Karmakanic (Jonas Reingold) – Transmutation – review

Preface:

Karmakanic? What has this Swedish progressive rock band related to The Flower Kings, Kaipa and Roine Stolt got to do with Genesis? Well, without offending their creator Jonas Reingold, Karmakanic and their latest album Transmutation would probably only have been mentioned and discussed in our forum somewhere. But he is the reason: Jonas has been playing bass in Steve Hackett’s live band since 2017/18. So let’s give Karmakanic’s new album a listen.

Background:

Jonas Reingold was born in Malmö in 1969 and started playing the violin at the age of eight. He became a member of an orchestra. It wasn’t long before he was given an electric guitar, learned to play it and became a member of various school bands. He studied music and graduated with a Master of Music degree. He can play bass, guitar and keyboards. Jonas has always been interested in progressive rock, jazz and metal. Sweden has a decent music scene and he quickly became a member of The Flower Kings, Kaipa, The Tangent and Agents Of Mercy, among others. In the latter Nad Sylvan was the singer and Roine Stolt the guitarist. These two were to become members of Steve Hackett’s live band. They were eventually followed by Jonas, interestingly enough as Roine Stolt’s successor.

Karmakanic was founded by Jonas in 2002, more as a collective of musicians to turn his ideas into music than as a band. To date, the collective has produced five studio albums, the last of which, DOT, was released nine years ago. So Jonas has taken his time with Transmutation. This is due to his workload as a musician in other bands and as a guest on countless albums, the effects of corona and his meticulousness in the production process. He compares himself to Peter Gabriel. ¹

Cover design and concept

The title of the album, Transmutation, stands for transformation into a new state of being, the flow of life, the cycle of nature, the constant change of the universe. Jonas compares this to his music, which develops like a seed, blossoms into something living, slowly fades away in this world and transforms its state of being into other forms.

The cover, in shades of grey, is adorned with a photograph of half of Jonah’s face, which appears ‘twisted’ in perspective, as his nose, taken in side profile, has been ‘tinkered with’. A play on the title? The design was created by Diana Seifert and Hajo Müller (known from Steven Wilson’s recent projects). ²

Band:

Besides Jonas Reingold (Bass,Guitars Keyboards) the following musicians are involved:
John Mitchell (u.a. Asia): Lead Vocals,
Steve Hackett (Lead Guitars)
Randy McStine (Lead Guitars, Vocals)
Simon Phillips (Drums)
Craig Blundell (Drums)
Nick D’Virgilio (Drums),
and also: Lalle Larsson, Andy Tillison, Tomas Bodin, Luke Machin, Göran Edman, Rob Townsend, Roger King, Krister Jonsson

Jonas has managed to recruit the crème de la crème of (progressive) rock music for his project. Some of them are also recruited from his house bands. Not surprisingly, the album was recorded in a number of different studios, including the musicians’ own. The mix was done by Chris Lord at his studio in L.A.

Songs:

Brace For Impact (2:33)

The opener begins quietly and solemnly with guitars, bass and keyboard sounds, only to rock out jazzy. Bubbling sounds are elicited from the bass, a guitar solo and the organ (Andy Tillison) wails. Simon Phillips plays the drums in a more restrained way. Before things get really heavy and the listener is left gasping for breath, the eerie atmosphere is suddenly over.

End Of The Road (10:22)

Beautiful dabs of piano (Randy Schuller) lead into a proggy guitar track, the vocals kick in and create an AOR mood that we are used to from Asia. The vocals alternate regularly between John Mitchell and Randy McStine. Oh yes, Kaipa shines through. Before it gets too boring, there is a beat change at minute 5:00, which is replaced by Luke Machin’s guitar, which reminds of Alan Holdsworth meets Steve Hackett. The second part of the song makes you sit up and take notice. The song flows along in a beautifully quiet, melancholic way with acoustic guitar, only to fade out with the introductory guitar melody. Memories of Yes from the Rabin phase come to mind. The recapitulation of the piano intro forms the conclusion.

Cosmic Love (4:56)

The album’s single, however, is a clear throwback to the Yes of the 80s. Squire couldn’t have done a better job with the bass. The chorus with its acoustic break is reminiscent of Yes’ Owner Of A Lonely Heart. A nice groove invites you to dance. A lively, almost poppy number that makes you forget the heaviness of the previous song. The bubbling synths and distorted vocals make the Buggles rejoice.

All That Glitters Is Not Gold (6:38)

Beautiful arpeggios on the acoustic guitar, flute sounds from Markus Lukastik and soft, lyrical vocals create a pastoral atmosphere. After two minutes Craig Blundell’s drums come in and the song slowly picks up speed. After almost three minutes, the Genesis feeling is steered in a fast direction by Krister Jonson and Jonas’ heavy, metal-heavy guitar concoction. What a burst! The angry, threatening mood is redeemed after four minutes by a saxophone solo from Rob Townsend, which leads into a furioso finale that a Steven Wilson could not do better. Jonas plays a fretless bass on this song.

We Got The World In Our Hands (7:53)

Distant vocals kick off a beautiful twelve-string guitar (acoustic and electric) accompanied by John Mitchell and Randy McStine on a freeway ride out into the vastness of the Midwest. The vocals are reminiscent of Ray Wilson’s raspy yet melodic voice. A bit of West Coast feeling paired with Yes (keyboard solos) invites you to dream. The guitar solo in the middle of the song is reminiscent of Rabin and Stolt. The final part inspires with beautiful, relaxed keyboards and guitars played by Jonas, caressing the vocals. ³

Lose This Ball And Chain (6:23)

Subdued, calm guitar arpeggios lead into a melancholy vocal reminiscent of Ray Wilson. Soft percussion sounds mutate into a mix of Simon Phillips’ drums and pumping bass. Dark keyboards by Tomas Bodin change the mood. The vocals, however, remain soft and calm, surrounded by acoustic guitars. In the last third, after a short breather, it becomes prog metal-heavy. A cutting guitar solo and keyboards increase the drama. The vocals become pleading and loud. The bass work should be highlighted. The song fades away quietly.

Transmutation (The Constant Change Of Everything) (22:51)

The centrepiece of the album is a long song that will make prog fans’ tongues wag. Only strings and a piano form the classical prelude. Vocals begin. We hear an acoustic guitar (Jan-Olof Jonsson). The impressionistic picture is shattered by a wonderful, much too short guitar solo (the melody sticks in your head and will be heard again and again). The song slowly picks up speed with percussive interludes. John Mitchell is joined on vocals by Dina Höblinger and later Amanda Lehmann. Keyboards accompanied by a booming bass pick up the tempo. Nick D’Virgilio’s drums are in their element.

Again and again, an electric solo guitar with the above-mentioned melody hovers over everything. Jonas’ fantastic bass playing is remarkable. ⁴

The faster parts seem to be short bursts, but they fade into dreamy, melodic soundscapes. At minute 6:00 ff. Dina Höblinger makes her big solo appearance. She sings wonderfully. Now it gets really bombastic with choirs, powerful playing of all instruments with the participation of all musicians. Karmakanic is very close to the Flower Kings here. Slightly jazzy excursions (minute 10 – the piano!), the guitar solos and long instrumental passages in the second half of the song contribute to this. Doesn’t this sound like The Cinema Show?

At 18:12 we hear a wonderful solo by Steve Hackett on acoustic nylon-string guitar, which turns into vocals. The long track ends with a very harmonically bombastic electric guitar solo by Krister Jonsson, who picks up the theme that connects the song.

All in all:

This is the reviewer’s first listening experience with Karmakanic. He is therefore unable to place Transmutation in the band’s musical universe or compare it with previous albums. There are unmistakable links to Swedish progressive rock ala Flower Kings and Kaipa. There are also references to the old Genesis, 80s Yes, Asia, jazz rock, the late Steve Hackett and the AOR of Kiss. All of this is stirred into a hearty stew that is rich in flavour and constantly produces new delicacies for the palate. Not only intensive listening is required. No, you can also relax, immerse yourself in other worlds and even dance. Will Jonas be able to transport the music into other spheres and take the listener with him?

The reviewer confirms this, but on the condition that the listener is prepared to listen intensively and let himself go. If the will is there, one experiences multi-layered musical pictures. Jonas does not reinvent (prog) music, but skilfully combines the familiar and gains new aspects from it. The wide range of musicians contributes to this. Yes, let’s give Transmutation a listen!

Author: Thomas Jesse

References:

1 Info taken from an Interview/Feature of Michaels Record Collection
2 Diana Seifert Website | Hajo Müller Website
3 The running order of „Glitter“ and „We got“ was not clear when the review was done
4 Jonas prefers to play old ‘vintage’ instruments. He appreciates the sound of the oldies.

Transmutation is available via Burningshed and Jonas’ website!
Jonas Reingold will be on tour with Steve Hackett this year.