KAIPA - The History Part 1 1973-1982

The beginning

KAIPA’s origins date back to the autumn of 1973, when three professional musicians from Uppsala in Sweden, namely Hans Lundin - keyboards, Tomas Eriksson - bass and Thomas Sjöberg – drums decided to form a group playing their own music. It was a very personal music with influences from pop, rock, classical music, and Swedish traditional folk melodies.


Hans met Tomas in the late 60’s when he joined Hans in his band S:t  Michael Sect (later San Michael’s). This band issued an eponymous album with original material in 1971. Another album was recorded in 1972, but never released until 2009. The recordings were made at ULAB Studio in Uppsala, and they worked together with sound engineer Leif Mases. The band broke up in January 1973. Hans and Tomas continued to work together backing artists like Emile Ford, Umberto Marcato and Harpo.


After the split, Hans continued to write songs. By 1973 he had grown tired of backing other artists and wanted instead to try his new songs in a band. So he suggested that Tomas join him and form a band playing their own music. Thomas Sjöberg joined the band, and they started rehearsing intensively to find their own style as a trio. The name of the band was URA KAIPA. It referred to a Swedish Stone Age chieftain and came from the book “Svenskarna och deras hövdingar” by Werner von Heidenstam.


The group’s style was built around the keyboard parts, particularly the sound of the Hammond organ, the Wurlitzer electric piano and the Davoli synthesizer. Tomas played a Rickenbacker bass guitar, a model with a distinctive tone, which was almost completely unknown in Sweden at the time. The vocals were sung in Swedish to better emphasise the poetic content of the lyrics to audiences. As the group had no international ambitions, singing in English seemed pointless. 

Hans Lundin, Thomas Sjöberg, Tomas Eriksson


The band made three concerts in the spring of 1974. Sadly, Thomas Sjöberg was hit by cancer and couldn’t rehearse regularly any more. He was forced to leave the band, and was replaced by Ingemar Bergman. The group rehearsed intensively with their new member, concentrated on new compositions and recorded several demo tapes. After a while they realized that the trio format was too limited to express all the dimensions in the compositions. So they decided to look around for a guitarist. They set up an audition with young Roine Stolt, then only seventeen years old. Roine was much impressed by the group’s stamina, exhibited in their habit of day-long rehearsals. He didn’t know at first whether he would actually join the group, as the other three band members wanted to give the new quartet format some kind of dry-run before making their minds up


In the summer of 1974 the group shortened the name and became simply KAIPA. The music and lyrics were essentially the responsibility of Hans Lundin, who also doubled lead vocals, with Tomas and Ingemar singing backing vocals. In spite of his major role as composer and lyricist, Hans didn’t act as Kaipa’s front man. The group always acted as a collective, with considerable freedom allotted to each member. Kaipa’s early songs were based on a non-traditional song structure: after an intro of folk or classical flavour, the song generally developed a jazzier orientation, before ending with a solemn symphonic conclusion, restoring the classical element.

Roine Stolt, Ingemar Bergman, Tomas Eriksson, Hans Lundin

Kaipa’s first live appearance was as a trio. It occurred at an open-air festival in Norrtälje in June 1974. In August the trio formally asked Roine to join as full-time member. They were now certain of his ability to develop a personal style to suit the group’s evolution. The new line-up debuted in an open-air festival at “Gärdet” in Stockholm that same month. The group performed well and received a rapturous audience response. The band eschewed stage histrionics, preferring to rely on the quality of their music. They sometimes included circus music and humorous rock’n’roll pastiches in their repertoire and were also fond of lengthy improvisations.

On 21 October 1974 Kaipa performed its first radio broadcast, playing live in the programme “Tonkraft” on Swedish national radio, a show devoted entirely to the national and international progressive rock scene. Under these stressful circumstances, the band’s showing was somewhat nervous and lacklustre, but this first broadcast proved a great opportunity to emerge from their relative isolation and get some national recognition.


Kaipa kept rehearsing busily to improve their cohesion and instrumental technique. Roine Stolt started contributing tunes and the entire group polished up some lengthy pieces of ten-minutes-plus duration.

The first album

Anxious to record their efforts and obtain wider recognition, the band decided to contact record companies. To that end, they sent a demo tape to the MNW and Silence labels, which reacted negatively, and then to their old friend Leif Mases, who now worked at Marcus Music Studios. Leif played the tape to Markus Österdahl, the studio’s owner. He liked it very much and immediately offered the group the chance to record a professional demo on to 24 tracks. The numbers “På Färd”, “Karavan”, “Från det ena till det andra”  and ”Skogspromenad” were recorded on 3, 5, and 6 February 1975, and the last track was later included on the band’s debut album.

Marcus knew Carl-Eric Hjelm from the Electra label, a Swedish company who distributed Decca, RCA and Philips nationally, and played him the tape. Charmed by the music, Hjelm told the band to record him an album, preferring to await the results before signing them officially. Eventually, Decca would sign Kaipa and issue their debut album.

The recording session was completed in nine days between 4 and 26 July 1975 at Marcus Music Studios in Stockholm, with Marcus himself acting as engineer. Only the recent, more sophisticated and symphonic songs were retained, as they were considered to be more representative of the group’s development. Ingemar, Roine and Tomas didn’t want to include the song “Skogspromenad” on the album, because they thought it was too simple and not representative of the band. Marcus considered this to be one of their best songs, and in the end it was included on the album. This proved to be good, as live and on radio this one was going to be the band’s most requested song for a long time. Hans used a large array of keyboards, playing Hammond organ, Fender Rhodes electric piano, synthesizer, string ensemble and harpsichord as well as singing lead. The band produced the album themselves and without much studio experience. They were sometimes unable to reproduce perfectly their own characteristic sound, particularly in the more experimental sequences that sounded inferior to stage renditions.

Nevertheless, Kaipa’s originality comes well to the fore on the album and on the whole the group was satisfied with the final result. A painting by Roine, depicting “an astral traveller floating freely above temples in the jungle”, was chosen as the sleeve artwork for the eponymous album.

Kaipa performed subsequently at different open-air festivals in the summer of 1975 and embarked on a short tour in the autumn which included more radio broadcasts. The album was released in December 1975 to an enthusiastic public and critical response. Sales quickly reached 5,000 units, finally reaching 10,000, a definite success for a self-produced prog rock album, especially as distribution was limited to Scandinavia. Kaipa struck a chord with a great number of Swedish rock fans by their favouring musical exploration and melodic charm, not to mention their coupling the splendour of traditional religious and folk themes with the power of rock. Kaipa’s success was built on the finesse of the band’s music, and enhanced by poetry celebrating the power of love and the beauty of nature. This contrasted strongly with the political preoccupations inherent in the lyrics of most Swedish bands of Kaipa’s generation.

Throughout their first album, Kaipa could certainly stake a claim as one of the leading Scandinavian progressive acts. The music is graceful and sophisticated, boasting arrangements and instrumental developments of great refinement. An album which, one could say with certainly, would equal the best productions of the “Anglo-Saxon” progressive school, but with its own unquestionably original touch in the successful use of Swedish folk material.

Following the release of their debut album in December 75, Kaipa embarked on an extensive tour in the spring of 1976 and quickly attracted a faithful crowd of fans. On stage Ingemar acted out the role of clown and showman as light relief to the serious and complex music of an almost Wagnerian grandeur. The band’s repertory comprised of all the numbers from their debut album and two new compositions pencilled in for the second LP. These were “Skenet bedrar” and “Korståg”, both augmented by some improvised sequences.

The musicians managed their business, investing most of the money in things like a new tour bus and more equipment. They resumed daily rehearsals, which enabled them to progress musically and enhance group cohesion. Writing new arrangements of existing numbers was as important as composing new pieces; none of the band members considered himself a virtuoso and thus Kaipa had to concentrate on playing a very carefully ´prepared´ music with elaborate orchestrations.

Inget nytt under solen

On 30 June 1976 Kaipa re-entered the Marcus Music Studio in Stockholm to record their second album. This was completed in just ten dates on 16 July. Leif Mases acted as sound engineer and co-producer of the album; he turned out to be a better technician than studio owner Marcus Österdahl who had worked on the band’s first album. Leif managed to reproduce exactly the sound the group wanted, as close as possible to that of their live gigs with less reverb and more punch to the drum parts. Final overdubs and mixing were done in August.

The music had evolved more than ever towards complex arrangements; improvements were also visible in each musician’s personal contribution to the completed themes. The album’s opener, “Skenet Bedrar”, almost 22 minutes long, couldn’t be performed properly as a whole and so was recorded in several sections that were later reassembled in its final form. “Korståg”, an audience favourite in concerts, was also a number with a complicated structure, so much so that the Swedish Institute of Musicology would later use it as an example of sophisticated rock composition. For the recording, Hans augmented his existing array of keyboards (Hammond organ, Yamaha synthesizer, string ensemble, grand piano, clavinet and Fender Rhodes) with a mellotron, a Korg synthesizer, and a mallet instrument. Apart from his Rickenbacker, Tomas used an old Fender Jazz bass and a synthesizer bass. Roine played his old Gibson guitar and Ingemar used his new Tama drum kit for the first time

For the introduction to “Skenet Bedrar”, the band used some synthesizer ´pink noise´ processed through a stereo flanger with the addition of some Asian bells; this was recorded while Leif was turning the pitch knob on the 24-track tape recorder. Hans’ overdubbed sequence-like arpeggios on his Yamaha synthesizer and Roine’s guitar was treated through a phaser; these effects produced the cosmic sounds heard at the beginning of the album. Hans sang the first part of the theme, followed by Ingemar in the central section; Tomas spoke the bass parts in the finale, “Vilseledd”. The mellotron is highlighted in “Korståg” and gives the song its imposing feel with a fusion of string and choir sounds. The instrument also crops up on “Skenet Bedrar” and “Inget nytt under solen.

The band decided the track order and chose the sleeve, a NASA photo depicting astronauts in a moon buggy. The group selected this photo from several provided by Electra. Roine and Hans wanted to use a painting by Roine similar to the one on the first album.

This would have been a logical continuation. But the other members reneged, and the group finally chose this photo, which had no connection to the title. The band’s logo was changed, the original lacking originality. It was redesigned in a more personal style by Roine but was slightly distorted at the layout stage.

Among the people named in the credits is one Eugen Petren, cited by the band for his ´moral and spiritual support`. In fact Petren didn’t exist, even though a ´photograph` of him appears in the inner sleeve! The credit was meant as a joke, a skit on rock stars dedicating their records to so-called spiritual masters such as the Maharishi. With similar satirical intent, this photo in fact shows Ingemar ´communing with the universe`!

The album title refers to a remark made by Electra’s president Carl-Erik Hjelm who during a meeting with the band inquired “Inget nytt under solen?” which translates as “Nothing new under the sun”. The band decided to use this saying as a title for their second album as it provided an ironic comment on their musical evolution. This they saw as a continuing line from composers like J.S.BACH through rock groups like YES, i.e. an elaborate symphonic music aiming at the expression of emotions and feelings in an aesthetic of formal beauty and melodic perfection. Kaipa, however, intended to differentiate themselves from past and present styles, producing a personal and original music taking its inspiration from the past yet looking to the future.

After recording the album, the band went back on the road. Throughout the following year, they performed over 100 dates, as they were by now very much in demand in Sweden. They toured throughout the autumn of 1976 and also through the winter of 1976-1977.

“Inget nytt under solen” was released in December 1976 to great critical acclaim. Kaipa’s music was often compared to that of GENESIS and YES; this hardly came as a surprise to the band, accustomed as they were to the critical habit of judging records in comparison to others. Kaipa had nonetheless evolved their own distinctive style; if journalists still identified their music with YES’ symphonic rock, it was merely due to a common source of inspiration- classical music. Kaipa’s second album, however, proved that comparisons are odious; so genuinely original had their music become that one couldn’t compare their work with their models. The album even reached the top-50 charts at number 49 for one week, which was very unusual for this type of music. 10,000 copies of this album were sold in Scandinavia, outside of which it wasn’t exported. With their second album, Kaipa established itself as one of the essential Swedish progressive bands of the era, on par with the best international groups in this style of music. 

The band played their first national TV broadcast around this time, performing their ´crowd-pleaser` “Korståg” to much favourable response; they also played live for Malmö and Stockholm radio stations. In spite of their increasingly tight schedule they still rehearsed daily. Tomas and Ingemar went to England to buy extra sound material, acquiring a new mixing desk and a double-neck bass guitar built for GENESIS’ MIKE RUTHERFORD. The band also equipped themselves with a Moog Taurus pedal board and Roine tried out the very first guitar synthesizer, made by Hagstrom/Oberheim and used also by FRANK ZAPPA. Hans got a minimoog directly from Moog’s U.S. factory, and also tested the new Polymoog.

Where’s the limit?

In September 1977, the band, faced with their rising popularity in Sweden, began to hope for international recognition; yet they were fully aware of the fact that songs sung in Swedish couldn’t help them any further and thus, they proposed Electra to record English versions of some of the tracks from their second album. The label accepted and the four selected songs were translated by Kevin Fickling, an American student living in Gothenburg, who worked as a roadie for the band. Lars Hoflund, a friend of the band’s, who played bass in the backing group of the well-known Swedish singer TOMAS LEDIN, was chosen to sing three of the four vocal parts, as he coupled a strong voice with a correct English pronunciation. The vocals were overdubbed at Bastun Studio in Stockholm on 20 October 1977 by engineer Leif Mases, who also made a rough mix; this was sent to Electra’s English subsidiary, which eventually rejected it, disbelieving in the band’s commercial potential.

In October 1977 Tomas announced his decision to leave the band, citing ´musical differences` as the cause. Kaipa were thus reduced to a trio once again.

The band was now forced to do some serious thinking about the future; some songs from “Inget nytt” had just been recorded with English lyrics with the aim of breaking the band on the international market. Tomas’ departure, however, had thrown the group into crisis.


In September 1977, the group discussed signing on a lead singer to allow Hans to concentrate more on his keyboard work. Additionally, they imagined that a singer would have a beneficial effect on the visual aspect of their show. They hoped to find someone with a different voice than Hans’, one who would add new colours and dimensions to their music. But finding a singer would prove difficult, given the complex and primarily instrumental nature of their music. No auditions had been planned; the group just decided to go out and find a singer who was free.

They toyed with several different singers but in the end they plumped for Mats Löfgren, a member of the jazz-rock group RIO BRAZZAVILLE. After a few conclusive try-outs and demo recordings, Kaipa welcomed him into the fold in October 1977. Mats also had the advantage of being a guitarist and percussionist, and later on he played these instruments live with the band. Nor did Mats bother with visual gimmicks, make-up or costumes – rather like Kaipa themselves.

Hans, who up until then had handled vocals, had a very distinctive voice, but Mats had a deeper tone and a different timbre. The band’s followers were suspicious of the change at first but soon grew to appreciate Mats’ qualities as a singer. After a while the band’s fans adopted him as they got used to the change in the look and sound of the group

After Tomas Eriksson left, the band had the opportunity to ask Lars Hoflund to join up, but he preferred playing blues, and could at the time earn much more playing with Tomas Ledin. Kaipa then called up Mats Lindberg, a schoolmate of Roine who was only 18 years old at that time. Roine and Ingemar knew of his qualities as a bassist, having jammed with him in their rehearsal room. He was also a nice guy and was equally at home playing guitar. He could play 12-string and was able to handle the double-neck guitar left by Tomas. He joined in November 1977.

Throughout the autumn of 1977, Kaipa worked on new songs and set about rehearsing and perfecting them. At this time Hans had some basic ideas for another epic song like “Skenet bedrar”, but he needed the band to carry out his ideas like they had previously. Roine, on the other hand, had grown in his writing and arranging. He could present his new songs in plain terms and give clear instructions to the players, which produced an immediate result. This lead to a completely different way of working in the new band. The new members had almost no connection or relationship with the basic structure in the former Kaipa music. In fact the new band was subdividing into fractions at this time. Roine and Mats Lindberg formed one group, Ingemar and Mats Löfgren another leaving Hans alone in the background. Roine appreciated some of Hans’ small pieces like “Tajgan” , “En igelkotts död”  and “ Visan i Sommaren“. He persuaded the others to accept these songs. They relied on melodic traditions and needed no large arrangements. The basic idea of “the epic song” was presented in a simple version by Hans on the organ but the others quickly rejected it and so it fell into oblivion. It was a time of many new music styles including funk, fusion and jazz-rock and several members were leaning more towards that style and even the simpler style of bands like The Eagles, ABBA, Queen, Bad Company and Fleetwood Mac. There was much ambition in the pipeline at that time and the wish for more success of course propelled the members into dissension about how to achieve it. It turned out to be Roine’s composing that got most of the interest when compiling the new album, maybe because the time was right or simply because he had more developed demos and ideas. This new way of working, with separate fractions asserting their own interests, disturbed the old balance that was so successful, and it was the beginning of an era that would split the main forces of the original Kaipa completely a year and a half later.

For the new album Kaipa utilised for the first time pre-production techniques, at that time a little-used process. Firstly the band laid down the tracks on demos on a cheap 4-track recorder in October and November 1977. A few of the songs originally had English lyrics but the band decided to rewrite them in Swedish. Their efforts to break the international market with an English language version of “Inget nytt under solen” hadn’t succeeded, and so Kaipa reverted to their native language.


The recording of the album was set for December 1977 in Europa Film Studios in Stockholm, a famous studio complex that was regarded as one of the best in the country. Sessions lasted between 19 and 27 December, with the music recorded onto 24 tracks analogue tape under the eye of sound engineer Olle Ramm. Although Kaipa knew the studio well, it was some time before they could get the synth, drum or synth orchestration sounds they wanted, preferring to record a sound different from that produced by the band on stage. Roine tried to convince the other members of the band of the importance of using a mellotron on the new album. Hans managed to hire one, but it was in such poor condition it could only be used on one track, “Tajgan”, and it broke down completely soon after the recording! The uncertain pitch produced by this instrument lends “Tajgan” a bizarre other-worldly atmosphere. Oddly, the band had never owned a mellotron; they’d always hired them.

Roine used some guitar effects, running it backwards, multilayering etc., as practised by players such BRIAN MAY of QUEEN. He used a Fender Stratocaster and a very rare Melody Maker as well as an Ovation acoustic in addition to his own instruments. All his guitar work was treated through a customized pedal-board and run through a new Roland Jazz Chorus Amp. He also resorted to the aforementioned guitar-synth with an Oberheim expander, a customised talk-box and an HH echoplex. Hans used a wide range of keyboards – mini and poly moogs, Korg String 2000, mellotron, Hohner Clavinet, grand piano, Hammond organ and Fender Rhodes electric piano. Mats Lindberg played a Fender Precision bass and a Danelectro fretless bass with Moog pedals and Sunn Amps.

Mixing took place between 3 and 5 January 1978. The album was produced by the band and Olle Ramm. It contained even fewer reverb effects than before and the guitar and drums were more to the fore on the soundstage of the record.

The album sleeve was designed by Lars Holm, an artist and friend of the group’s who’d given him carte blanche as to the design. One of the characters in Lars’ painting was later to be called “SOLO”, just because the band decided to call the album that name after some serious brainstorming. The album came out in May 1978. It didn’t enjoy the immediate success of “Inget nytt under solen” but gradually attained a sales figure of 10,000 copies. The press were highly laudatory, and the band’s concerts were invariably sold out. Kaipa had clearly “arrived” as a major Swedish group.

Touring, tensions and disintegration

They had cult status in Sweden and they also toured Norway and Denmark. Some of their Copenhagen concerts were recorded for broadcast on Danish radio. The group was on a roll; they were playing many gigs and Finnish and British tours were on the point of being finalised. The group didn’t have much in the way of management but many people were always on hand to sort out problems for them.

Kaipa had worked so hard and so intensively that they decided to take a break in December 1978. This was more than necessary; they were weary of touring and rehearsing and of the tensions that inevitably resulted from living together almost every day.

They met again in the beginning of 1979 with the intention to create some new music and bring the spirit back into the band, but without success. By this time the chemistry in the band reached the lowest possible level. At this point Roine and Mats Lindberg decided to leave the band and Roine started the recording of his solo album “Fantasia”. But the band decided to fulfil all booked concerts together. The last concert with this constellation was given in Katrineholm on 13 May 1979.

Reconstruction part II

The band was now back to a trio and they needed to find a guitarist and a bassist. Ingemar and Mats had their side project Ingemar Bergman Troop playing simple pop songs without any of the progressive parts that was characteristic for Kaipa. Hans was at this time a guest musician in their band playing on records and touring with the band. Ingemar suggested a fusion of the two bands. Hans wanted Kaipa to keep their profile, playing a progressive music but adding a little more up tempo and rock feeling to the music, and he was not interested in this fusion of bands. Instead they asked an old friend and brilliant guitar player Thomas Arnesen to join the band. Thomas once played in the band Panta Rei and later in several local bands like Hirvi and Puls. He had also filled in for Mats Lindberg, while he was in hospital, playing bass in Kaipa on one tour in 1978. They started to rehearse but, due to Thomas' family affairs, had to cancel the idea. Instead they asked another unknown guitar player recommended to them, Max Åhman from Stockholm, to join the band. He was a brilliant technician but didn't have the same melodic vein in his playing as Roine. They also asked Mats Lindberg to return to the band as a guest musician for a limited period.

The band decided to leave Electra and was signed by POLAR, ABBA's label, for a new album. At this time interest in progressive music had decreased, and the band was a little confused about which musical direction they should choose for the future. The process of making new music was difficult and filled with compromises. Ingemar wanted to act as composer and had some ideas, but his lack of knowledge of chords and other basic musical elements that was the fertile ground of the musical garden of Kaipa turned this into a strange situation. His way of thinking and working in music served a useful purpose in Ingemar Bergman Troop, but it was difficult to incorporate and in distinct contrast to Hans' way of writing and the overall music of Kaipa. Mats Löfgren acted as lyricist and added most of the vocal melodies.

The making of "Händer"

The album "Händer" (Hands) was recorded late in the autumn of 1979 at Polar Studio in Stockholm with Leif Mases and Lennart Östlund acting as sound engineers. Hans used only two synthesizers (Yamaha CS-60 & Prophet 5) and a Grand Piano on the recordings. Like most keyboard players at the time he believed in the infinite possibilities of the polyphonic synthesizer and, therefore, sent his Hammond organ on a long vacation. Max was at this moment not completely incorporated in the bands music, which lead to a keyboard-oriented sound on this record. Three instrumental songs penned by Hans still had the characteristic Kaipa structure. Two of these, "El Grandi" and "Regn" (Rain), were included on the album. Another song, "Staden lever" (The City is Alive), was originally longer and contained some "symphonic" parts. These parts were in the songs final form deducted leaving only a short passage in the middle of the song. Most of the other songs on the album obviously proof the difficulties with the earlier mentioned compromise, showing different musical elements side-by-side, not integrated with each other, which was the purpose.

Good notices greeted "Händer" when it was released in the spring of 1980, but the album didn't attain the sales of its three predecessors.

The turbulent period

The band planned a tour to promote the new album in May 1980. They had found a new bass player in Torkel Thyrell, a veteran who played with Hans in S:t. Michael Sect in the 60's. However, the band was heading for serious trouble. Mats Löfgren felt unmotivated, worn out and generally bad this period. So the last days of rehearsal without excuse, Mats Löfgren just didn't turn up!! A fatal blow to the band who was about to do shows in a few days! The rest of the group gave up after futile attempts to solve the problem: it was simply impossible to get Mats to fulfil his part.

The band had to face the fact that they had to start the tour and take care of the vocal parts on their own without any rehearsal. The first concerts on this tour were improvised in many ways. The vocal parts of the songs were written and arranged for Mats' voice, but after a while the band transposed the songs to the right keys to fit Hans voice, which was not an altogether simple task while on tour.

The band started to look for a new singer. Anne Chaaban was singing in a local blues band. Hans was attracted by her style, filled with power and feeling. He invited her to rehearse with the band, thinking this could be a new start and direction. The intention was good, but the right chemistry never appeared. Anne's way of singing didn't fit in with the rich harmonies of Kaipas music. She didn't feel comfortable and had no experience in singing this type of music. Sometimes she went completely astray in their musical landscape. This constellation lasted only for one tour during November 1980. After that Anne and Torkel left the band.

Bringing joy back into the band

After all this adversity the three remaining members decided to continue in the original form as a quartet. Max knew a clever bass player and a very nice guy called Mats Lindberg from Stockholm. (Yes it's true, two different persons with the same name playing the same instrument and in the same band.) His nickname was "Microben" (Microbe).

This time the chemistry was much better. Hans took care of the vocals once again, and they made a lot of new arrangements of old Kaipa songs mixed with new compositions and improvisations. Now the band just wanted to play, touring and bring the joy back into their life and music. So they undertook several tours between April and December 1981 including a concert at "Huset" in Copenhagen broadcast by Danish Radio.

By the end of this year Ingemar decided to leave the band.

The last album and the end

There was no problem finding a new drummer. Olle Romö started to rehearse with the band early in 1982. But after just a few weeks he had to leave, after an invitation from The Euruthmics. So instead, Pelle Andersson took his place, and brought with his drumming a lot of new inspiration to the band.

They started to arrange a lot of new songs penned by Hans, but the other members also added songs and new ideas. The structure of the music was not clearly defined, the free hands ruled and they didn't know exactly what was going to come out of this. They took some inspiration from artists like Peter Gabriel and Talking Heads trying to do some new kind of progressive music. They wanted to continue the musical journey of Kaipa but they didn't want to stay in the 70's locked in their own history. This was a true progressive trip by all means. Everyone that saw this constellation of KAIPA live can confirm that they really enjoyed playing together. By this time Hans was the only member living in Uppsala, all the others lived in Stockholm.

The band had no record contract, but they wanted to record the new songs on an album. So they decided to make the recording by themselves on Hans' 8-track tape recorder in the rehearsal room in Uppsala. Of course this was a situation completely different by all means and very far away from the last recording at Polar Studio.

The record "Nattdjurstid" (Time of Nocturnal Animals) was recorded by the band with no outside help and released in the autumn 1982 on Piglet Records. It received lots of good revives, but that was unfortunately not enough. All the members in the band were professional musicians, but the work with the band didn't give them enough money to live by. So they decided to take a break after the last gig at Studion in Stockholm the 13th December 1982. This break was going to last for almost twenty years.

This band was on their way to develop something great with their music at this time. Four excellent musicians filled with new musical ideas to the limit of their capacity. But the opportunity to do this just blew away into the unknown history with this break.

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Contact: kaipa@kaipa.info