CRIME SCENE

RPWL (Risettion-Postl-Wallner-Lung) is the progressive rock band formed in 97 excelling in PINK FLOYD covers. They try to find their marks with Ray Wilson for a while and move away from the Floyds with a more raw, aggressive sound while keeping art-rock atmospheres. An 8th album on crimes and other perversions with two of the initiators still at the helm, here we go.

'Victim of Desire' just the intro makes me want to go see them; gradual build-up with a soaring solo from Kalle, the sampled voice of Yogi; it reminds me of the modern transition of PENDRAGON on 'Pure'; emotion, languor, wanderings on the FLOYD whatever we say in more rock; spatial break and jerky riff, good cinematic evolution for the slap with a solo flirting with those of Michel from MYSTERY. 'Red Rose' piano ballad for a funky bass melody and an underlying macabre story best left undisclosed; RPWL floydian atmosphere for the romanticism and melting solo then spleen if that is possible. 'A Cold Spring Day in '22' short, radio-edit, about gruesome Bavarian murder, yes prog isn't all gay; a playful, ironic chorus and a melodic tune. 'Life in a Cage' intro which I like between Peter GABRIEL 'Biko' and TALKING HEADS; cavernous rhythm box, discordant synths pouring into melancholy for a dark atmosphere, a Gilmourian solo even if we know that it is Kalle at the scraper. 'King of the World' masterpiece for the duration, the convolutions, changes of tempo, the appearance of a Moog, the plaintive guitar; intimate break and a flight of spleen notes, in short, the whole panoply of today's progressive rock; the second instrumental break brings up the beauty and brutality of rock, a piece to be listened to again for a long time. 'Another Life Beyond Control' wow, HENDRIX, the scratchy sounding WHITE STRIPES, a saturated fat bluesy riff old as my dresses, a catchy chorus; the break, what to say innovative, psyche; hovering final return with a Yogi solo to perfect the image of nervous prog rock.

RPWL will be criticized, evolving without denying its basics; modern, intricate clutter at its best; a duration short enough to keep you going and induce cravings; power not to fall asleep, problem of some current groups. A superb album much more innovative and catchy, melodic, of the very beautiful prog of a great group. (4.5)

While reading Lazland's rather Freudian in-depth (how deep would that be be?) review, I could not help rekindling images of the television series Vienna Blood, where the two protagonists are a slick Austrian detective and his Jewish psychiatrist cohort in a pre-WW1 setting, who solve rather grisly murder cases together. This RPWL album may well serve as a modern soundtrack, in light of the fact this German band has been in legal trouble before, with the Wanted album released in 2014. I am also reminded of Viennese singer Falco's ripping rendition of "Jeanny", a masterfully cruel song about a deranged mind stalking ruthlessly (and not about rape as was suggested at the time in 1985). While I must humbly admit that I can do a wicked imitation of a heavily accented Serbo-Croatian shrink, I feel no need to even dare attempt to upgrade Lazland's diagnosis of the murky lyrical content. Just take my pharmaceuticals, perhaps toss in a few well-placed electro-shocks, and just concentrate on the musical side of things of this beguiling effort.

The aptly titled "Victim of Desire" serves as a perfect aural anaesthesia, with a swooping and modern entrance, that is both chaotic and moodily cerebral, with long-time patients Kalle Wallner on guitars, drum meister Marc Turiaux, vocalist, and ivory man Yogi Lang, all locked in their studio gaol with newcomer bassist Markus Gruetzner, who really dazzles throughout this penitence. Through the 8 minute + epic, all the now classic RPWL ingredients are firmly in place, locked in with huge melodies, first-rate singing and exemplary mood and atmosphere. Acoustic guitar serenity greets "Red Rose", the overall disquietingly airy and sweet beginning perhaps hiding an inner demon of some kind, as the guitar scours effusively and the 'undying' echo flutters into the heavens. This segues into "A Cold Spring Day in '22", a tingling guitar spiderwebs its way into a floating guitar jangle that proves once again what a fine axeman Kalle is, as Yogi's vocalized 'footsteps' set the eerie tale in motion, where innocence, home security and family are all extinguished in a brutal act of insanity. The main melody is accessible, in an almost insouciant manner, as if to underline how tragedy can just wait around the corner, ready to pounce. The percussive led "Life in a Cage" suggests mental desolation, forlorn anxiety, architectural compression, and controlled claustrophobia, as if a free flying bird is now doomed forevermore. The extended instrumental section is phenomenal, as the blitzing bass rumble weaves amid the depth-charged drumbeats. Wallner unleashes quite the anguished axe solo, yearning to break away and find some semblance of normalcy. The angst is palpable and disturbing.

"King of the World" is definitely the main attraction here, a nearly 13-minute behemoth of sound and fury. When a serpentine bass introduces the main theme, ably supported by shrill guitar phrasings, sizzling synth squeaks that ping and pong, echoing off the oft-scratched walls, you are prepared for the effusive vocal, letting Lang tell his gloomy tale. This piece may well be one of the band's finest moments ever, as musically it is absolute dynamite in all facets of creativity. French 17th century philosopher Blaise Pascal's monumental essay "Pensées" could have a soundtrack for his masterful analysis of the human condition (please look it up, if you wish). The sweeping mellotron strings evoke a sense of imminent tempest, as the bass sneaks between the grey clouds and the thunderous drum nastily snap branches off the tress. The bombastic finale is pure, unadulterated emotion, powerfully imposing, truth finally revealed. "Find a way to be Alive ? for one night". The final cut (oops, sorry, Rog!) offers a slash of the wrists guitar expression that shoulders the cacophony of despair, the swampy lead, the choppy drums, and the blood all over the place singing, all together make for a most appropriate conclusion. The extended mid-section guitar solo is suitably frantic, delirious, and yearning for escape. The synthesizer venture takes the track on a slippery slope onto the dark side of the room, a genuine apology, perhaps even regret. The track acts abruptly, as if the imaginary guillotine has just put an end to all this misery. Silence.

4.5 evil ways (Roll it, Carlos)

For 25 years now, Yogi Lang (vocals, keyboards) and Kalle Wallner (guitars) have been steering the good ship RPWL as they continue to follow their own path on the seas of prog, and while drummer Marc Turiaux has been there since 2008 there has been another line-up change since 2019's 'Tales From Outer Space' with the departure of keyboard player Markus Jehle and the arrival of bassist Markus Grützner. However, for many (me included), RPWL have long been about Yogi and Kalle, the L and W of the name. Yogi's vocals are clear and melodic, always in total control in unaccented English while with Kalle he has a wonderful songwriting relationship. Again they have chosen a theme for an album, as opposed to being a full-blown concept, this time delving into the dark side.

Take for example the love song which is "Red Rose". At first hearing it sounds pleasant enough, then one realises something isn't quite right, with the lyrics "All my help appeared to fail, But down to your last breath, I know that you're my bride to be". The reference to the year 1933 gives us another clue, and we soon realise Yogi is singing from the viewpoint of Carl Tanzer, who became obsessed with a patient and two years after he death he stole her corpse and kept it in his home until it was discovered some seven years later. The sweetness and light contrast heavily with the darkness and disgust, "Now everything's prepared, So please come back to life, Let's show the world our undying love" which causes us to rethink everything we are listening to. The lyrics are complex with depth which fits in powerfully with the multi-layered approach of the arrangements, which often have a lot of acoustic guitar.

I have followed RPWL since their debut 'God Has Failed' more than 20 years ago, and this is one of the most interesting and intriguing as we study the lyrics and then start searching out more information. Yet the terrible events Yogi is singing about are often delivered in a manner which is very light, with the contrasting darkness coming more from our minds. This is easily one of their most intriguing and interesting albums to date, one which can be both studied and listened to gently. Powerful stuff.

"Crime Scene" is the eighth studio album with new material from the German progressive band RPWL and their 19th release within their discography. From this, you can infer that the group, founded in 1997, is doing well in terms of creativity and inspiration. What's more, "Crime Scene" is, in that regard, their most prominent album of the 19. The concept they work within is a search for the dark, morbid side of the human soul, which is reflected in the six songs. Singer Yogi Lang poetically takes you into the minds of various creeps, and you'll be captivated if you're a fan of the band.

I personally find the contrast between Lang's gentle voice and the gruesome characters he sings about fantastic. Lang draws inspiration from stories like Karl Denke, the serial killer and cannibal from Münsterberg who killed many people, ate them, or sold their meat on the market as pork. There's also the beautiful ballad Red Rose, which sings of the twisted love of the infatuated Florida doctor, Carl Tanzler, who stole the corpse of his beautiful patient, embalmed it, and kept it in his bed for seven years.

It's hard to believe that such monsters exist, one might say. However, Lang illuminates all these horrors in his lyrics from the broadest possible perspective. The singer also touches on more general issues, as in the intriguing Life Is A Cage, which addresses domestic violence today. But I'm not really one for lyrics; I'd rather talk about the music, so hang up your coat ? I'm not done talking yet.

Every note of "Crime Scene" is truly sublime, and these notes shine brightly due to the brilliant production by Lang and Kalle Wallner. It's Yogi Lang again and his mastery of the keys. It's a delight to hear his Manfred Mann-inspired Moog playing in the last few songs on the album. However, the most awe-inspiring is guitarist Kalle Wallner. This might be stating the obvious, as Wallner is typically the band's main attraction. But this time, his string playing is "larger than life."

He lets the intro of the opening track, Victim Of Desire, explode into ecstasy, and the guitar tones that follow are perfectly timed. The rhythmic riffs further on are equally delightful. The song also features beautiful dynamic shifts, which he supports with sparkling play. There's even a fiery short solo, pure indulgence.

In essence, "Crime Scene" is a sequence of strong segments. Melody lines, solos, transitions, themes, changes in tempo and mood, you name it ? everything keeps you on the edge of your seat. A Cold Spring Day In '22 is particularly captivating, describing the Gruber family's tragedy, a farm raid that turned into a gruesome slaughter where six people were beheaded. This intense track, of course, includes a melancholic guitar solo. I can totally immerse myself in it, as well as in Life In A Cage, where the choruses are beautifully supported by vocoder-like sounds. Lang sings so movingly here that even the iciest hearts will melt, especially when that fantastic climax with a driving bass and an enthralling solo by Kalle Wallner comes in. With the epic King Of The World, RPWL takes it to another level, showcasing immense musical talent. King Of The World carries a hopeful message about a world without fears and tears. A groovy bassline introduces the song, highlighting the talent of newcomer bassist Markus Grützner. The beauty of this riff is that it appears multiple times in the song in different arrangements. It's an emotionally charged piece of music, intense and passionate, with a highlight being the solo section where Lang and Wallner truly shine. The fact that this solo spot is filled with mellotron sounds is a stroke of compositional genius, especially when the previously mentioned riff, played on the electric guitar this time, revs up the piece again. In the finale, Lang bursts at the seams, much like the band itself, with bombast to the max. The closing track, Another Life Beyond Control, kicks off with a gritty guitar riff reminiscent of Hendrix. The song develops in two directions. On one hand, it tells the story of Karl Denke, the owner of the axe on the album cover, and on the other hand, it serves as the conclusion of the concept. Musically, it's a delightful blend of Lenny Kravitz and Pink Floyd. I can live with that just fine.

This incredible album has an abrupt ending, which, in my opinion, symbolizes the many lives that have come to a sudden stop.

Originally posted on www.progenrock.com