01	Prolog						01:59
	02	Hostsejd						15:31
	03	Rosten						00:13
	04	Skogsranden						10:44
	05	Sista somrar						13:04
	06	Saknadens fullhet						02:00

Prolog (2:00)
Hostsejd (15:32)
Rosten (0:14)
Skogsraden (10:48)
Sista somrar (13:10)
Saknadens fullhet (2:00)


CD (Private) HYBCD 010 / LP* (Gates of Dawn) GOD 002
*-Saknadens fullhet is the 3rd track on the LP

MUSICIANS

Mattias Olsson: drums, cymbals and percussion
Johan Hogberg: bass
Thomas Johnson: Hammond organ, mellotrons and other keyboards
Jonas Engdegard: guitars
Tord Lindman: guitars
Anna Holmgren: flute

Asa Eklund: voice
Martin Olofsson: violin
Karin Hansson: viola and double bass
Jan Christoff Norlander: cello


All music is written and arranged by Anglagard
Pictures by Rut Hillarp
The poems to Rosten (The Voice) and Sista Somrar (The Last Summer) are written and translated by Rut Hillarp. The other poems are snatched from the wind, those poems are translated by Christian Holmgren.

The music was recorded in Herman Palmsalen on Ekero on 28th of July and in Studio Largen between 29th of July and 28th of August 1994. Mixed in Studio Largen between 3rd and 11th September 1994.
Sound engineer: Roger Skogh
Mixed and produced by Anglagard and Roger Skogh




Sean McFee:
This was Anglagеrd's final studio release, and while it's a tough call, may possibly be the single best progressive rock release of this decade.
While Hybris featured some moments of somberness, Epilog finds this emotion intensified in an all-instrumental setting which is sometimes aggressive, sometimes contemplative and almost always heavy with wistfulness and stoicism. The music sometimes sounds closer to the band's Scandinavian roots than the more overt symphonic progressive of their first album. Flute and mellotron are both given prominent roles in defining the morose nature of the sound here, while electric guitar and organ are often at the forefront of the harder sections. Drummer Mattias Olsson again shows that he is one of the most skilled drummers of the decade. The album concludes with a brief piece on solo piano, preventing a feeling of closure and opting instead to finish the album in the disquieting mood that has prevailed throughout.
For those who have not heard the band, they play a form of symphonic prog that is influenced, in parts, by Genesis, King Crimson and Shylock. At the same time there is a unique quality to their music, possibly due to their Scandinavian origins. I cannot recommend this album highly enouugh; Anglagard is one of the greatest artistic successes of the 90s.

Joe McGlinchey:
The second and final studio album by the Swedish band that shot through the 90s prog fan landscape like a briefly burning, high-magnitude Kahoutek. The album cover, with its alternately serene or ghostly picture of a river in a forest, says it all. The playing is top notch, and while one can hear an obvious Genesis and Crimson influence, Anglagard are not derivative. At points they also place some native Scandanavian elements into their work, most pronouncedly on "Prolog." As an entirely instrumental album, Epilog improves upon Hybris in the sense of removing the band's rather weak and unnecessary stab at vocals. Like Hybris, this is very dense and sophisticatedly-fashioned prog, requiring a considerable amount of listens to begin to digest. But if you stick it through, you_re sure to find a number of rewards. I'd start by zeroing in on "Hostsejd."

Eric Porter:
Epilog is incredible. I had read about this band and saw that Hybris was out of print so I decided to pick up the all instrumental Epilog. This maybe in my all time top 10. They have everything from beautiful melodic passages with mellotron to heavy, dissonant music, pure noise, etc. The opening "Prolog" sounds like a small chamber group, very classically structured. They use the classic 70's orchestra sound often as well, but never sound dated. This is a band that can truly update the 70's sound with a 90's edge and do it successfully. This is classic. The band transitions with extreme ease from heavy to atmospheric (which is no simple task with the dynamic range of this music). There is not a second of music on this disc that I do not like. It is mystical and magical, with feeling and beauty. It is a tragedy to progressive music that this band is not producing music anymore. This is a masterpiece. A must have for any progressive collection.

Brandon Wu:
Now this is what progressive rock should be. This is a symphonic six-piece (sadly, now defunct) band from Sweden which has created some incredibly fresh and challenging music for the '90s. The music is very stop-and-go: the transitions between soft, acoustic guitar and flute-led sections and harsh, electronic-sounding loud sections are extremely abrupt and take some time to get used to. The soft sections are quite beautiful; the loud sections are extremely complex and challenging. It's these abrupt dynamics that may turn off listeners at first, but with further listening, the feel of disjointment disappears and the craft of these pieces comes to light. This album is one that grew on me constantly, all the while making me listen harder and harder, remaining challenging even after a ridiculous number of listens. It doesn't hurt that the production is fabulously clear and full - each instrument sounds wonderful (though this is definitely not a band for gratuitous soloing - quite the contrary!), particularly the drumming and percussion, which is crisp, clear, powerful, and on the whole quite virtuosic. Epilog is quite an accomplishment, and while some place it behind Anglagеrd's debut, Hybris, I think it's more challenging and more groundbreaking. Where Hybris was clearly a rock album influenced by the classic progressive bands of the 1970s, Epilog is more difficult to categorize as such. Rock? Maybe. Influences? They're still there, but hidden away very nicely and assimilated into a whole that is breathtakingly new. This is one of my favorite albums, so forgive me if I'm hyping it - but I really think it's one of the few releases worthy of all these superlatives. The whole thing ends on a quiet, wistful note - appropriate since, sadly, this was Anglagard's last original studio album.






Anglagard "Epilog" 1994



Members:
Tord Lindman Guiars and vocals
Jonas Engdegard Guitars
Thomas Johnson Keyboards
Anna Holmgren Flute
Johan Hogberg Bass
Mattias Olsson Drums and percussion
with

Asa Eklund Voice
Martin Olofsson Viola
Karin Hansson Violin
Jan C. Norlander Cello
Tracks:
Prolog
Hostsejd
Rosten
Skogsranden
Sista Somrar
Saknadens Fullhet
Lyrics:

Prologue

There is a sun
that is greater than my smile
There is a sun
that is greater than my hate
There is a sun
that is greater than my living
But there is no sun that is greater than me
extinguish me


Autumn Spell

The sun is setting slowly, like a falling leaf
of the thousand days of autumn,
against the burning horizon,
but the colours soon abandon it to
shady grey;
in whipping storm and rotting leaves
it burns its forest to start
anew.


The Voice
By Rut Hillarp

In the dream I hear him yell. And in this moment of distant answers I
regain the mild death, I breathe the birth of the trees. The bells of
the heather freely deposit their secrets into my hand. My body is the
coolness of the land and the fragile clouds of the autumn glide
through my eyes. He yells at dawn and the voice was my mother's. The
sea shall carry me to an embrace.


The Edge of the Forest

The living boy speaks a distorted language and the rapids of time yell loudly on their way,
the abyss closes and pictures die. Everything has an end at the edge of the forest...
...The world beyond the edge of the forest begins where the thorn bush grabs hold of your stomach and
gives the soul no rest when the legend is created and time to think and talk dies --
no school of thought lives in hibernation.


Last Summers
By Rut Hillarp

In the immense greenery of last summers.
Thin birch trunks glimpsed as handfuls of desire.
The women bear children upon children without understanding why.
No hands could wither. The sea calmed, the lakes sang.
The ditches were overgrown with elk grass. The roads were brightly lit,
but not with terror. White by their dreams.
Along the fields blue forget-me-nots.
But no one could remember us. We were the last.


The Fullness of Yearning

I look down in the deep stream
and I see a birch leaf floating past
I believe that under the stone
is a passageway that leads to heaven




Anglagard
Epilog
1994
independent release

"The two albums by Anglagard 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, Anglagard'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 Anglagard 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, Anglagard'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 Anglagard takes up and continues on the progressive path near the point where so many of the classic bands left it. One could argue that Anglagard'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. "Epilog" 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 Anglagard 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. - SH








Anglagard - Epilog (1994)


Tracks


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

Musicians
Tord Lindman Guitars and vocals
Jonas Engdegard Guitars
Thomas Johnson Keyboards
Anna Holmgren Flute
Johan Hogberg 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.





Anglagard - Epilog

Released: 1994
Label: Hybris
Cat. No.: HYB CD 010
Total Time: 43:44


Reviewed by: Eric Porter, March 2003
Anglagard has reformed, and as luck would have it, will be playing at NEARFest 2003. They are practically regarded as legends although they only released two studio recordings. One listen and you will understand why they have this reputation.

Epilog is incredible. I had read about this band and saw that Hybris (their first release) was out of print, so I decided to pick up the all instrumental Epilog. This maybe in my all-time top 10. They have everything from beautiful melodic passages with mellotron to heavy, dissonant music, pure noise, etc. The opening "Prolog" sounds like a small chamber group, very classically structured. They use the classic 70s orchestra sound often as well, but never sound dated. This is a band that can truly update the 70's sound with a 90's edge and do it successfully. This is classic. The band transitions with extreme ease from heavy to atmospheric (which is no simple task with the dynamic range of this music). There is not a second of music on this disc that I do not like. It is mystical and magical, with feeling and beauty. It is a tragedy to progressive music that this band is not producing music anymore. This is a masterpiece. A must have for any progressive collection.

More about Epilog:

Track Listing: Prolog (2:00) / Hostsejd (15:32) / Rosten (0:14) / Skogsranden (10:48) / Sista Somrar (13:10) / Saknadens Fullhet (2:00)

Musicians:
Mattias Olsson, drums, percussion
Johan Hogberg, bass
Thomas Johnson, Hammond, Mellotron, keys
Jonas Engdegard, guitar
Tord Lindman, guitar
Anna Holmgren, flute

Contact:

Website: www.anglagard.net
Note: will open new browser window

Discography

The Largen Demo (1992) (cass.)
Hybris (1992/2000)
Epilog (1994)
"Ganglat fran Knapptibble" (bonus single with Ptolematic Terrascope N° 5 (1994)
Progfest '94 (1994) (one track)
Buried Alive (1996)


Progfest '94 Day One (1994) (VHS; 2 tracks)