CRIME SCENE

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.

With their eighth studio longplayer 'Crime Scene', Bavarian neo-prog veterans RPWL take a deep dive into the realm of true crime and explore various fascinating cases through the carefully-forged lyrics of frontman Yogi Lang - the band explore the eternal debate between good and evil on an album that is above all else, atmospheric and expansive, varied and eclectic, containing all the signature elements of the art rock institution that this band is. And while the concept behind this excellent album might seem rather morbid, it is the gorgeous way in which RPWL interpret the stories of characters like Carl Tanzler or Karl Denke, weaving all throughout their magical music and sweeping passages of elegance and technique. With just six tracks in rotation, 'Crime Scene' is an incredibly focused effort that allows each band member to showcase their strengths, also serving as the formal introduction of newcoming bass player Markus Grützner.

And this captivating, eerie and atmospheric album starts off with 'Victim of Desire', a well-composed song offering an interesting variation to the RPWL formula, all the subtle shifts within it are rather pleasing and rewarding, followed by the "love song" that is 'Red Rose', a hauntingly beautiful track that resonates with the listener long after the music has ceased to play. 'A Cold Spring Day In '22' is shorter but no less substantial than the rest of the album, a livelier number with a memorable chorus and great harmonies. 'Life in a Cage', on the other hand, is a moody excursion with some great synths and a menacing but interesting use of vocal effects, a surprising and welcome number on the album, followed by the 13-minute centerpiece 'King of the World', the more virtuosic and adventurous composition from the bunch. The fuzz guitars of the closing track and its uplifting and hopeful tones allow this record to end on a high note, all while Lang's great singing voice is on full display. Just an excellent concept record from one of the masters of the art rock scene, carefully conceived and excellently executed work of greatness.