01	Jordrok						11:10
	02	Vandringar I Vilsenhet						11:52
	03	Ifran Klarhet Till Klarhet						08:04
	04	Kung Bore						12:59

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

Sean McFee:
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, Anglagard 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 Anglagard 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.

Joe McGlinchey:
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 Anglagardian 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.

Eric Porter:
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. Anglagard'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 "Jordrok" 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.

Brandon Wu:
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. Anglagard 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.


conrad

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 from 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 Anglagard's debut created such a stir. This is an album that genuinely takes off where Close to the Edge leaves off.
Anglagard 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 Anglagard 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.

5-27-03





Anglagеrd - "Hybris" (1992)
After more than a decade with synthesised pop-shit as Asia and Saga being called "progressive", some youths from Sweden decided to really show what progressive rock REALLY shall sound like! Their debut "Hybris" is a demonstration of absolutely everything progressive rock stands for. Tons of mellotrons, Hammond, flute, bells, long and extremely complex tracks, very good instrumental skills and absolutely NO pop-crap in sight! From the cover art to the production, this is a very professional and high-quality work. The band takes inspiration from Yes, Genesis, King Crimson and Gentle Giant. They sounds in fact not too far from the American Cathedral's "Stained Glass Stories", but Anglagеrd is even better! All the four tracks on the album are masterpieces in themselves, so there's no need for any favourite track here. Anglagеrd was one of the best bands that has existed in the 90's, and "Hybris" is every true progressive rock fan's wet dream. If you really hasn't got Anglagеrd yet, then you'll know what you MUST do! Get it!



Anglagard - Hybris (1992)

Anglagard'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.

"Jordrok" 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 Anglagard's albums. I purchased both of Anglagard'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 Anglagard 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 Par Lindh Project.

The first track, "Jordrok," 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 "Jordrok," 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 Anglagard and many other Swedish groups. For my money though, no one I have heard has ever done it like Anglagard.

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, Anglagard 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 Anglagard is to say that they sound like Genesis on steroids. This is probably not fair because, despite some superfluous similarities, Anglagard 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 Anglagard's music, but they were the first ones in a long, long time to do anything worthwhile and new with the influences. Anglagard 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 Anglagard it is sad, but as they say, imitation is the sincerest form of flattery, and Anglagard deserves it. - Scott Hamrick [September 1998]



Anglagard "Hybris" 1992



Members:
Tord Lindman Guitars and vocals
Jonas Engdegard Guitars
Thomas Johnson Keyboards
Anna Holmgren Flute
Johan Hogberg Bass
Mattias Olsson Drums and percussion
Tracks:
Jordrok
Vandringar I Vilsenhet
Ifran Klarhet Till Klarhet
Kung Bore

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Илья Прутов: Увы, про такую музыку писать крайне тяжело - так же тяжело, как описывать некую божественную сущность. Итак, Anglagard - группа, слившая в себе воедино все лучшие черты арт-рока, группа, игравшая некую квинтэссенцию арт-рока, всех его видов и, возможно, лучшая арт-роковая группа всех времен и народов вообще - да-да, я не боюсь показаться напыщенным и высокопарным, -- раз услышав хотя бы одну композицию этой группы, в их музыку влюбляешься всерьез и надолго, и теряешь всякую объективность и возможность рассуждать здраво. Невероятно, запредельно, изумительно красивый "эльфийский рок", музыка, сочетающая в себе призрачность и мощь, мрак и свет, тепло и холод, силу и нежность! Увы, группа просуществовала до обидного мало - всего два года, успев записать два альбома, да еще "посмертно" был издан концертный альбом, мрачно названный "Buried Alive". Пожалуй, это не столько рок, сколько симфоническая музыка, сыгранная рок-группой - в музыке нет упора на индивидуальное солирование, переходящее в банальные "запилы", напротив - каждый музыкант играет свою партию, но КАК играет! Самое удивительное то, что музыканты до записи этого альбома практически не имели опыта игры в группах и были еще очень молоды - так, барабанщику группы Маттиасу Олссону исполнилось всего только восемнадцать лет, но уже тогда играл он на уровне таких "монстров" , как Билл Бруфорд, Карл Палмер, Пьер Мерлан, Даниэль Дэни - как, не смущает такое сравнение? :) Добавлю, что его манера игры - вовсе не копирование вышеперечисленных мэтров, она своя - и это в восемнадцать лет?! И не один он такой - все музыканты в группе - абсолютные виртуозы, вот что поражает! Не буду перечислять композиции и описывать, как они звучат - это бессмысленно, ибо божественное начало невозможно описать, можно лишь почувствовать его действие на себе. Представьте собранные воедино нежность и мелодичность Camel, мрак и холод King Crimson, астральный свет и потусторонность Yes, утонченность ранних Genesis и Shylock, прибавьте извечную скандинавскую печаль и меланхолию - и вы получите отдаленное представление о том, что же из себя представляет музыка Anglagard. Да, кстати, слово Hybris - не шведское, а греческое, и означает оно - "заносчивость, гордыня". Тем не менее - именно заносчивости, гордыни и самолюбования как раз и нет в этой музыке, хотя некая отстраненность, пресловутая "эльфийская сущность" (кто читал Толкина - поймет) и присутствует. Послушайте и убедитесь, что все неуклюжие слова, сказанные выше, не отражают и десятой доли великолепия этой магической музыки - она неописуема, ибо совершенна!

Оценка: 10 из 10 - другой и быть не может!


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Lyrics:

Earthsmoke

(instrumental)

Wanderings in confusion

Fragments from times past are now.
The world of loneliness where we live,
with everything that has been piled up
all around us,
constantly brings our inner being
towards disturbance and disharmony.
All dreamers who know
something else are wrong.
It may be that one is led astray.
Why exist here for no good?
Time goes suffering
my soul passes onwards
in the dream.

Searching for an answer in a mist dominated
by confusion and incomplete life;
Where immoral people take over
and thought becomes a feeling of
despair, doubt and indifference.
Then, we rendezvous and gather for a feast
for comprehension beyond
a hypocritical, jesting and abracadabra world.

From strength to strength

What kind of strange thing are you
who talk of confusion?
The Aesir that govern us in our faith
say that what is happening
takes us to a better world.

What is true,
what is false
in a fabricated illusion?
To be supplied and guided
constantly ready,
does it make you free and strong in faith?
Questions [of wonder] are close to me.

Dreams about abstract things
take us on an unknown journey,
in which limitation, right,
wrong and time
do not exist.
There are wondrous things there.

King Winter

In the light from my lantern
I see the shadow of sorrow,
in dreams that have been extinguished
from a life that has had its time.
I cannot stand and watch
while we flee
reality and truths,
where morality is fantasy.

It is you who chooses
it is you that swallows
their fairy tales and lies and flattery.


Is it true that they who speak
loud, strong and right
also plant dead flowers?
Then it cannot be easy
for a human to believe
that God, he is great,
when silence spreads
in the house where she lives.

It is you that chooses,
it is you that swallows,
their fairy tales and lies and flattery.

"King Winter" is dead
and Spring, the newly elected,
is the people's hero.
Visions are born,
and it is time to populate
their castles in the clouds.
Life's panorama,
a hallucination, I have
longed for so tremendously.
Give me a view
into the land of dreams,
only then will I be happy.




Anglagard [Sweden]
Updated 5/25/00
Hybris (92), Epilog (94), Buried Alive (96, Live at Progfest '94)

Hybris is a new release on the Mellotronen label out of Sweden, whose name should give a decent insight into their focus. Contrary to all indications, though, this music was recorded in mid-late 1992, but would be at home on the racks along with groups such as Camel, Sebastian Hardie, and all the seventies' progsters whose output can be termed "melodic, symphonic, keyboard- dominant rock." Atop the chord washes churned out on the mellotron and hammond, a flautist and guitarist offer up the melody, taking the listener right back to works such as Mirage, or the earlier works by Genesis. On some of the tracks, the guitar and keyboard leads are quite aggressive, making for a varied listening experience. Three of the four tracks have vocals in Swedish, but they are very much overshadowed by the music. Depite the comparisons, to conclude that this is a derivative release would be to do the album a disservice, because the set of influences that are incorporated into the music manifest themselves as very enjoyable, vintage progressive rock.

In the early '90s, it seemed like every six months a band comes out of nowhere and gives the sluggish progressive scene a solid push. Kurt Rongey's fantastic Book in Hand, Deus Ex Machina's Gladium Caeli, and Brand X's Xcommunication are examples. And now there is Anglagard. A five piece from Sweden, Anglagard redefines symphonic rock for the 90's, without borrowing too much from their 70's predecessors. The instrumentation is based around flute, guitar and keyboards, which develop the main themes, and a brilliant rhythm section. Kudos to Anglagard's drummer. He deserves to be considered one of the very best; in league with Palmer, Bruford and Moerlen. Their sound varies little throughout the album, but the four pieces show a wide range of skill. Like most of the classic progressive releases, Hybris features a writing-oriented style. Rather than each musician do their respective soloing and show-off virtuousity, they complement each other by subtle accompaniment. Each track seems to consist of several dozen multi-note motifs played by one or two instruments, followed by either multiple accompaniment or a time and melody change. Hybris is a non-stop changing piece of work, which is rare these days. Comparisons can be made to Shylock, Nuova Era, Step Ahead and others, though this band is highly original. Dare I say it? Anglagard has made a *major* contribution to progressive music and this album shouldn't be missed by anyone. It is accessible as well as complex and intriguing. From total obscurity, Anglagard has become one of the most promising three progressive acts currently in existence.

It nearly boggles the mind how a band can use instruments typical of '70s progressive rock, create an atmosphere that would make you swear it was recorded in the '70s, draw from some of the biggest acts of that time (Genesis, Yes), as well as some of the lesser known acts (Shylock, Carmen) yet create something that is so new, fresh, exciting and vital, this in 1992. Indeed, Anglagard's Hybris nearly rocked (excuse the pun) the progressive world, setting it on its ear. Anglagard is incredible, easily the best new progressive band of 1992 and arguably one of the best since 1982!! The band is a six piece consisting of drums, bass, flute, two guitars and keyboards, with some members contributing the occasional (Swedish) vocals. The four songs, averaging 11 minutes each, are outstanding sonic paintings, delightful in their dynamics, invigorating in their interplay. No instrument stands out against any other; instead, each contributes to the overall sonic texture - the song is the objective, not the solo. The keys used are the quintessential progressive boards of the 1970s: Hammond organ, mini-moog synth, and the ever-popular mellotron. The rhythm section is outstanding, rock solid yet constantly shifting the time and mood of the entire piece. The drummer, 18 at the time of recording, deserves a special mention. His playing is very mature and never dominates the piece yet he is always in control of the musical direction. He should be a force to reckon with for years to come. Were you to take one recommendation from this survey, I STRONGLY suggest you consider Hybris. The burning question: Can they repeat? Yes, they can! Epilog represents a distinct and definite maturation of the readily identifiable Anglagard sound. While Anglagard were composing and recording their sophmore release, rumors of tension and impending breakup of the band surfaced. Although the future of Anglagard is still an open question, the music on Epilog does seem to reflect turmoil within the band. Present still are the repeating musical phrases that build tension, the dynamics that from a whisper explode from the speakers, the choral 'trons, the angular guitar lines, the fluid flute, and the powerful percussion. What seems to have increased is the complexity, the intensity, the anger and tension, and the somber gothicism that seems to so pervade the current Swedish prog scene. In fact, to me the dark, melancholy atmosphere is the most notable change. Gone are the vocals, replaced by quiet and reflective passages of extended duration. The double-exposed photography of faces and human shapes in natural scenics that permeate the CD booklet expound upon the harmonius spirituality contained within all nature, highlighting the gothic air of the music. Each photo is accompanied by a poem written in Swedish. Will Epilog indeed be the final chapter of the brief history of Anglagard? If so, the acoustic piano of "Saknadens Fullhet," which closes the album, is a suitable lament. In 1996 fans are given a coda, Buried Alive, a live recording of Anglagard's performance at ProgFest 1994 was released. Unfortunately, it also documents their final ever performance. -- Mike Taylor

It took a long time for me to get into this group. When I first heard Hybris I thought that it was really nothing more than a bunch of Yes bits strewn together in an un-related, almost random fashion. But, with each listen I slowly began to realize that there was much more to this album. What seemed to be random bits slowly began to reveal their underlying form and structure. With each listening, each song revealed more and more surprises. Now it's made my top 10 favorite albums of all-time. It is truly extraordinary. What we have here is a band that loved Progressive Rock of the early 1970s. Their love for this music is readily apparent yet their music is much more complex and changing. A good Progressive Rock group may distract you from whatever you're doing while listening once or twice during an album; A great Progressive Rock group makes you abandon that activity and give full and complete attention to their music. Anglagard is such a group. There really is no stand-out instrument because all of the instruments are treated quite equally. Their emphasis is on the music and an instrument will only come to the front if it is beneficial to the entire group's performance. Each song is an exploration of feelings, ideas and musical stories with incredible climbing highs and sharply diving lows which sometime occur with the band ceasing play for a beat or so. They have few vocals, and all are used to enhance the music and never to detract from it.
I am now going to try and illustrate typographically one of their songs to give you a better idea. The second song on the album opens with a solo flute that is soon joined by acoustic guitar and chimes. Then, a sinister and dark organ comes in with it's own solo backed by what is, in essence, the bass sound of a cello. Acoustic guitars and flutes reappear with a slight variation on the opening theme. These carry onward to the solo organ which, with the help of a building bass drum, mellotron, and bass, take you to the main recurring theme of the piece: a flowing and melodic mellotron and guitar featured with Squire-like bass abruptly cut-off by Spanish-styled castanets (!), strong electric bass, and flute. The theme comes back suddenly and then a flute solo with chimes calms the piece down once again to begin the vocals after a perfectly placed and quick floor-tom roll. The vocals are accompanied by soft music that quickly turns heavy. Soon, all stops for a beat and the guitar is left alone for a second or so. They do a very Genesis-styled stop and start bit like "Apocalypse in 9/8." Then, again the band ceases playing and the drummer hits the snare, the cowbell, and then a cymbal and the band comes back in again. This continues onward with the castanet bit coming back a few times. The piece's closing section contains a synthesized choir, loud drums, and very strong mellotron with heavy bells accompanying. The point is, the music is very much a stop and start kind of thing. Being so, it may be incredibly hard to get into at first. I think so anyway. It seems like there's no ryme or reason. But, there is -- oh yes, there is.
Above all, this is not a wanna-be band or a Yes/Genesis cover band. They've found a way to incorporate some of those band's ideas into their own unique sound and style. With successive albums, my guess is that we will hear more and more of their own sound. Before I leave, a word or two must be said about this band's incredible percussionist, Mattias Olsson, a classically-trained drummer. His use of all sorts of chimes and bells is magnificent. He knows when to drum and when to keep quiet. Anglagard could not afford to lose this guy as he is integral to their music. Thing is, he's young, so he will most likely only get better! I hope Anglagard sticks around for a few years. -- Clark Ray

Superb Swedish band formed by six ingenious young musicians. Though their music is a brilliant tribute to groups from the past, it remains fresh and original thanks to dynamic performances, quality musicianship and clever arrangements. Hybris features double guitars, keyboards (with Mellotron), bass (Rickenbacker), a remarkable drummer, flute and bits of vocals (in Swedish). This succulent symphonic rock, with its unpredictable grooves, is pretty hard to resist. An exceptional disc that deserves all the attention it's getting. After their smashing debut, this Swedish band retaliates with even more impressive Epilog. Arrangements of double guitars, keyboards, bass, drums and flute are still present and complemented by guests on strings. The music picks up where it left with Hybris but compositions are bolder and more intricate. Their explosive energy remains with even more complex rhythms but perhaps with a more obscure atmosphere. An imposing release that remains challenging with every listen. According to the booklet, Buried Alive is the Swedish group's last performance. The concert was recorded at Progfest '94 and is everything we would expect from the band; nothing more, nothing less. They play all four tracks from Hybris plus three more from Epilog, including the short introduction "Prologue." The sound is rich and crisp and the performances are true to the studio versions. In fact, those who expect a lot of surprises may be disappointed. This recording confirms that the live band could deliver all the merchandise. -- Paul Charbonneau

Click here for the Anglagard home page (www.anglagard.net).





Anglagard - Hybris

Released: 1992/2000
Label: Mellotronen
Cat. No.: MELLO 004 / MelloCD 4004
Total Time: 44:18 (1992 edition)


Reviewed by: Stephanie Sollow, February 2003
Ah, so the well respected Anglagard have reformed. This Swedish sextet -- Tord Lindman on vocals and guitars, Johan Hogberg on bass, bass pedals and "mellotroneffects," Anna Holmgren on flute, Mattias Olsson on all sorts of drums and percussion, Tomas Jonson on a variety of keyboards and synths, and Jonas Engdegard on guitars -- released but two (studio) albums during their short-lived career, but two albums that have garnered a great deal of praise, Hybris becoming a much sought after disk. Some time before it had become hard to find, I had picked up the CD, though I'm not sure the circumstances (likely prompted by a review in Progression or Expose), but at time I was less into angular progressive rock and more into the smoother, melodic prog rock - that is, "neo," -- so this CD didn't quite get the attention that it deserved from me. So, with their reformation and scheduled appearance at the 2003 edition of NEARfest, I placed this disk in the player. Yes, I should have paid more attention at the time. Right from the get go, you can tell that Anglagard had their stuff together, as Hybris is a mostly strong release, showing a great deal of tightness and interesting interplay. It is not all angular, being quite lyrical at times - not quite folksy, but containing many old world elements in more acoustic settings (though the instruments themselves aren't necessarily acoustic).

Progressive music fans who enjoy such diverse artists as Minimum Vital, King Crimson, Yes and White Willow - to name three that come to mind at various times - will find that they will like Anglagard as well. Minimum Vital and Yes come to mind during "Vandringar I Vilsenhet," especially in the light and airy way the vocals are sung and the piece's open arrangement. And yet, that also brings to mind "Close To The Edge," at least to me. Harder darker tones do color the music, bringing in a Crimson element. But, don't be thinking that Anglagard were (are) in anyway a "clone" of any of the mentioned artists - these comparisons are due to style, and instrumentation. With the swell and sweep of the keys, you get something is quite symphonic. And this is where Crimson comes in, as I most often though of that first, classic, album In The Court Of The Crimson King.

Few bands get it right on their first try, but Anglagard get very close. The weakest element is the vocals of Lindman, which in themselves are quite good, but the band's instrumental skills far outshine. Lindman has a soft, warm voice - similar to Greg Lake's in that, though tonally he doesn't sound like Lake. So, it's not a case of great music, bad vocals, but rather very good vocals, stellar music. In fact, saying the vocals are the "weakest" are misleading : It's as if the band started with their third, seasoned and experienced album, forgetting to record that "promising debut" and "competent, but lacking sophomore release." Maybe the band was short-lived because they set their own bar very high - did Epilog live up to the promise of Hybris?

The re-release of Hybris, which came out in 2000, added the bonus track "Ganglat fran Knapptibble" that had originally been recorded to accompany the English magazine Ptolemaic Terrascope (issue No. 5 in 1994). The piece itself is an early version of "Skogsranden" that later appeared on Epilog.

The current version of Anglagard does not include Tord Lindman, though I don't know if that means the band will play as a quintet only, or have brought in a second guitarist to fill his spot. However, according to the Anglagard website, the band are working on new material for a possible new album.

As for Hybris, what I wonderful album that I regret I overlooked for so long. Sure, the specter of "it's great because it's so rare" looms behind every recent review of this album (of any "hard to find" CD of note), but I'm not telling you it's great because of that. I'm telling you it's great because it is a stellar release from start to finish. And, don't let the fact that there are only four tracks fool you, there is a lot of music packed into each one - though not like sardines, as there is plenty of room for each piece to move about, to evolve - as the shortest track is 8-plus minutes. And yet, the CD is over before you know it (unless, like me, you've had it on "repeat all"). Terrific, terrific stuff that you should seek out before even the reissued version becomes scarce, likely to happen now as progressive music fans headed for NEARfest get familiar with the music.

Rating: 5/5

More about Hybris:

Track Listing: Jordrok (11:10) / Vandringar I Vilsenhet (11:56) / Ifran Klarhet Till Klarhet (8:08) / Kung Bore (13:04) / Bonus track (2000 edition) Ganglat fran Knapptibble

Musicians:
Thomas Johnson - Mellotron, Hammond organ B-3 and L-100, solina, clavinet, pianet, korg mono/poly, piano and church organ electronic version
Jonas Engdegard - Stratocaster, Gibson 335, nylon and steel acoustic guitars
Tord Lindman - vocals, Gibson 335, nylon and steel acoustic guitars
Johan Hogberg (now Brand*) - Rickenbacker bass, basspedals and mellotroneffects
Anna Holmgren - flute
Mattias Olsson - Sonor drumset, Zildjians cymbals, concert bass drum, triangles, tambourines, vibraslap, po-chung, gong, castanets, line-bells, cow-bell, wood-blcok, glockenspiel, tubular bells, bongos, bells, ice-bell, finger cymbals, waterfall, a-gogo bells, cabasa, claves, French cowbell, African drums, effect-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)




Anglagard
Hybris
Mellotronen
1992
Doug Larson

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 Anglagard's albums.

I purchased both of Anglagard'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 Anglagard 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 Par Lindh Project.

The first track, "Jordrok," 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 "Jordrok," 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 Anglagard and many other Swedish groups. For my money though, no one I have heard has ever done it like Anglagard.

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, Anglagard 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 Anglagard is to say that they sound like Genesis on steroids. This is probably not fair because, despite some superfluous similarities, Anglagard 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 Anglagard's music, but they were the first ones in a long, long time to do anything worthwhile and new with the influences. Anglagard 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 Anglagard it is sad, but as they say, imitation is the sincerest form of flattery, and Anglagard deserves it.