"Lost Kite, Swedish training is a duo made up of Stefan Carlsson, who plays electric guitars and acoustic Spanish guitar, bass, synthesizers, flute, tenor saxophone. He sings and plays electronic drums. The other Member is David Carlsson, his son, credited to electric and acoustic guitars, 12-string Spanish guitar, piano, voice. On the one hand there is Stefan Carlsson was a prominent member of the legendary Swedish training Kultivator, then Lost Kite has already released 1 album, in 2012. Their 2nd album, two date of 2013. 13 titles make up, Remains for a total of 63'41.
Rise starts softly with acoustic guitars 6 and 12 strings, creating a pastoral atmosphere, which grafted soon soft curls of tenor saxophone, conferring an angelic atmosphere. A delicate, vibrant singing rises gently, accompanied by gauzy keyboards. In the end, the piece takes on intensity, is racing, prior to the ethereal conclusion marked by the return of subtle layers of keyboards, saxophone, rhythm acoustic guitar. What exordium!
Where Swallows Fly starts, all nuance with wispy, soft keyboards associated with sounds of bass clarinet. This is orchestral, nuanced, deep. A wispy singing rises, the music is flowing, gently. The vocal melody evokes the scents of the Pink Floyd (the stamp of Richard Wright in particular) and yet the stamp of Richard Sinclair by moments. Climate change with Up And Down The Gravelpit that showcases of excellent rhythmic acoustic guitars, supported by a deep, mysterious bass. A disheveled rhythmic power overall, driven by a more nervous guitar, exquisite wreaths of flute looming, conferring lightness, air aspect. The color of this music, eminently Canterbury, offers subtlety, grace and lightness.
Selma By The Window starts on a subtle acoustic guitar arpeggios tangled, played two instruments. The aroused dreamy atmosphere evokes the best Anthony Phillips. Old Limp Duck begins to acoustic guitars, evoking another great Swedish combo of the past: Ragnarok. Flute or Recorder ventilate, with sounds of bassoon or bass clarinet. Everything is very fluid. Flute and subtle wind instruments open Goat Island, atmospheric nuances, climate, impressionistic sounds. Accompanied guitar arpeggios, a wispy Mellotron blends with wind instruments, soon replaced by a few felted electric guitar chords. The Mellotron is more significant, the atmosphere intensifies slightly: a music of the spheres, confirmed by the flute on the final return.
Ma Fourmi Noire starts in one breath, continues on a dialogue agreements electric guitar, recorder, gauzy keyboards, analog synthesizers to the Höstsonaten, all bathed in beautiful symphonic harmonies, on the tops. Off Season Shore: return of the tenor saxophone in fumes on a background of guitar arpeggios. The music is soft and climate than ever. Prayer begins with acoustic guitar arpeggios with subtle synthesizers, pastoral, lovely atmosphere, organ sounds emerge, music goes up gently in amplitude. Remains begins on a drum pattern, before a Frippish guitar comes in. The song is back, the registry is different. The instrumental sounds combination are more favourable to electricity even if few acoustic rhythmic guitars back then. A nice electric guitar then on a minimalist, subtle rhythmic chorus.
Winter's Presage: starting on acoustic guitar arpeggios, this piece takes back us to the plush atmosphere of previous titles to the tangles of languishing electric solos. Dark Woods mix acoustic guitar, keyboards and a subtle swirling flute. The treatment of the rhythmic acoustic guitar is enchanting, while keyboards/winds take us while subtlety to a fact unlikely. Further, the Hammond organ comes alive, bringing a different color, modified by subtle keys on keyboard. Air Minimoog and bells close the ban in a funeral atmosphere.
Dawn Meadows continues on a happier note, the pace is playful, the flute is everywhere, winding. The subtle fabric of guitar accompanies the winds (electronic instruments for most, but the illusion is perfect). The Minimoog is heard, while subtlety, accompanied by guitars. Soon a chorus of 6-strings rises, air, solar for a benefit swirling, elliptical, the guitar merging with the symphonic keyboards glistening brightly. Seven Waves Apart concludes on a lovely tangle of guitar arpeggios, twining and is interspersing, subtly accompanied by a piano to the classic fragrance. Beautiful conclusion."
(4 ½ / 5 )
/Didier GONZALEZ, Highland Magazine nr 90, France
"Lost Kite is a father-son duo featuring Stefan Carlsson, who was a member of the awesome Kultivator, but if you expect a similar Canterbury-influenced RIO mashup, you’d be disappointed — stylistically at least, since the quality of the music is anything but disappointing.
In broad terms, Remains is a mostly-gentle symphonic album, though it has many moments which are energetic enough to keep the listener’s attention. Keyboards and acoustic guitars create lush textures somewhat reminiscent of Tony Banks. Another comparison might be Höstsonaten for the instrumental passages. There are some vocal sections as well, which tend towards a sound like Kaukasus — melancholy and atmospheric, with nice melodies and dramatic climaxes. In addition to his previously-known talents as a bassist, Stefan proves an able keyboardist as well, and his woodwind parts provide some lovely colorations throughout the album’s 13 tracks. His son David handles mostly guitars, along with some piano, and both sing. Percussion is used sparingly, and consists of electronic drums, though only the most narrow-minded anti-drum-machine fanatic could find fault with the result.
The entire album is enjoyable, though I must admit my favorite parts are when Stefan stomps on the fuzz pedal for his bass and goes for broke. In general, the compositions on Remains are structured more like classical music than like pop songs, even extended progressive ones, and provide a lot of material for repeated listening. Prog fans take note: Lost Kite is a unique and worthy project, deserving of notice."
by Jon Davis, www.expose.com
May 02, 2016
"You immediately know when you come upon an album/ a band that is special! This band and album is one such! Lets time travel, shall we? You know you want to :-) This fine Swedish duo (father and son) delivers music that could have been from way back, I am thinking 1970 and later, this extremely well produced album and musical delivery makes me think of say Gryphon/ Early Pink Floyd at their most acoustic and laid back themes/ even a glimpse of Audience here and there, not to mention hints of mellow cinematic themes like Tangerine Dream would have created! You can even add some Genesis inspiration here and there!
So do I like this album?! I really do, after several listenings, I have come to love these guys and their music! It has become a daily listening thing! At every spin I detect more details! So I urge you to get a copy, if you loved the above sentences and references!
These guys deliver the goods and if you are into laidback prog/folk/cinematic themes, this album is just for you!!
They may be high flying, they may be lost, they certainly fly with excellence and superb delivery, I have no problem with recommending them to all real prog friends and beyond!
A wonderful album that deserves attention and appreciation !
My fav track here (in no particular order) : "Where Swallows Fly" / Dark Woods-Dawn Meadows"
What are you waiting for ? GO get it!"
-Tonny Larsen, www.progplanet.com
David Carlsson - Acoustic and electric 12-string guitars, spanish guitar, piano, vocals.
Stefan Carlsson - Electric and acoustic 6-string guitars, spanish guitar, bass, synthesizers, flute, tenor saxophone, bass and tenor recorders. All other woodwind played with Akai windsynthesizer. Vocals, electronic drums.