..." another product of classic prog- the choice made by Kaipa is always coherent, even though at the end their artistic value is poor, being too much "derivative" in my opinion, regarding the old style of the band (perhaps it could have been ok thirty years ago!!...).

Instead when They insert simple and convincing melodies into the mini-suites, inside a "wall" of mellotron sound, by driving the listener to the folk music genre, the output is a little bit different. Otherwise, despite of finding some embarassing lyrics inside, you can appreciate a good example of interplay between the guitar and the keyboards, above all in the track "Arcs Of Sound" or within the title-track , but I don't know whether it's enough to recommend the present work or less.

You can check it out at least, but for instance a clever band from the USA- like Echolyn- had traced a path to be emulated in the 1st half of the nineties in their gem "Suffocating the Bloom"- and it could have been a new way in order to perform an excellent modern symphonic prog; instead Kaipa has never followed such example... in fact the present album- that creates some echoes of an old and dated music genre- also in the title (do you remember that famous album by King Crimson in the early seventies?...)- is sometimes interesting anyway, even though being never able to make a renewal of the so called progressive genre (think also of Frank Zappa or After Crying within "6"!!).

After all it's better than their previous albums, but neither exceptional nor original at all...so make your own choice, as usual!!

Kaipa post Roine Stolt has delivered.

I had/have very mixed feelings about the first post Roine Stolt album Angling Feelings. Although Kaipa is still continuing the same style, my mixed feelings has now evaporated.

I am by no means an expert on Kaipa although my collection include most of their albums. I have to admit that Kaipa has been put on a back-burner for a while. In fact, too long. I need to change that. But I also believe I wrote this too in my Angling Feelings review two years ago so I am not exactly a man for my words. Anyway..........

Kaipa is to me a Swedish band with roots in the Swedish folk rock style. Roots which started to grow to a decent cedar tree after Roine Stolt's exit. The rest of their sound is the typical 1970s symphonic prog with emphasis on Genesis and Yes. Add some RPI too and you get their sound.

The music is both epic and very melodic. It is full of small details which makes this album a real joy to behold. In other words, the quality is great throughout. My two only gripes is that there is no real killer tracks here and the songs is a bit too sugar sweet to my liking. But this album gives me the feelings of a typical sunny summer's day on the farmlands in Sweden. And that is a good thing.

This album is a great album with no great weaknesses and a sunny flavour. I really likes it and I should now give this band a lot more respect. Kaipa is really among the five best prog rock bands from Europe at the moment and this album really proves my point.

4 stars !!!!

Easily one of the contenders for album of the year in 2010, in spite of some pretty tight competition, the new album from Kaipa delivers on all fronts, and provides us with some of the finest in modern symphonic prog.

Roine Stolt - who he? Okay, a little tongue in cheek, but it has to be said that his absence here really is not noticed at all. Talking of The Flower Kings, Reingold here cements his reputation, in my opinion, as the finest modern bassist there is in this type of music. His playing thunders throughout.

The flavour of this album moves from bombastic, to marvellous folk, all achieved with some of the tightest musical performances you will ever have the privilege of hearing. It takes its influences from the classic symphonic bands, most noticeably Yes, but also fuses it with that unique Scandinavian brand of modern progressive rock. Those of you who, like me, are also fans of prog folk will hear a lot here to delight your ears. For instance, the humble recorder has never sounded as good as it does on this album.

I especially love Aleena Gibson's vocal performance on this, and, to be honest, my only minor quibble on the work as a whole would be my desire to hear more of her in front than Lindstrom. Her performance on In The Heart Of Her Own Magic is nothing less than stunning, and this is one of the tracks which has, at its heart, a strong folk flavour. Having said that, the vocal harmonies between the two are joyous.

The tone all the way through this album is relentlessly upbeat, and, indeed, listening to it almost makes me forget the foul wet weather we are experiencing here in Wales as I write this review.

This is not an album perfect enough to warrant the full five stars. It is, however, an album which more than creditably warrants the four stars I award it. Very highly recommended to all those who love the old symphonic prog, The Flower Kings, Transatlantic, and similar such fare.

The best Kaipa album of the new era not considering the 70s first three great albums. Since Kaipa started playing again in 2002 the albums have varied from good to great, this album is somewhere between great and excellent.

Lots of goodies here, from the excellent starter to my favourite song "Arcs of sound" we are treated with the strongest album so far in the new millenium. The vocals of Patrik Lundström och Aleena Gibson have never been better and this time they complete each other better than before. All of the songs are in the typical (new) Kaipa sound and there are few weak moments here.

If there were some complaints, I'd say some songs could have been a minute or two shorter, sometimes they go on a bit too long.

Top five of 2010, no doubt. Since I like this album so much I will give it 4.5 stars but it will turn out to be a five here. Highly recommended.

"In the wake of evolution" is one of the major releases of the year 2010.Esse is the debut album by Kaipa full of what I hear, and I'm almost reaches amazed.The tune them to perfection!

The fact is that this band has always caught my warning.Wires their sound of the 2000s is very different from that of 70 years, but is still simphonic.The tracks are excellent, even in the absence of Roine Stolt (who left after the incredibly underrated "Mindrevolutions ") is not felt by the new guitarist Per Nilsson, does a great job here.Although all tracks are above standard, the best here is" Electric power water notes ": THIS is a truly epic!"Smoke from a secret source "is another outstanding track.

Listen to this album!

This one creates a quandry. I can't fault the effort made, but what happens if I end up not liking it?

If my star rating is low it looks as though it's a poor product, but the truth is, it's anything but. It's just that their musical style never really grabbed me.

I HAD read that the sound was 'retro', but I failed to notice this.

There seems to be a musical complexity that it maybe not disimilar to Gentle Giant. But then it has the added flavour of sounding a bit like Ayreon. Difficult to describe really.

Sadly, it just never really gelled with me. My problem rather than Kaipa's.

In the wake of legacy

Kaipa is well known as one of the more popular Swedish symphonic groups of the 70s. Putting out a number of well-received albums through the 70s and into the 90s, they enjoyed a relatively large amount of success in their genre. Going on hiatus in the early 90s, the group returned in 2002 to record Notes from the Past with their former guitarist and current guitarist of the popular modern symphonic band The Flower Kings Roine Stolt. He left the band again after Mindrevolutions, but the band continued on and released their latest album, In the Wake of Evolution in 2010. My first reaction to this album, my first full album by the band, was the radical change in style from what I had heard of their earlier, 70s work. Whether it was the departure of Stolt or the change in musical era, but this modern work, to me, seemed much cheesier and more "polished" then their "vintage" eclectic symphonic work of the 70s (and of course they now sing in English). That sincere symphonic output was still there, but to me, it seemed like the band was trying too hard. Now don't get me wrong, this album is chock full of fantastic melodies and really great themes and dynamics, but in the end I feel this album is not up to par with some of their older stuff.

Now I've said before that you shouldn't compare a band's newer work to their older work and my comments about this album's "evolution" from their old style are purely biographical. However, my comment about the cheesy nature of the music still holds. Despite being full of catchy melodies and memorable themes and instrumentations, the music is pretty shallow. Although the atmosphere of the production makes the tracks have a much more grand appearance, behind the equalizers and studio reverb is some, however jovial and lighthearted, dry compositions. It pains me to be so harsh upon such fantastic musicians, but I really can't feel the inspiration in the music, despite it being good overall. There are some really cool moments, especially the great jazz-inspired rhythmic work and cool folky instrumentation (although the synthesized instruments used contribute to the overall cheesy sound the album has). Overall, the album is really a pretty good balance. It has very stark lows, as well as some rather high high points.

In the end, I have a pretty mixed feeling about this album. When I first delved into Kaipa's sound, I fell in love with the soaring symphonic melodies and lines of harmony (which I now realize hardly exist). As time passed, I began to realize that the album was a little shallower than it would like you to believe. Although I'm usually not one to accuse lyrics, I can't help but point out the rather simplistic (although they were a good try at some "deep" topics). They meld well with the melodies, but little can really be derived from the words. Overall, the album is good, but not fantastic. The definition of a three star rating is a perfect descriptor for this album: good, but non-essential. And that is how I shall leave this album. 3 stars.

Mostly Yes

With Roine Stolt once again out of the picture and Per Nilsson installed as lead guitarist, the 2007 album "Angling Feelings" indicated that this time around there would be life for Kaipa without Roine. Three years later, the line up which made that album returned unchanged with this the band's 10th official studio album. Hans Lundin takes charge of all the song-writing, and makes a point of wearing his influences on his sleeve. Naturally, there are similarities with other Swedish prog bands, but it is Yes who come through most; more so than even Stolt era Kaipa.

The Yes nuances are exclusively instrumental and lyrical ("Closer to the edge"!?) though, the vocals being decidedly un-Yes like. The duel female/male lead voices of Aleena Gibson and Patrik Lundström are a bit of an acquired taste in symphonic prog terms, the closest comparison probably being bands like Mostly Autumn. The song structures though are intricate and convoluted in the best traditions of this style of prog, Per Nilsson's lead guitar playing being admirably Howe like.

At over 17 minutes, "Electric Power Water Notes" is the longest of the tracks. Here it seems to me the band try just too hard to be complicated, falling into the same trap which affects The Flower Kings by mixing things up without a clear direction. The track is a good listen, but it could have been tightened up considerably.

Occasionally, such as on "In The Heart Of Her Own Magic Field", Kaipa will move into more orthodox areas in order to give Gibson the chance to deliver something which puts the emphasis firmly on her vocals. The folk influences which have always run parallel with the band's main sound are still present, emphasised through the recorders of guest musician Fredrik Lindqvist, which opens several of the tracks.

It is hard to say exactly what it is that causes me to have reservations about this album. Perhaps it is the vocals of Patrik Lundström, which I find to be lacking in melody. Perhaps it is the feeling that the music does not feel inspired, but rather takes its form from well used templates. I certainly would not presume to advise any admirers of Kaipa or symphonic prog to pass the album by. For me though, while I appreciate the contents, they do not make me want to play the album on a regular basis.

I've listened to a number of Kaipa albums, a number of times now. Out of all of them this is my favourite. They don't have the polish or exceptional production of some of the other mountains of contemporary prog out there, but I do really like this album, even after listening to it at least a dozen times now.

It's comfortably a four star album and I hope that they continue with the current style they are working in. The opening song 'In the Wake of Evolution' is an absolute cracker and 'Electric Power Water Notes' is another favourite. Frankly, the whole album is a delight to listen to. Long live new Kaipa!

The newest Kaipa album from 2010 named In the wake of evolution is almost same with predecesor, I mean I can't find the diffrence between this one and last 2-3 albums they release. Same symphonic prog, almost pointless in some parts with mediocre songwritting. Again as musicians, each member handle the instrumenta very well, but as a unit is almost boring at best. The ideas and all are usual and to damn unintresting. One of those albums that while I give 3 stars is less fascinating then other with same rating. Not a piece is excellent but in same time not one is bad, is just ok and nothing more.

I am one of the old generation, tied up to the old dinosaurs of the rock like pink floyd, genesis etc.. Sincerely the kaipa I had never felt them and not only them, From a few years with the use of internet I have discovered musical groups that had been born to the times of the greatest musical groups but of which I didn't have mine felt. This Cd is interesting indeed. The group of the Kaipa draws to sonority typical of the seventies there are also certain vocal sonorities that remember the Yes group and at times I find some proximities with more commercial groups as the Europe (Scandinavian group of the nineties). Anyway there are some good sonorous sprout even if turned they fall they exceed in saturated and predictable sonority. my evaluation can stay thin to 7/10

Kaipa is a band which I have different opinions about. Their record "Vittjar" didn't affect me but this "In the Wake of Evolution" had been hard to leave. I have listened to it many times and love it partially. This is Kaipa's tenth record and its fifth after the reunion 2002. It lasts for 70 minutes and the line up is just professional musicians. I will rate it quite low to be honest to myself but perhaps I will higher it later on.

Kaipa do has some ingredients I like: skillfull musicians, a lot of folk music in the melodies and a high ambition to do symphonic music of this modern ages. But I can't get rid of the feeling that it is partially just extended and I do not really like Patrik or Aleena's voices all the time. "Electric Power Water Notes" which is the album's longest track is also the best, a wonderful mixture of folk and symphonic rock with themes you can't get tired of. Also "Folkia's first decision", the albums shortest work is very good, it feels honest and clear. "The Seven Oceans of Our Mind" works also well with the two vocalists and "In the Heart of Her own magic field" is a track where Aleena does a great job and its melody is sweeping and great.

I don't think any track is weak but something's stopping me from giving this record four stars. But as I wrote before, I have hard to leave this record and use to pick it up when I'm in the right mood, so future will tell if this rating was fair.

I just found out that I wrote a review for this album some...five years ago and never uploaded it. So...

Another Kaipa / TFK album ? My answer is definitely yes ! Even if Roine is not there...

An excellent opening number full of energy, melody, symphony augurs very well of a very good album. The only minus point is that this track could have been on each of the (very) long TFK story. Same sort of fine vocal harmony, same sort of 'Yes' feel, same sort of excellent guitar breaks. But I 've been hearing this quite a few times already (being 'Kaipa' or 'TFK').

The problem is that after this very good opening, the rest of the album is quite flat and not really worth your attention. There are melancholic vocals, some folkish atmosphere ('In The Heart'' or the short 'Folkia's First Decision'), sweet guitar etc. But at the end of the day; this sounds too much of the same. And it is not the first time that I can come with this conclusion while reviewing a 'Kaipa' album.

As a passionate of the symphonic genre, there are of course some very good moments, but globally this sounds too much repetitive and finally a lack of creativity is severely felt while listening to this album.

The best to depict this is probably the epic 'Electric Power Water Notes' which is full of all the clich's we would like to disappear. Some call this retro-prog; I call this prog with little innovation. You name it.

This album is also much, much too long to raise the interest from start to finish. At least it is my opinion. Over seventy minutes of about the same is quite a long exercise when you have to concentrate on the music to write a review about it.

An EP would have been sufficient to translate the ideas of 'Kaipa' here. As such, I can't be as optimistic as some of my fellow reviewers. By no means is this a poor album, but in terms of creativity it is a desert. Only die-hard 'Kaipa' or TFK fans can really elevate this work to the prog Walhalla. I am just an average one of them.

What comes after 'Electric Power''is rather average and isn't really worth a mention. Fillers all the way through IMHHO ('The Words Are Like Leaves'). One great opening song, a decent epic: this is how I can best summarize this album.

There are little to no surprise while listening to this album. But this is probably what the fans are expecting. But I was expecting a bit more. Still, three stars sound legitimate ('Arcs Of Sound' is not too bad after all).

Kaipa is in a weird spot between being a retro prog band, and a classic?symphonic prog group. They started in the 70s with their eponymous debut in 1975. They would go for a couple of years since then, releasing about five or so symphonic prog records before disbanding in 1982 after their new wave flop of Nattdjurstid. They then reformed in the 2000s with Notes From The Past, marking their new shift as what many would consider a retro prog group, with brand new members such as Patrik Lundström of Ritual, and some older members like Roine Stolt popping in to help the group out. This new iteration of Kaipa is not to be confused with Kaipa Da Capo, which features predominantly the older members of the classic Kaipa from the 70s. This timeline sort of makes Kaipa a time piece of sorts for both the old days of prog rock, and the modern music being put out.

Personally, I am more of a fan of their newer stuff. My journey with Kaipa actually started quite early in my prog rock adventure. You see, in early 2021 I was obsessed with the track 'In The Wake Of Poseidon' by King Crimson. I tried to scour any renditions or versions of the song the best I could. This was how I discovered the Italian band La Maschera Di Cera as they played that song live on their Belgium 2005 album. Whilst continuing my search for lofty Crimson covers, I managed to find the title track of the album I am currently reviewing. I didn't think much of it, I liked the song and carried on with my search. Then 2022 rolled around, and I discovered Kaipa once more through Urskog, which I still think is their best record they've released. I decided then to check more of their stuff out, even looking back at their older records. I wasn't obsessed, but I certainly had quite the infatuation in the summer of 2022. Then I eventually wound back right to where I started, In The Wake Of Evolution.

I gotta say, this album is certainly one of their best they've put out to me. This album is the second release of what I dub their 'butterfly era', which started with Angling Feelings in 2007, through Vittjar in 2012. I dub this the butterfly era, as their logo then had a butterfly over the i. They stopped this era with Sattyg in 2014. I haven't heard Vittjar yet, but out of the two I have heard from this era, Wake Of Evolution takes the cake.

I really love this album because of the joyous energy Kaipa has on here. Kaipa, and most retro prog in general, always had quite a celebratory energy, but here it feels like they took that power to a whole new level, which they continued to hold in the albums after. The title track has this very bouncy feel, Folkia's First Decision feels like I am in a glamorous medieval pub, Arcs of Sound has this absolutely fun guitar solo; You would be hard pressed not to find something enjoyable here, or at least something that doesn't make you smile while tapping your feet.

The title track in particular is really fun. A 10 minute extravaganza of these bouncy keyboards, fun guitar medleys, and super enjoyable vocal performances from Aleena Gibson and Patrik Lundström. I consider this track to be Kaipa's bonafide masterpiece, and that's not counting my slight nostalgia for it. It's also the best longer track on the album, which leads a bit to the issues I have here.

Aside from the title track, of course, the longer tracks feel just a tad too long for me. I know, "GASP!" a prog fan finds a song too long, but it's true. The epic of Electric Power Water Notes, and the final 10 minute track of The Seven Oceans of Our Mind just feel like they are played for much longer than they probably should, if I am being honest. Electric Power Water Notes ends quite greatly after the 11 minute mark, and would be a good end to the song with that nice guitar solo, but then it keeps going for much longer, and with a pretty not so satisfying ending too. It feels more obligatory than it should.

The Seven Oceans of Our Mind isn't the worst offender here, but it's certainly not the best either. It has a perfect cap on the song with the 6 minute mark, being a reprisal of the first lyrics sung off the track. It would be a great way to end off the album, but then we get an additional 3 minutes of guitar solos and music, and while it is admittedly good music, I cannot help but feel it is also very unnecessary. These two long tracks feel more enforced, and certainly show that later Kaipa releases have a better understanding of how to implement these longer songs much better into the track listings.

However, a remedy is found within the lyrics. A lot of Kaipa releases don't quite follow the same thematics this album includes, being that of questions that the new generations may have to answer, and how the future for the youth doesn't seem to be better than the present we have now. It is very conscious, and I think this album certainly holds some of the group's best lyrics, which is admittedly not a high bar to set since the group is more instrumently focused than lyrically.

While imperfect, this record holds some of the best moments of Kaipa, and Swedish prog in general, and is just in general a very good-feeling record to listen to. While I say listen to Notes From The Past first if you want a taste of modern Kaipa, give this one a try too if you dig the group's retro prog stylings. You can never go wrong with a good Kaipa release, that's for sure.

Best tracks: In the Wake of Evolution, Folkia's First Decision, Arcs of Sound

Worst tracks: Electric Power Water Notes, The Seven Oceans of Our Mind