c o n r a d

We all know the story of how progressive rock crashed at the peak of its wave in the mid seventies when monstrosities such as Tales rom Topographic Oceans confounded and annoyed rock critics. With the exception of Pink Floyd, the "big six" either ventured into more commercial realms or drifted into obscurity, and most of the lesser bands did both. The neo-prog revival was seen by many as a pale ghost, led by bands who mistook stringing three five-minute songs together for structural complexity. That is why Änglagård's debut created such a stir. This is an album that genuinely takes off where Close to the Edge leaves off. Änglagård manage to walk that fine line in drawing inspiration from the seventies without ever being derivative. There are definitely passages reminiscent of early Genesis or King Crimson, but these are superficial, and for the most part Änglagård pursue their own formula. The sound is brooding, with dissonance being a regular feature. The music still manages to captivate the listener, and some sections are nothing short of magnificent. Having praised this album to the heavens thus far, it is now beholden to me to explain why I would not rate this album in my own personal top twenty. This is a little tricky to do, as there's not that much wrong with this album. It certainly grabs my attention, but it has trouble holding it. Each song is probably several minutes too long, and the song structure isn't as effective as it might be in working its way to a climax. Personal taste aside, this album has a vast amount to recommend it. Each listening provides deeper appreciation and the rewards are worthwhile. It should probably be played loud to fully appreciate its dynamic range, not to mention its power. An essential album? Definitely, even if it doesn't end up being your favourite either. review by Conrad Leviston — 5-27-03 —

s e a n

This album has to be seen as one of the first indications that it was still possible to make good symphonic prog in the 90s, as well as being the springboard for a new vitality in Scandinavian prog. Musically, Änglagård is somewhat reminiscent of King Crimson, but with the addition of organ and flute. Occasional parts of their music also sound like Genesis, Shylock or Schicke/Fuhrs/Frohling. Each composition is fairly lengthy, featuring alternating sections of melancholy and aggressive outbursts. Flute and acoustic guitar tend to lead the pastoral sections, while organ and electric guitar are used for the more hard-edged ones. While it's true that Änglagård uses the same formula over the whole album, their somber and stately control over the music grants a quality few bands could emulate, though some have tried. Vocals, in Swedish, appear occasionally throughout the album but don't particularly affect my enjoyment of the music either way; they are neither notably good nor distractingly bad. At the musical head of this band of musicians sits Mattias Olsson, dexterously plowing through this album with all manner of percussion instruments while not overplaying. The reputation of this album as a prog classic is well-deserved. It certainly serves as an excellent counterexample to any claims that no quality progressive music could be made outside of the 70s. While the band was destined for breakup after a short period, their music stands as one of the unknown treasures of the progressive underground. review by Sean McFee — undated —

j o e

I don't have much to add here, as others have given more factual and contextual information on the band and the astounding impact this album must have had upon its original release in the early 90s to those who thought prog was forever dead. I will say my favorite moment on the album remains the opening track, with the lonely piano lines interweaving with ghostly mellotron passages, before the band soon explodes into the fortissimo range. Hybris does have rather weak and unnecessary vocals (an error the band would correct on their all-instrumental follow-up, Epilog), but these are few and its a minor complaint. Also, the dense, complex style that marks all things Änglagårdian suggests that for maximum reward repeated listens are necessary. Apart from that, whether one actually cares for it or not, this album is a tride and true landmark of sorts, a resuscitation (or perhaps 'reanimation,' for those still skeptical of prog's relevance). My bet is you will care for it. review by Joe McGlinchey — undated —

e r i c

The Holy Grail of 90s progressive music finally sees the light of day. Reissued in 2000 with a bonus track ("Ganglat Fran Knapptibble"), let me say that it was worth the wait. Änglagård's hypnotic blend of the pastoral mixed with the chaotic is firmly rooted in the classic sounds of the 70's, but retains its own identity. With only two studio releases ever made, the band achieved legendary status in the progressive community. I personally enjoy the all-instrumental Epilog slightly better, but the vocals do not interfere with the musical presentation on Hybris. Everything gets its time to shine: guitar (both acoustic and electric), Hammond organ, flute, and the everpresent mellotron. The exquisitely tight rhythm section may be the most impressive piece of this puzzle. A dark edge emanates from the tracks, but not excessively so. The dynamic range is key to Anglagard's identity, as they shift smoothly from aggressive sections to subtle acoustic passages. From the classical piano introduction of "Jördrok" to the building intensity throughout "Vandringar i Vilsenhet", with everything from minstrel like guitar flourishes, delicate flute, and furious keyboard/guitar work, this band offers the listener a wide spectrum of sound. The softer moments and times when the organ is present remind me of early Genesis, if a comparison must be made. One thing that is truly special is the composition skills, as the songs run through many themes and yet all the pieces fit perfectly. There is a passion that runs through this disc, and it is unfortunate that the band ran its course so quickly, but maybe it is better to burn out brightly than to fade away. review by Eric Porter — undated —

b r a n d o n

Like this band's second and final album, Hybris is a bonafide classic of the prog genre. Unfortunately, I'm at a total loss to describe the music. Änglagård are influenced by many of the classic 70s bands, but sound like none of them. Using analog keys, flute, guitar, drums, and a bass that never seems to play the same line twice, the band crafts a sound that falls within the bounds of the rock idiom but takes it to a level that equals the best work of the classic 70s bands. (Their second album, Epilog, arguably transcends the rock genre entirely, but that's another story.) The mood is sometimes somber, sometimes jaunty; sometimes subtle, sometimes rocking. Except for the opener, all tracks feature some small amounts of vocals in Swedish; this bothers some people but I find them well-done and enjoyable. Compositions are without exception very strong, and build extremely well. Though a bit more predictable than Epilog, this is nevertheless a must-have. review by Brandon Wu — 1-14-00 —