Änglagård
- Hybris (1992)
[CD - Mellotronen - Mello 004 - 1992]
Änglagård's
debut, Hybris, is without a doubt among the very best
progressive rock albums put out in the 90s. Simply put,
this thing smokes. While incorporating a definite 70s
feel, by way of vintage keyboard equipment such as Hammond
organ, moog and authentic mellotron, the band certiainly seems
to have a modern outlook, visciously attempting to define
themselves, and progressive rock, as a viable entity in the
current musical environment. Certainly, the band incorporates
elements from giants like King Crimson and Genesis, but the
most notable comparisons are to bands like Schike, Fuhrs and
Frohling as well as French group Shylock. Also present
is what seems to me to be a Scandinavian folk feel, the band
being from Sweden, especially in the quieter passages where
the flute comes in as the lead instrument. The music
veers from mellow, marked by the serene flute as well as mellotron,
to explosive, feroscious passages of searing guitars and Hammond
leads backed by omninous mellotron choirs.
"Jordrök"
is a magnificent opener, energetic and memorable. The
middle portion of this cut is completely breathtaking, a moment
that defines the potential of progressive rock. Some
distance into the song, the bottom drops out of the music
completely, leaving only a repetitive organ riff fighting
back the silence, finally, muted, chugging guitars come in
for support, building tension, then everything explodes in
a savage frenzy, behind biting guitar licks and dense, heaving
mellotron. "Vandringar I Vilsenhet" begins innocently
enough, gorgeous flute melodies project an air of complete
serenity and beauty. Later the song picks up in tempo,
introducing angular riffs marked by pinpoint bass and flailing
drums. The drumming, in particular, is a highlight of
the album as a whole, aggressively propelling the band through
all kinds of odd times and complex themes, making it look
all too easy as he manages to stuff in his share of bewildering
fills. This
is pretty much a classic, one of the few progressive rock
albums of the 90s that sits nicely next to the seminal work
of the 70s without coming off as a pale imitation, an especially
rare quality in the symphonic realm. -
Greg Northrup [2000]
Originally published in Reels of Dreams Unrolled No. 6, September
29, 1998:
While I doubt too many of my readers are not familiar with
this album, I feel I am long overdue in writing a review of
at least one of Änglagård's albums. I purchased both of Änglagård's
studio albums, Hybris and Epilog, shortly after
learning that they had both gone out of print. I had only
heard one track by the band up to that point, but my friend
Jason strongly suggested I purchase immediately before it
was too late. Now, almost two years later, both albums are
still available sporadically from various prog dealers, but
I am not sorry I bought them when I did. Both albums are almost
undisputed masterpieces and are already considered classics.
I actually slightly prefer the second album, Epilog
because it is less "rock-n-roll" and much more original than
Hybris. However, Hybris is the album which blasted
Änglagård to instant fame in the international prog community
and was the first shot fired in the Swedish prog revival of
the 1990s, which also brought us bands like Anekdoten, Landberk,
Sinkadus and the Pär Lindh Project.
The first track,
"Jordrök," is an instrumental which begins with a gothic sounding
solo piano arpeggio. Soon the rest of the band kicks in for
some heavy riffing built around the original piano riff. Mellotron,
Hammond Organ, flute, electric and acoustic guitars and some
incredible drumming by a very young (17) Mattias Olsson propel
this magnificent instrumental piece through so many changes
and themes that this 11-minute piece feels like it contains
a normal album's worth of music. The second track, "Vandringar
i vilsenhet" begins delicately with a flute melody which eventually
gives way to acoustic guitar and Melotron. The music builds
in intensity until a regal, powerful theme develops which
contains some very Chris Squire-like bass playing and some
more of that deliciously goose-bump inducing Mellotron. This
theme repeats later on, but not before we are treated to some
slightly frantic playing (a characteristic developed to its
logical extreme on the second album) and some vocals by guitarist
Tord Lindman. His voice is not the best, and it sounds awfully
feminine at times. The vocals are really kept to a minimum
on all the tracks on this album, though, so they're not much
of a distraction. Like "Jordrök," this track goes through
so many changes, it is hard to describe. The general mood
however solemn regality to it which is so characteristic of
Änglagård and many other Swedish groups. For my money though,
no one I have heard has ever done it like Änglagård.
The other two
tracks on the album are quite good, but a little less original
sounding and heavier on the vocals. They are still amazing,
just slightly less amazing. Like Yes and King Crimson before
them, Änglagård were masters of the ensemble atmosphere. The
entire band gives everything they can to each piece. This
is extremely complex, sophisticated music in which all the
members contribute fairly equally to the composition. My favorite
way to describe the music of Änglagård is to say that they
sound like Genesis on steroids. This is probably not fair
because, despite some superfluous similarities, Änglagård
were quite original when at their best, and they avoided the
lame Genesis rip-offs that legions of lesser neo-prog bands
have committed. Elements of several of the big-name progressive
rock bands of the past can be found in Änglagård's music,
but they were the first ones in a long, long time to do anything
worthwhile and new with the influences. Änglagård are the
absolute cream of the crop of the '90s prog revival. Indeed,
they even have their own imitators now in the form of bands
like Sinkadus, who are so pathetically desperate to sound
like Änglagård it is sad, but as they say, imitation is the
sincerest form of flattery, and Änglagård deserves it. -
Scott Hamrick [September 1998] 
Click
Here for Tracklist and Lineup Info
Epilog
(1994)
[CD - Hybris - HYB CD 010 - 1994]
Originally
published in Reels of Dreams Unrolled No.
18, December 18, 2002
"The two albums by Änglagård are so far the apotheosis
of the new scene’s accomplishments." So said New Sonic
Architecture’s Matthew Martens in the NSA catalog a few years
ago. That was then, this is now. The new progressive rock scene
he mentioned has lost much of its creative steam. Many of the
new scene’s original movers and shakers have moved and shaken
right out of existence or drastically decreased their output.
And recent newcomers have made little lasting impact. One thing
seems to remain true: even ten years after their arrival on
(or should we say creation of?) the new prog scene, Änglagård’s
contributions to the prog rock revival remain unequaled. It
seems that no new band or artist has had more impact or become
so legendary. Fueling the legend of Änglagård are the facts
that the band broke up almost as quickly as it burst onto the
scene and that the band’s two studio albums have been out of
print for many of the last few years. Hybris was re-released
a couple of years ago, but Epilog remains out of print
and routinely commands nearly double its original price on Ebay
only eight years after its release. How ironic it is that one
of the best prog albums of the ‘90s revival is also among the
hardest to obtain.
What makes
Epilog magnificent is what so many of the ‘90s prog revivalist
bands sought so hard to achieve: an almost perfect amalgamation
of the old and the new. The most obvious aspect of the old is
the use of authentic instrumentation that was common in prog’s
heyday. Extensive use of Hammond Organ and Mellotron as well
as a lack of obviously modern guitar tones/effects and recording
techniques help make Epilog sound like it could have
been recorded in the 1970s. The sound is entirely authentic
and vintage, yet without any sort of campy, contrived ‘70s vibe
that is so often constructed for the sake of luring Generation
X. On the other hand, however, Änglagård’s compositions seem
just a bit more radical and uncompromising than what most of
the major ‘70s prog acts ever did. Epilog sounds as if
Änglagård takes up and continues on the progressive path near
the point where so many of the classic bands left it. One could
argue that Änglagård’s first album sounds fairly derivative
of prog’s past, but Epilog finds the band in relatively
new territory, treading unbeaten parts of the path Genesis and
Yes never got to travel.
While Epilog
is a remarkable album, it is not necessarily an easy listen.
If Epilog has any flaw, it is the lack of "hooks"
or catchy sections that the listener can easily look forward
to. This is complex, ever shifting music that rarely stays in
one place for very long. Epilog requires close attention
for full enjoyment, but it can be difficult to devote such attention
over the course of the whole album. It is easy to drift away
mentally during the many sections of delicate guitar arpeggios
and subdued Mellotron chords. These lulls, however, are often
rudely broken by short violent outbursts that shake the listener
back to attention. When one can devote the attention Epilog
deserves, the results are quite rewarding. One may find the
album seems much more relevant in the fall or winter months,
when the atmosphere outside seems to match perfectly with the
somber, lonely mood that pervades the entire album.
Epilog
is comprised of six all-instrumental tracks. The album begins
with the two-minute "Prolog," which sets the tone
for the entire album quite well. It begins with a quavering,
diaphanous melody on solo Mellotron. Then the entire band restates
the same melody with increased drama and vigor. The effect is
melancholy, yet powerful. "Saknadens Fullhet" serves
as the opposite bookend of the album. Like "Prolog,"
it is exactly two minutes long, but it is a poignant piece for
solo piano. Its effect is bittersweet and ends the album on
a somewhat uncertain, unfinished note. In between these two
pieces are three very long tracks – the meat of the album –
and a peculiar 14-second track of barely audible ambient noise.
The three long tracks are all wondrous, massive studies in contrast.
It is in the stark, sometimes jarring contrasts between light
and dark, loud and soft, masculine and feminine that one can
most easily see the often-cited influence of early King Crimson.
The instrumentation and melodies, however, usually speak of
early Genesis. This is especially true in the beautiful flute
and acoustic guitar passages.
In almost every
way, Epilog is a much more mature, "serious"
sounding album than Hybris. A string quartet augments the band
on much of the album, lending a strong baroque feel to the music.
It should be no surprise that several of the members of Änglagård
pursued classical music studies after the band broke up. It
must have seemed like the only logical direction for them after
recording rock albums of such complexity and quality. Epilog
is not music for parties or for trips to the grocery store.
This album is like a fine wine. It should be brought out only
on occasions when one can sit down and quietly savor the artistry
and quality of this masterpiece.
-
Scott Hamrick [December 2002]
Click
Here for Tracklist and Lineup Info
