Kaipa
Hans Lundin
Hey, how are things in Sweden right now?
The summer’s on its way and that’s my favourite season.
Will you start off by introducing yourself and tell us why progressive and folk rock makes you tick?
I started playing in my first band in 1964. Like most bands at that time we were playing mostly covers, but started gradually to write our own songs. In a way it was like a long education in music. In 1965 we recorded our first single, in 1971 the first LP and in the autumn of 1973 I wanted to form a new band based on my experiences and my interest in writing melodies with roots in the Swedish folk music tradition, and so was Kaipa born. Until 1982 we recorded five albums and did more than 500 concerts in Scandinavia. In 1982, we decided to take a break, because at that time the market was so limited for the type of music that we were playing. It wasn't possible to keep the band together. We took a break, but we had no idea that it was going to be such a very long break.
After this break for almost twenty years Kaipa returned in 2002 with the comeback album “Notes From The Past” and in 2003 we released “Keyholder. And now it’s time for the new album “Mindrevolutions”.
It will be great with a small introduction with the rest of Kaipa, and if you would tell what the individuals offer to the band, besides mastering their instruments!
The line up today contains Roine Stolt and me as original members from the 70’s. The full line up including myself is as follows: Hans Lundin – keyboards & vocals, Roine Stolt – guitars & vocals (Flower Kings, Transatlantic), Morgan Ågren – drums (Mats & Morgan band, Zappa), Jonas Reingold – bass (Flower Kings, Karmakanic, Tangent), Patrik Lundström – vocals (Ritual) and Aleena – vocals
This line-up is like my all time favourite band. There are so many ideas, energy and musicality in all of these musicians so it’s a great pleasure for me to work with them.
You are about to release your new album “Mindrevolutions”, how do you feel about the album?
I hope that this new album has its own significant identity, but I also hope that the Kaipa-sound is present and recognisable as on each of our albums.
What do you expect from the album?
That the music finds its way to the people who are appreciating our music. That is how the communication starts.
How has the press so far received “Mindrevolutions”?
Mostly great reviews. I’m getting used to this after our two previous albums.
How much do the press’ opinion mean to you?
Of course it’s important, but the most important thing for me is the opinions from the ordinary people who are buying the album.
What does it take for you to feel satisfied with an album you have made?
I am always searching for a connection between the music and my inner feelings. This is important when I write the songs, when I play and when I listen to the final result.
What did you have in mind, when you started to write music for “Mindrevolutions”?
Except from the long title track, which is going in many different and unexpected directions, I think this is a more accessible album than our previous albums in this decade. I wanted to create more this time by writing, maybe not simpler songs, but concentrating on one or two main melodies in every song, with a focus on the vocals. The main melodies sometimes return in another arrangement or with an alternative instrumental melody later in the song or even in another song.
Did you accomplish what you wanted?
Yes, but there is an interesting story behind the title track. After writing twenty-two potential new songs for the new album I thought there was something missing. So I started to write an instrumental piece of music with lots of adventurous parts and unexpected twists and turns where the musicians could have the possibility to really show their enormous talents. For three days I worked in my studio forming a 25-minute long instrumental song including both strictly arranged elements, but also with room for improvisation. I think these three days were the most productive days of my life. My basic idea was to make an album with the shorter songs and then use this long song on a bonus CD showing another side of the band.
Later I shortened this song and incorporated two tracks that were already written. One of these songs had the title 'Mindrevolutions', I then decided to continue to use this title for this new song and in the end even for the whole album.
How do you get inspired to write music?
I never sit down and decide to write music in a specific direction. Most songs start with some notes going around inside of me, I don’t know where they’re coming from, but if I like them I think it’s my duty to take care of them. That’s the normal starting point for my writing and usually it ends up with a journey filled with unexpected ideas and inspiration leading to the final result.
Do you write music the same way now a days as you did earlier in your career?
The birth of the ideas is probably the same. In the 70’s I had a simple two-track tape recorder I used to memorize my ideas, while today I have a complete recording studio.
How do you keep being inspired to write music, after these many years?
I don’t know, but for this new album I had written songs enough to fill two albums, so I’m just happy with the situation and I hope the inspiration will last.
Do have some new influences that you have picked up lately?
I think there are a lot of invisible influences present in the work, some kind of progress. Working with an album like this means handling thousands of decisions before I can hold the final album in my hand. It’s impossible to point out some specific influences. Some ideas came up already during the song writing process and others came up during the recordings, it’s a long process with a lot of surprises along the way.
How is the song writing process in Kaipa working?
For this new album I wrote all the music while the lyrics are a collaboration between Roine Stolt and me.
When do you know a song is done?
It’s a feeling.
How did you end up with progressive rock with a scent of folk music in the blend?
It was a long process, but I’ve always loved the melancholy feeling in the old Swedish traditional songs. So today they’re a natural part of the music I write.
How have your song writing developed through the years?
The Kaipa music of today has the same roots in the Swedish folk music traditions as the old Kaipa, and the melodies are still an important part of the music. But today there are more influences present and I think that’s a natural evolution after all these years. For example in the 70ties I listened to fusion like Return To Forever, John McLaughlin and Billy Cobham but I didn’t think I had the capacity of writing and playing something in that style. Today I think our music sometimes contains something I would describe as fusion with a flavour of folk music.
How would you describe the perfect song?
I haven’t written it yet, and I don’t know if I ever will or if it’s even possible. The day I write it… what shall my future goals be?
Will you explain the ideas and thoughts about your 3 latest and great album covers, and maybe tell who the little strange fellow is?
There’s actually no direct connection between the album covers and the music. It’s just that I want the artwork to be imaginative as I consider the music to be that way. I think both the artworks and the music give you a possibility to discover a lot of small details even after several listens. The strange little fellow on “Mindrevolution” is the Keyholder-creature you can see on the “Keyholder” album.
You have titled the new album “Mindrevolutions”, what are the thoughts and ideas behind the title?
“Mindrevolutions” contains a lot of different subjects, but the basic meaning is that if we want to change the world and make it a better place we must be prepared to start this operation as a mind revolution inside ourselves.
Will you share your 3 all time favourite Scandinavian albums with the readers?
It’s almost impossible, and personally I prefer to listen more to songs that I really like.
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