Änglagård 'Epliog'

Anglagard - Epilog (1994)

Tracks

1) Prolog
2) Höstsejd
3) Skogsranden
4) Sista Somrar
5) Saknadens Fullhet,

Musicians
Tord Lindman Guitars and vocals
Jonas Engdegård Guitars
Thomas Johnson Keyboards
Anna Holmgren Flute
Johan Högberg Bass
Mattias Olsson Drums and percussion

Homepage : http://www.cogs.susx.ac.uk/users/ronc/anglahome.html


When Swedish proggers Anglagard released 'Hybris' in 1992 the genre greeted it with the sort of manic acclaim that hadn't been witnessed perhaps in 20 years. The acclaim was well justified as the album was a jaw dropping display of both musicianship and composition blending the best elements of the progressive giants of the 70s with there own distinctly dark sound. Following such a work of greatness was never going to be an easy task and yet with 'Epilog' they have not only surpassed their debut work but perhaps created one of the most original and important progressive works of all time. A huge statement I know but this is just a mesmerising, beautiful, complex and challenging work with nothing like it to compare against.

When creating 'Hybris' Anglagard where extremely honest in identifying their influences and this showed in the outstanding compositions. 'Epilog' sounds so unique it is almost impossible to draw similar lines of comparison. Ok there are nods towards the angular and atonal aggression of Crimson and some Yes-like phrasing but beyond this the album sounds like, well Anglagard.

The album comprises of 6 tracks although the focus is placed on 3 epic songs, 'Hostsejd', 'Skogsranden' and 'Sista somrar' (all catchy titles you'll agree!). The other pieces are very short sound-montages to introduce and conclude the album. Unlike 'Hybris' the album is entirely instrumental which is a major plus with Swedish as a language not sitting comfortably in a musical environment.

A first listen to the album can only be described as an extremely challenging experience yet it leaves you with little doubt that this is something very special indeed. As a complete work it is one that improves upon every listen (and I can still say that now despite owning it for the past 4 years).

So what makes 'Epilog' so unique and incredible?

Anglagard's strategy when composing the thing was clear - make it as different from 'Hybris' as possible which they have achieved effortlessly without losing any of the quality. What first strikes you is how quiet the album is in comparison to its predecessor. Where 'Hybris' was a full on symphonic wig out 'Epilog' is utterly subtle in its construction blending some simply sublime and melancholic atmospheres with some jagged and unnerving atonal juxtapositions. However these contrasts always work and links never lack cohesion.

Opener 'Prolog' (how many prog albums seem to contain these!) is a gentle string led piece, which aches with emotion and immediately introduces the listener to the use of flute, cello and mellotron that seems so abundant in the Swedish progressive scene.

The 15-minute 'Hostsejd' is an awesome tour de force of composition, musicianship and style. Opening with a distinct running organ riff the song bursts into some complex and jagged Crimson led posturing which then builds into an inspired guitar led symphonic sweep. Returning to a gorgeous pastoral section the song then flies into a 3-minute section of jaw-dropping atonal noodling. As the wash of sound finally calms to a halt the song effortlessly transforms into a quiet and subtle mid-section which washes over the listener evoking images of sun-starved Swedish lakes and forests. The song concludes with another jaw-dropping atonal barrage before drifting into silence.

The use of the quiet-loud-quiet-loud format is not unusual within progressive rock, in fact its one of the genres most distinct motifs, however rarely has it been achieved with such wide contrasts of style, pace and complexity whilst doing so with effortless and cohesive ease.

The remainder of the album continues in a similar vein. 'Skogsranden' contains some highly challenging passages and the inspirational finale of 'Sista somrar' built on reoccurring themes developed into a series of awesome crescendos is a sheer delight. By the time the understated piano of 'Saknadens fullhet' finishes the album you are left in something of a daze.

'Epilog' is a great, great work, often sublime in both its subtlety and also its raw aggression. Whereas 'Hybris' succeeded in taking the influences of the 70s greats and producing something maybe more advanced, 'Epilog' seems to start from a clean slate borrowing, if anything, more from contemporary modern classical works than anything else although a distinct Crimson influence cannot be ignored. As with 'Hybris' the musicianship is nothing short of miraculous and although the rhythm section is more understated than before the drum work is simply awesome and in places would put Bruford, Peart and co firmly in the shade.

If you don't own, own it soon, if you can't own it steal it and if you can't find it to steal scour progressive retailers with inspired determination!

Gareth J Long February 2001.

Phish & Chips