CARPTREE

It's exciting to see the potential Carptree showed in their first album be fully realized here on their sophomore release. Favorites include "Calm Sea of their Pupils," and "Flesh." Highly recommended for neo-prog fans who are looking for something just a little bit different. 4.5 stars.

Their self-titled album is their first, and it shows. They spent more than two-and-a-half years recording, mixing, and mastering this, and from the very short liner notes it appears it was likely recorded in a garage or home studio. I wish the liner notes included the lyrics.

Given those limitations, then, it's a wonder that this first album is as good as it is. Their sound is a bit more basic here than on later albums, but much of it has a sense of urgency that's found in some of the best neo-prog. Peter Gabriel was likely an influence, but I also hear hints of Fish's solo career. Flinck's vocals are good and definitely sound like neo- prog vocals, the music is relatively simple but still enjoyable. It's about as progressive as Peter Gabriel's solo work.

If you're new to Carptree, don't start here. Their later albums are better. Still, this is a good initial work, and it's a nice relaxing listen after a long day. 3.5 stars.

There is a lot of guitar at times, but also plenty of keyboards, and this is very much a rock album with wonderful vocals which is both instantly enjoyable as well as demanding further listening. The sheer accessibility of this is a delight, and the more one plays it the more there is to discover as there are hidden depths which take time to uncover and unpeel. IQ, Jadis, Flower Kings, Anekdoten, Galahad and so many others have imparted some influences into Carptree yet at the same time they are quite unlike any of them. The nature of being a duo, combining with NFO (No future Orchestra, who have the same personnel as last time) is very different to others. Combining this with focus on analogue instruments and amplifiers together with an analogue master results in a warm, organic and highly diversified album with a detailed texture. Let's hope the momentum continues as we all need to hear more music from these guys

Carptree's music has one interesting peculiarity: every new album makes very strong first impression. When I first listened to Emerger, I had no doubts that it's their best. Now the same story repeats with Subimago. But I already know what's to occur after multiple listening: I'll be convinced once again that for now, their magnum opus, after all, is still Nymf. Nevertheless, Subimago is an excellent prog album consisting of almost equally well done tracks, with no obvious highlights and no failures.

A few words about Carptree's musical style, if I may. Undoubtedly it's not neo prog. Dears, just as a reminder, Martin Orford hates the term 'neo prog', and this is not for nothing! If we classify (for example) Jadis as 'neo prog', we have to invent a different term not only for Carptree, but even for Ziff or Last Turion. As for Carptree, yes their first three albums have some common ground with Pendragon/IQ/Jadis-type music. But since late 2000s, Carptree performs fundamental prog that may be called - as our mood hits! - 'symphonic' (if not 'operatic' from time to time!), or 'dark', or 'hard'... though no, rather solemn than hard. This tendency (to solemnity) started with Insekt and seriously developed with Nymf. Now, with Subimago, it probably reached its apogee. Surely there's a reason to consider Carptree a prog artist with interesting past, magnificent present and bright future.

Between this album and the previous one, Westholm had released a couple of albums under the name of Jupiter Society, which were musically very different to Carptree and there is no doubt that at this point this band were moving into a much rockier direction than they had previously. Carl was to become heavily involved in HM acts, including the mighty Candlemass, and although this could never be thought of as a heavy album, it is indeed a step change from what had happened before. Niclas has a voice that I have seen compared to Hogarth, but in fairness to both of them he is much more like Gabriel, and while he has always seemed at home in the gentler material, when given the opportunity to put himself more to the fore, as on the dynamically changing and challenging "Land of Plenty" he relishes the opportunity.

Of the four albums I have heard from Carptree this is definitely the most diverse in its approach, while also the most interesting. I may be behind the times, but I am so glad that this 2010 album has finally come my way.

The No Future Orchestra, which first appeared on 2003's 'Superhero', and continued through 'Man Made Machine' is still here on 'Insekt', while the use of the Trollh'ttan Chamber Choir on a couple of songs is inspired. This all assists in providing Carptree with a sound that really is quite unlike many others around. There will always be some who feel that the guys belong in neo-prog, but in reality they mixing the likes of Pink Floyd and Peter Gabriel together, while interestingly one can hear later period Big Big Train in what they are providing here, but of course 'Insekt' was released more than ten years ago so who influenced who? It may have taken me way too long to finally hear this album, but I am so glad that I have, as this is yet another great release from the Swedish duo.

Originally appeared in Feedback #85, Nov 2005

Not too much, I am afraid. The Swedish scene offered more to the Symphonic/Eclectic genre than theNeo scene. And when you listen to this album, you know exactly that you are not in front of a great work.

Actually, there are no outstanding tracks out here?Influences are difficult to describe, and according to me there are none. A boring tune as ''Give Myself Away'' is just a press next tune as there are so many on this album. It is a difficult exercise to find a highlight on this album.

Some easy listenting tunes like ''It Doesn't Know It'' is probably on the higher edge of this rather weak album. Not because of its great instrumental parts, but only due to some (short) catchy vocals.

This poppish album has really little to offer in terms of prog. The whole is a junk of poor tunes which are really of no interest although the second highlight is the sweet and melodic (somewhat mellow though) ''Looking For Something''as well as the good closing number ''Tiny Salty Drops''.

This whole album is rater difficult to diggest. I was only happy to reach the end of it after almost one hour of very average music? Two stars, no more.