Isildur's Bane [Sweden]
Updated 4/24/01
Discography
Sagan om den Irlandska Algen (84)
Sea Reflections (85)
Eight Moments of Eternity (87)
Sagan Om Ringen (88, recorded in '81)
Cheval (89)
The Voyage: A Trip To Elsewhere (92)
Lost Eggs (94, compilation of unreleased songs from '73-'93)
MIND vol 1 (97)
MIND vol 2 (01, 2 CD Live)
Reviews
Isildur's Bane 2001 - Mats Johansson (keyboards), Jonas Christophs (guitars), Klas Assarsson (percussions), Fredrick "Gicken" Johansson (bass), Kjell Severinsson (drums)
Fantastic symphonic/fusion band from Sweden. symphonic fans should try Sagan Om Den Irlandska Algen or the classic Sagan Om Ringen (their chronological first and fourth).
This is a difficult one to describe. Isildurs Bane isn't really like any of the other bands I'm familiar with on this list. They are very percussion oriented, with a lot of keyboards and some guitar. The only vocals on the stuff I have are chants in some other language. Undeniably progressive, and I was surprised at how much I liked the sampler tape that I was sent. For the adventurous and open-minded.
Isildur's Bane are a diverse and highly unique band that haven't stuck to any discernable style. Obviously Scandinavian in the sense that Ragnarok, Kaipa, and all those were, these guys created two symphonic albums - both that start with Sagan (Lord), two jazz fusion albums (the inferior of the five) and one symphonic/modern classical concept album Cheval. Start with Sagan Om Ringen, probably their best.
Began as sort of a symphonic folk outfit, their first album is on the quiet side, mostly instrumental, but some tracks feature vocals in the native language. Very original stuff. By the third album, the band had taken a sharp turn in the jazz-rock direction, with more uptempo cuts and bright melodies, and completely instrumental. At this point, and by (Eight Moments) their sound was reminiscent of the Canadian band Maneige in their middle period, a smooth, almost symphonic jazz-rock rich with color and depth. By 1989's Cheval, the band had again switched directions somewhat, opting for a heavily classical symphonic sound, leaning in the direction of bands like The Enid, but with their own unique twist of instrumentation and percussives. The Voyage, is a 2CD set with special packaging, and carries the band forward in the direction they were headed with Cheval. Since the band has had three fairly distinct periods, where you begin with them is simply a matter of preference of one style over another. All are highly recommended.
Isildurs Bane's eclectic mixture of jazz, chamber rock, and progressive rock has won them acclaim. Sagan/Sagan contains their first work, Sagan Om Den Irlandska Algen, in the French symphonic style ala Edhels, Minimum Vital, etc., with vocals, and their interpretation of "Lord Of The Rings," Sagan Om Ringen. The latter is slightly mellower, with the emphasis on keyboards and acoustic guitars, with, perhaps, hints of Anthony Phillips' style thrown in. These are just general comments, and, on a track-by-track basis Isildurs Bane show that they are capable of a wide variety of styles. This is strengthened by the Reflections/Eternity set, their 3rd and 4th releases, in which the music takes a "jazzier" turn, and vocals, which were intermittent on their earlier material, are completely dispensed with. Those who enjoy the French bands mentioned earlier should find this set worthwhile. Their next release, Cheval, was recorded with an orchestra and is an unusual, but effective blend of chamber rock and classical music. The Voyage is a 2CD set that is packaged in a suitcase-shaped box. Sub-titled "A Trip To Elsewhere," this is a concept work, based on the travel fantasies of a gentleman named Adolfo Wolfi, and includes an insert with substantial text and illustrations to accompany the music. The presentation is very ambitious, and the music does take the band a league up in the true "progressive" sense. The chamber rock influence persists, with contributions by a choral ensemble, and the John Zorn trio, all within a rock music framework. In addition, Bjorn J:Son Lindh contributes flute and Janne Schaffer plays guitar on a few tracks. If you liked Cheval, this one is sure to please, but the release stands on its own merits, for being challenging from a musical and presentational point of view.
Sagan om den Irlandska Algen/Sagan Om Ringen is in fact a compilation of two releases, similar in style, from their debut period. This ensemble includes keyboards, guitars, bass, drums, flute, saxophone and few vocals (in Swedish). The delicate work on compositions and arrangements is also remarkable. This light symphonic rock, with its jazzy grooves, remains fresh and original despite the abundance of short tracks. The music is based on the keyboards/guitars combination but its development usually goes beyond this simple framework. A production without much flash that can take a few listens before appreciating its qualities. Sea of Reflection/Eight Moments of Eternity features two recordings from the same period where the group proposed a light jazz-rock fusion with symphonic touches. The group of eight musicians uses the usual electric instruments but also relies on percussions and brass. The short format of the many tracks favours arrangements where the role of the instruments alternates between solo and accompaniment. Despite an electric sound, rock elements are pretty discrete in this music, inspired by jazzy rhythms, that makes sustained use of a brass section. A Trip to Elsewhere offers a conceptual work with a very ambitious presentation (see booklet and case). The music is also very special with its curious mix of symphonism, rock, jazz and chamber music. The unpredictable arrangements include a trio (piano, violin and cello), electric rock (guitar, keyboards, bass and drums) and jazz (with vibes and saxophone). Passages with a choir and flute are also part of the package. In fact, this rich production offers quite an adventure to people who appreciate an often quiet music with sonic configurations alien to the usual symphonic rock. -- Paul Charbonneau
Oh, how many reviews I've read in different magazines, webzines and even in the Gibraltar Encyclopedia of Progressive Rock with mentions that the best Progressive bands from Sweden are Anglagard (almost always) and Anekdoten, - with few other additions sometimes. Reading and re-reading a solid article on Isildurs Bane in the same Gibraltar EPR, I was always eager to get and listen to at least one of their albums, most of which, according to GEPR (and there are several different opinions on Isildurs Bane's creation, the majority of which sounds professionally and very enthusiastic about it) are extremely different among themselves, though - always - in the presence of the band's firm spirit (not even a style!). So, reading the GEPR article I was practically sure that this very band - with such a diverse discography (thanks to a constant search for new forms of their music, as I just learned from the MIND Vol. 1 CD booklet) and the absence of influences - is the best band Sweden has to offer. Because, with all my deep love for Anglagard and Anekdoten, it should be obvious to a more or less experienced Prog-head that both these bands (as well as the majority of Swedish symphonic progressive bands in general) have the only one yet all-absorbing passion whose name is King Crimson. So thanks a lot to Jonas Christophs for sending me the last Isildurs Bane studio album (actually he sent it to me twice, but the first copy must have been stolen somewhere on the way). Now I know I had been right to think of Isildurs Bane as of the best band of Sweden long before I listened to it at last. On the other hand, I was wrong to consider Isildurs Bane just the best Swedish band, so - in this respect - read the end of this review attentively and please believe my words.
Flowing fluidly one into another all the seven compositions of MIND (which is an abbreviation of "Music Investigating New Dimensions") are probably the most wonderful music I have heard for the last two years. Briefly, this is a unique, distinguished blend of contemporary Classical Music and Symphonic Progressive Rock with extremely complex structures. Actually, this is music for ProGfessors - the most experienced part of Progressive Rock lovers, and of course, all the true connoisseurs of Progressive Music in general (Classical, Neo-Classical, etc.) will fall in love with this album, too. Distinctly original MIND Vol. 1, composed by Maestro Mats Johansson and arranged by him together with his wonderful mini-orchestra of virtuosos called Isildurs Bane, sounds neither dark as Univers Zero nor light as Art Zoyd. Music flows like thoughts of an open-minded wise man, thoroughly reflecting all his emotions that are always constructive. Also, on MIND Vol. 1 I hear a harmonic joint work of electric and acoustic instruments that I've never heard before. Keeping in mind the same Univers Zero and Art Zoyd (early only), whose music's general direction is similar to Isildurs Bane's on MIND Vol. 1 (sadly enough I haven't heard their other works), I don't find such a unique combination in their, generally, ingenious creation. I am really amazed how the wonderful electric guitar's (quite heavy sometimes) diverse moves harmonize the landscapes typical for Classical Music. And such unique, truly innovative musical discoveries abound everywhere on MIND Vol. 1.
Listening to MIND Vol. 1 is a wonderful journey to new realms of the endless Lands of the Queen of all Muses whose name is Progressive Music. In my view, Isildur's Bane is not only the best band of Scandinavia and Eastern Europe taken together, but one of the best progressive groups ever existed - on par with all those who we call Titans. And the MIND Vol. 1 album is a real Classic for all times - no matter whether it's Future, Present or Past. Time will never show us his cards just tangling them for our virtual world confused by the Eternal Questions, but Music, living in Eternity, is not in the power of it. -- Vitaly Menshikov
Links
Sagan Om Den Irlandska Algen / Sagan Om Ringen (1984/88)
In the 1980:s Isildurs Bane were one of the few.
A European prog band who worked consistently throughout that troubled decade, releasing no less than five high-quality albums and making real progress with every release.
Their first four releases are available as two 2-LPS-on-a-CD packages. Their 1984 debut album "Sagan Om Den Irlandska Algen" (The Legend of the Irish Elk) features the highly symphonic keyboards of Mats Johansson and a strong rhythm section - the two consistent elements on all of the band?s releases. In addition this album has a strong folk-influence, already evident in the bright and bouncing melodies of the opener "Overtyr" (Overture) but clearer still in the pretty vocal ballads (vocals are present in about half the songs but in secondary role) like "En Vilja Att Leva" (A Will to Live); rock is still the foundation of their style, with lot of melodic guitar work and energetic drumming, and some jazziness is detectable, the kind of polished, subtle fusion feel comparable to what Edhels or Minimum Vital would be doing in a few years time.
The band operate in short song format (no song goes over six minutes), are incredibly melodic and have the kind of spirited attitude and tasteful technical skills which allow them to do complex and adventurous things while still avoiding any pitfalls of pomposity. They use a wide arsenal of instruments from guitars and vintages keyboards (Mellotron, analog synths) to flute, sax and lots of tuned percussion, the latter used in a way that sometimes calls to mind Gentle Giant. Put all this together and you have an album that sounds : a) quite original, b) bloody marvellous.
"Sagan Om Ringen" was actually recorded and released on cassette back in 1981, but it only got an official vinyl release in 1988 after being partially re-recorded and reshuffled. A musical interpretation of Tolkien?s "The Lord of the Rings" is hardly an original concept but musically this leaves little to be desired.
The overall feel is similar to the first album, but the symphonic sound is more pronounced and there is more variation in style, from the joyful folk-rock romping of "Tom Bombadill" to the screaming voices and percussion of '"Moria" and the grand symphonic conclusion that is "Ringarnas Harskare" (Lord of the Rings).
Keeping the songs short doesn?t denote a shortage of ideas that can be crammed into a single composition and anyway themes are reprised and developed throughout the album. Probably their finest hour (well, their finest 34 minutes or so). As a whole this CD is an excellent and cost-efficient way to obtain two great prog albums.
--------------------------------------------------------------------------------
Sea Reflections / Eight Moments of Eternity (1985/87)
This CD contains Isildurs Bane?s second and third albums.
"Sea Reflections" sees a lot of changes since their debut "Sagan Om Irlandska Algen", as the band have gone completely instrumental, added a full horn section and taken a big step towards a jazzier territory. However, guitars are still prominent and keyboards symphonic, and the basic rock vibe is as vibrant as ever. The album has a polished and a more modern sound with lot of digital and analog synth textures mingling and synth toms added to the percussion arsenal. The opening song "Blizzard", true to its name, bursts out from the speakers like a snowstorm, with a rhythm that swings, and a melody that is as infectious as the bubonic plague; very energetic, melodic, up-tempo and up-beat music, with enough rhythmic complexity and intricate playing to satisfy the more demanding prog heads.
On the calmer end of the spectrum is "Sea Reflections Part II", a haunting aquatic sound scape of vibes, rich keyboard layers and a grandiose melody which is developed by various keyboards, guitars and wind instruments. Closest comparison I can think of is Kenso?s "Zaiya Live" album, but Isildurs Bane?s music is more melodic and not quite so wild. Apart from the horns getting a bit overbearing at times, I can find nothing to fault here, even if the album isn?t quite as innovative as its predecessor. "Eight Moments of Eternity" tones down the horns to give more room for keyboards and even brings the flute back.
As a result the album retains the jazziness of "Sea Reflections" but has a stylistically more diverse approach which reminds of "Sagan Om Ringen". There is the dream-like "Lady In Green" with its enchanting, gradually swelling melody, the relentless rhythmic pulse and hectic horns of "The Factory Man", and "The Second Step", whose classical influences and orchestral arrangements hint at the direction the band would be heading next. Again the sound is very smooth and polished, but by no means sterile.
These two albums go well together, forming a package that, while not quite as good as the "Sagan" CD, has no weak moments and should please most prog fans, especially those into symphonic fusion.
--------------------------------------------------------------------------------
Cheval - Volonte de rocher (1989)
Isildurs Bane?s fifth album is a quite drastic departure from the light symphonic fusion of their previous albums.
Featuring full-blown orchestral backing provided by the strings and woodwinds of the Hallandsensemblen, "Cheval" enters the realm of chamber rock and contemporary classical music. The most striking thing about the album is how the band manage to combine all the elements so smoothly : the band and the orchestra are integrated seamlessly, so that this is not about the band playing and the orchestra following in the background, but neither are the band?s guitars and ample percussion arsenal subdued into classical sterility. The typically sublime melodies combine with finger-breaking keyboard work, and heavy classical sound with rock power in a way that prog bands occasionally try but rarely succeed.
The end result is unique and highly successful, an intricate but emotional work mixing diverse elements to create something totally new (that?s what progressive rock used to stand for). The only bands doing something similar would be The Enid and After Crying, but Isildurs Bane are less ponderous than The Enid and more melodic than After Crying (not that I don?t like both of these bands), and their style is their own. More than any other of their albums, "Cheval" is a single album-length work, with songs running together and themes reprised and developed throughout, and apart from some spoken French and a wordless chorus completely instrumental. As such, it is less accessible and more demanding than their earlier works but with a little effort just as rewarding.
--------------------------------------------------------------------------------
The Voyage - A Trip to Elsewhere (1992)
The sixth Isildurs Bane album finds them still going strong and provides perhaps the most eclectic listening experience of all their albums.
The neo-classical style founded in "Cheval" is still the starting point, but without orchestral backing the sound is less symphonic (even though The Zorn Trio provides violin and cello on some tracks).
On one hand there are the 10+ tracks like "Wild as a Toad" which carry the classical rock sound further into a wilder, more experimental territory.
On the other hand there are the calmer, more formal cycles "Picassiette" and "La Sagrada Familia", the former based on very classically-styled piano playing, while the latter is a series of choral pieces featuring the voices of the Halmstad Vokalensemble, as well as flute, guitar and drums. Elsewhere "Das Junkerhaus" finds them back in the realm of soft jazz with its passionate sax work. Hence the album covers a whole range of moods from dissonant to beautiful.
Overall "The Voyage" is uncompromisingly adventurous, perhaps to a point of being too much take in one go, especially considering its length. Perhaps not as successful as some of their earlier works, the album is still full of wonderful and original music and deserves more attention than it has had.
The original CD release was a double album packaged to resemble a suitcase, but this remastered edition wisely puts all the material on one disc housed in a stylish digipack.
--------------------------------------------------------------------------------
Lost Eggs (1994)
Outtakes compilations are usually to be avoided at all costs, as they are often cobbled together from any remotely playable bits of tape left lying around in the archives by the record company in a desperate effort to squeeze out the last few squirrel skins from their artist roster and to balance the books/finance a new upholstery for the executive limo.
The letter "I" seems to be an exception to the rule, as IQ?s The Lost Attic was full of excellent material and so is Isildurs Bane?s Lost Eggs. These sixteen tracks were recorded between 1976 and 1993, but stylistically they come closest to the band?s first four albums.
The material recorded before their first album (1978-82) is the heart of this compilation, as here Isildurs Bane?s early symphonic sound is shown in a less polished but more elaborate form: lush and folky vocal ballads ("I skuggan av var tid") mingle with instrumental workouts full of highly melodic interplay between guitars, flute and various keyboards in the same style as in the two Sagan albums, but here even closer to the tradition of 1970?s symphonic rock.
Later track display the slick, but still symphonic fusion sound the band explored on Sea Reflections and Eight Moments of Eternity, which isn?t quite as compelling as the earlier material, but there?s still no reason why these outtakes couldn?t have replaced some of the tracks on those albums.
Only two tracks have appeared elsewhere and even then in different versions: there is a reasonable live version of Sea Reflection?s "Top Secret", and the album opens with a high-energy band version of "Second Step" which is quite different from the more refined chamber-rock version featured on Eight Moments of Eternity. There are a few songs that don?t really work for me ("Looping") and one short joke track ("Den fula ankungen"), but the overall quality of this material is excellent; in fact, the best of these rejects walk all over most songs some prog bands put on their official releases.
Recording quality understandably fluctuates, as some material was recorded live, some in various studios, but apart from tape sticking for a second in one track and small lapses in a few of the early performances, this is all up to band?s high standards. Very up-beat, vibrant and melodic brand of prog.
While this isn?t the album with which to begin your voyage into Isildurs Bane?s music, those who have sampled and liked the band?s early style should definitely get this basket of lost, but fortunately not forgotten eggs.
--------------------------------------------------------------------------------
Heureusement, c'est aux suedois de ISILDURS BANE quiaugurait la lourde tache de succeder a ce succedanne de prog'... Auteurs de plusieurs albums de differents styles, progressif, neo-classique, jazz, jazz-rock, experimental, etc., c'etait une gageure que diesperer deviner ce qu'allait nous jouer le groupe sur scene. Tres impressionnant visuellement parlant, les cinq musiciens (seul manquait a l'appel le violoniste Joachim Gustafsson) occupaient l'integralite de la (trop petite) scene, avec des etalages de claviers et de percussions impressionnants !
La bande a Mats Johansson (clavieriste et compositeur de la majorite des morceaux) a delivre un set EXTRAORDINAIRE de puissance, d'harmonie, d'emotion (je manque de superlatifs). Aucun instrumentiste n'est mis en valeur plus qu'un autre, meme si c'est bien sur le guitariste-chanteur Jonas Christophs (un " gentil geant " litteralement !) et le fabuleux bassiste Fredrik Emilson qui presentait les morceaux, que l'on voyait le plus ! Klas Assarsson nous a enchante par la variete de ses multiples percussions (marimba, vibraphone, xylophone, gongs, cloches et tout le toutim...) alors que son collegue Kjell Severinsson s'occupait de la section rythmique proprement dite (batterie plus traditionnelle agrementee aussi de percussions). Des morceaux des periodes les plus recentes ont ete joues, extraits consequents de Cheval-Volonte de Rocher bienvenus en terre " francaise ", mais aussi de The Voyage-A trip to elsewhere ainsi que de nombreux extraits de leur dernier opus MIND volume 1, extraordinaire album s'il en est ! Nous eumes meme droit a un morceau inedit, adaptation d'un morceau ecrit au debut du siecle, surprenant par son " actualite " ! Si je vous dit que le concert fut " stoppe " au bout d'une heure par les organisateurs, au grand desarroi du groupe (qui devint presque de la colere teintee diamertume a la sortie de scene), pour cause de retard consequent, vous mesurez l'etendue des degats question organisation. Nous nieumes donc pas droit a un seul rappel du groupe qui etait la tete d'affiche du festival, des musiciens ayant parcouru des milliers de kilometres (20 heures de route !) pour nous. Un comble ! Le groupe obtint cependant une standing-ovation meritee apres de chaleureux applaudissements a la fin de chaque morceau, meme les plus " etranges ", quel public vraiment ouvert d'esprit, bravo !Heureusement, c'est aux suedois de ISILDURS BANE quiaugurait la lourde tache de succeder a ce succedanne de prog'... Auteurs de plusieurs albums de differents styles, progressif, neo-classique, jazz, jazz-rock, experimental, etc., c'etait une gageure que diesperer deviner ce qu'allait nous jouer le groupe sur scene. Tres impressionnant visuellement parlant, les cinq musiciens (seul manquait a l'appel le violoniste Joachim Gustafsson) occupaient l'integralite de la (trop petite) scene, avec des etalages de claviers et de percussions impressionnants ! La bande a Mats Johansson (clavieriste et compositeur de la majorite des morceaux) a delivre un set EXTRAORDINAIRE de puissance, d'harmonie, d'emotion (je manque de superlatifs). Aucun instrumentiste n'est mis en valeur plus qu'un autre, meme si c'est bien sur le guitariste-chanteur Jonas Christophs (un " gentil geant " litteralement !) et le fabuleux bassiste Fredrik Emilson qui presentait les morceaux, que l'on voyait le plus ! Klas Assarsson nous a enchante par la variete de ses multiples percussions (marimba, vibraphone, xylophone, gongs, cloches et tout le toutim...) alors que son collegue Kjell Severinsson s'occupait de la section rythmique proprement dite (batterie plus traditionnelle agrementee aussi de percussions). Des morceaux des periodes les plus recentes ont ete joues, extraits consequents de Cheval-Volonte de Rocher bienvenus en terre " francaise ", mais aussi de The Voyage-A trip to elsewhere ainsi que de nombreux extraits de leur dernier opus MIND volume 1, extraordinaire album s'il en est ! Nous eumes meme droit a un morceau inedit, adaptation d'un morceau ecrit au debut du siecle, surprenant par son " actualite " ! Si je vous dit que le concert fut " stoppe " au bout d'une heure par les organisateurs, au grand desarroi du groupe (qui devint presque de la colere teintee diamertume a la sortie de scene), pour cause de retard consequent, vous mesurez l'etendue des degats question organisation. Nous nieumes donc pas droit a un seul rappel du groupe qui etait la tete d'affiche du festival, des musiciens ayant parcouru des milliers de kilometres (20 heures de route !) pour nous. Un comble ! Le groupe obtint cependant une standing-ovation meritee apres de chaleureux applaudissements a la fin de chaque morceau, meme les plus " etranges ", quel public vraiment ouvert d'esprit, bravo !
--------------------------------------------------------------------------------
This biography is a summary based on several interviews made over the years with various members of Isildurs Bane.
Where does the name "Isildurs Bane" stem from?
Isildurs Bane is, both in the original English version and in the translated Swedish one, one of the several names of "The Ring" in J.R.R. Tolkien's trilogy "The Lord of the Rings". When the band was formed in 1976, there was a huge interest in the fantasy style in books, art and music, making it quite natural to choose a name associated with the kind of music we made.
Who were the former members and what were your main influences?
The group started like any other amateur band, although with an ambition somewhat higher than most of the others. The former members came from two disbanded groups, which both played a kind of symphonic rock. Kjell Severinsson - Drums, Jan Severinsson - Flute & Violin, Mats Nilsson - Guitar & Vocals, Ingvar Johansson - Bass, Bengt Johnsson - Keyboards and Dan Andersson - Guitar & Oboe. Aged between 15 and 19, our main influences lay within the English symphonic rock scene, notably bands like Gentle Giant, Genesis, Yes and ELP.
What kind of music did you play in the early days and did you at that time really know exactly what you wanted to do?
In those days Isildurs Bane played in a far more symphonic style than on the"Sagan om Ringen" and "Sagan om den Irlandska Algen" albums. Some of the songs were verging on half an hour long, which felt right at the time. Now we're acting on the same principles as we've always done - we do what we feel we have to. Nineteen years is a long time. You mature, yearning to develop and experience as much as possible while retaining your integrity. Over the years we've gathered a lot of impressions from all around, though mainly from fusion, jazz, classical and theater music.
Our musical development has also to do with new members coming from different backgrounds, such as pure rock, funk, classical and jazz. But despite our curiosity we've always retained a personal touch in our music; the harmonies, the melodies, the structure... So yes, we've always known what we wanted to do and we've always done it!
When did Mats Johansson join the group and what influence did he have on the musical development of Isildurs Bane?
When Mats joined in1977, he replaced one of the guitarists. As a consequence, the band had two keyboard players until '81, when Bengt Johnsson left the group. In Isildurs Bane, two keyboard players were much more suited to our sound than two guitarists. Mats has contributed a great deal to the group's musical development.
He's a font of ideas and has over the years emerged as Isildurs Bane's main composer. Without him, no one can tell where Isildurs Bane would have been today.
When did you go on your first tour and with what material did you tour?
We had our first real tour in 1982. Before that we had done a lot of concerts, but they were more in singles. We even performed two live radio gigs. We toured with "Sagan om Ringen" but also with lots of other material, some of which was recorded but never released.
When did you release your first LP?
"Sagan om den Irlandska Algen" was released in 1984. It's a story about nuclear war really happening and the reactions of human beings; the resulting apathy, narrow-mindedness, fear and panic.
Why did you create your own label?
We'd worked hard to cut a record deal, but most companies felt that Sweden was too small for our kind of music. The only option we had, it seemed, was to create our own label.
On your second album - "Sea Reflections" - you abandoned lyrics. As your music had always been based on narrating themes, wasn't it hard to express something specific without words?
The album "Sea Reflections" is a tribute to the sea and the people who work for its survival. Expressing that without words is of course a very difficult task. But we dropped the lyrics because it was a natural move in our development. When we worked on "Sagan om Ringen" and "Sagan om den Irlandska Algen", we had also written a lot of instrumental music, knowing that we wanted to express ourselves through our instruments as opposed to lyrically. We've used words on the record covers and booklets to try to touch people's hearts and minds, but the most effective way to express ourselves has been via live acts. Latterly we've cultivated our own stage style, seeking through total expression to seize people's imagination. To this end we use lights, pre-recorded sound effects, words, scenography, variable attire and more. We also use some lyrics, spoken not sung. It's our conviction that man, particularly in this day and age, needs to tap into his imagination.
On "Sea Reflections" you embraced a new, more brass oriented sound. Why?
We've always wanted to develop our music in different directions, and on "Sea Reflections" we experimented with a type of symphonic jazz. The saxophonist Bengt Johnsson had played with us since 1982, but it was not until 1985 that he became a permanent member of Isildurs Bane. His sax playing meant a lot to us and made us more aware of wind instruments, inspiring us further to use the brass section in our music.
When did you start touring abroad?
1986 saw our first international tour. We kicked off with a three-week stint in Germany, doing gigs far and wide. Now and again we'd do intimate overcrowded pubs, which entailed skipping the show and focusing fully on the music.
Plenty of rave reviews, then?
The audience truly appreciated our thing. So, yes, it was a wonderful experience that made us proud of what we were doing. We decided to do more international tours.
In 1987 you released a new LP - "Eight Moments of Eternity". It seems that musically you pursued the same direction as on "Sea Reflections"?
Yes, we continued composing instrumental music, though we reverted to a more traditional Isildurs Bane sound - plenty of keyboards instead of the "jazzy" sound heard on "Sea Reflections".
What of these eight moments of eternity?
Since our previous records had been more or less bound to one theme on each album, we wanted to make a record with tunes without any special connections between them. Rather like a book of short stories instead of a novel. Of course, this is what records usually are, but it meant something special to us. In terms of themes, we've always yearned to express an opinion in a song or at least have something to tell, even though it's instrumental. We try to use music to make an illustration of something - a mood. In this case there are eight themes, ranging from high flying dreams in books and the imagination, to the frequently harsher cold reality of industrialism.
On "Eight Moments of Eternity" Fredrik Janacek replaced Stigge Ljunglof, who had been playing bass with you for two years. What was Janacek's contribution to the group?
He came from a background of jazz/funk, R&B and theater music. His involvement, not least from an artistic perspective, had a major impact on the group.
In 1988 you released the LP "Sagan om Ringen". Why the long wait?
In 1981, when we made "Sagan om Ringen", we had no record deal. We had, however, recorded a lot of the material in the studio. So we released a cassette based both on that material and some live recordings. It sold more than 3000 copies.
When we set up Isildur Records HB it felt a little passe to release it on LP, given that the live recordings weren't good enough to go on record. But "Sagan om Ringen" has always meant a lot to us - we made ourselves a name through that album. What's more, there was an increasing demand for it, and we happened to have some time and money left to spend on it. We re-recorded some material where previous recordings didn't fit, wrote a few new songs and put everything together.
The very same year you toured in Sweden, Germany and Hungary. What were your experiences of Hungary?
Hungary is a long story. Mats Nilsson, who came down with appendicitis, was stuck in a Hungarian hospital. So we had to cancel the tour. But we had our minds set on this, and in the end we managed to pull it off. We had some excellent shows in Budapest. The Hungarians made us feel really welcome. A truly superb audience and we hope to be back there soon.
How did you find Ferdinand Cheval and his "Le Palais Ideal", and why was he chosen as a concept for your next album?
We spotted Ferdinand Cheval in a magazine article and found him and his work a perfect subject for an orchestral piece - something Mats Johansson had been planning for a long time. In Cheval and what he did we found quite a close relationship to the subjects and opinions we had always tried to put into our earlier productions - going beyond the conventional, retaining the integrity of one's own ideas no matter what.
He was an amazing man, wasn't he?
Indeed! We visited his castle "Le Palais Ideal" in 1988, and it's fantastic. It took him 33 years to build it with his own hands. It's testimony to the monumental will of a man who never gave up despite all the abuse and other difficulties.
Did you tour with "Cheval" using the same orchestral setting as on the album?
Yes, we actually toured with the orchestral setting before we recorded the album. It was a major experiment. We worked with "Hallands Ensemblen", a local, professional chamber orchestra expanded with a small brass section. We also collaborated with Christian Jerhov, a guy who had previously played trombone with us. He helped to translate our ideas into orchestral arrangements. This was also the first tour with our new guitarist Tommy Nilsson. We really put our backs into it. Besides the music, the show and the tapes, we built the scenography ourselves - a job which took us several months. In the end, the tour was seen by over 17000 people and the whole project was a huge success. It just shows you how you can reach your goals, not least artistically, by crossing frontiers.
How did you record it? Weren't there any musical conflicts between settings?
As we had toured with "Cheval" before we recorded it, any differences had been ironed out. Our intention was to weave our different musical settings together in the arrangement, and not just use the orchestra as a complement. This was new to us and nobody knew what it would sound like. Happily, we were helped a great deal by our co-producer, guitarist Jan Schaffer, renowned worldwide.
In the fall of 1989, you toured with "Cheval" and the new guitarist Bo N Roth, but this time without the chamber orchestra. How did that pan out?
It worked out fine. There was more rock n'roll about it. Bo is a supremely gifted guitarist, whom we'd known for a while. When Tommy quit Bo gave it a go and it turned out very well. We played in Sweden, the Netherlands, Germany, Czechoslovakia and Hungary. Everything from small clubs to concert halls. It was highly interesting to be in Czechoslovakia at that time. The regime was collapsing and people were demonstrating in the streets. With soldiers and police everywhere, the atmosphere was truly menacing. When the riots began we were caught in the middle.
What happened between 1990-1991? You got a new bass player, Fredrik Emilson, but you didn't tour or release any new material until 1992.
Well, a lot happened. Fredrik Janacek left Isildurs Bane and was replaced by Fredrik Emilson, a gifted young bassist who also plays keyboard and percussion. We tackled a rich variety of theater music projects: Dickens' "A Christmas Carol", children's plays and more. Isildurs Bane has always yearned to break new ground, which is ultimately why we embraced these various forms of artistic expression. In the spring of 1991 we were set to tour Europe, but illness within the group forced us to cancel.
How did you set about your work with the double CD "The Voyage - A Trip to Elsewhere"? It contains so many different musical styles and influences mixed in such a wonderful way.
We started by doing a piano trio version (violin, cello and piano) of the main theme of the album - "The Voyage" Part I to IV. Mats Johansson wrote the music and Jan-Erik Saaf, an old friend of ours, arranged it. Then we arranged it collectively within Isildurs Bane on the basis of the piano trio version, but with a lot of additional developments. After that we put everything together and went on tour in Sweden. We were joined by"The Zorn Trio", an accomplished Gothenburg based piano trio. Nobody knew what that would sound like. Merging an instrumental rock oriented band with a classical piano trio had never been tried before, as far as we knew. On the other tunes we proceeded differently. Some were classic"Isildurs Bane productions , such as"Nimis" and "Das Junkerhaus". Others were in a more minimalistic vein - the three "Picassiette" pieces, where the grand piano played simple melodies and we filled in with various small-scale instrumental additions. We used a choir on the four "La Sagrada Familia" songs to illustrate the day, evening, night and morning in the cathedral of the same name. Then we enhanced it by applying flute, guitar and percussion.
This is an album where much of the inspiration has been gleaned from a wide array of unconventional sources, notably from such artists as Adolf Wolfli, Raymond Isidore, Karl Junker, Antoni Gaudi and Lars Vilks. How has it been possible to blend them into your production?
It's hard to explain because they're connected in so many ways, but the entire concept amounts to a voyage on several levels. It starts off as a journey inside Adolf Wolfli's fantasy world, followed by a journey between these other practitioners of unconventional art. Finally, it's a musical odyssey touching on all the styles. Basically, it's a trip to elsewhere.
You rearranged "The Voyage" Part I - IV prior to your autumn 1992 tour of Czechoslovakia. Why, and which setting did you use this time round?
As we said, we've always striven to develop our music in different directions. This time we wished to develop the same piece of music. In this version we decided to add more percussion, while retaining the modern/classical tension. We worked with a great percussionist, Klas Assarsson, who used everything from mallets to timpani. Moreover, we retained the album structure, as well as Joachim Gustavsson, the Zorn Trio violinist. This made for an extremely powerful setting - drums, percussion, bass, keyboards, guitar and violin. What's more, we loved it!
In 1992 some of your old albums were released on CD. Are all your records currently available on CD?1
Yes. We released both "Sagan om den Irlandska Algen" and "Sagan om Ringen" on one CD. Similarly, "Sea Reflections" and "Eight Moments of Eternity" were released on the same CD.
How can you make such sophisticated, anti-commercial music and still have the chance to make new albums?
Making non-commercial music is hell. Fortunately, in Sweden the state supports this type of work. Since Sweden is such a small country, there is no way to satisfy all musical tastes by working without this support. So, without state subsidies, new non-mainstream music such as jazz, fusion, folk music, progressive rock, avantgarde and experimental music would be a rare occurrence indeed on the Swedish music scene.
In 1993 you started to do live concerts together with Jan Schaffer and Bjorn J:son Lindh. How did that turn out?
Well, Jan Schaffer and Bjorn J:son Lindh had been contributing musically on both "Cheval" and "The Voyage", so it was natural to ask if they would like to play with us live. The first concert was at "Gotaplatsen" in Gothenburg - an outdoor concert in the evening with an 8000 strong crowd. It was a good experience because we'd never previously performed under such circumstances. We played material from "Cheval", "The Voyage" and from Jan's and Bjorn's collections. At first the audience appeared slightly bemused. People sporting white coats and headlamps, dancers, painters and cyclists accompanied by a cacophony of music. But everything worked out brilliantly. So we decided to do something more with this constellation. In the spring of 1994 we did a Swedish tour, employing the same concept.
At that time you got a new guitar player, Jonas Christophs?
Yes, Jonas is a very gifted and personal guitarist whom we'd known for some time, and when we needed a new guitar player he was the obvious choice.
Early1995 you went to Umea in the north of Sweden to work with the Umea Symphony Orchestra. How did this collaboration come about? And how did it turn out?
Our violinist Joachim Gustavsson was working as leader of the orchestra. He came up with the idea and the management and orchestra were positive. So we rearranged "The voyage" once more together with Jan-Erik Saaf. This is probably the last version of "The Voyage" and quite possibly the best. It was a large-scale project with a lot of scenography, b/w film and other props. The orchestra and the band were situated in the middle of a big installation with sophisticated lighting. The result was a kick for all, and we may well develop the ideas further still.
Isildurs Bane have chosen to release their albums on labels owned by the group. Why?
Mainly for one reason: We compromise within, not outside the group. We make all the decisions and invest any funds in new productions. Initially, Svenska Unikum was meant to record and distribute music touching on Isildurs Bane's musical spheres. Unfortunately, we haven't seen that money yet, although the problem may well be resolved in the not too distant future.
What's been your perception of Isildurs Bane and its contemporaries over the years?
From the very start there has been an essential, basically unaltered, structure within Isildurs Bane. It's centred around a somehow natural level of quality and progression, two themes that have always formed the basis for every composition by the band at a any given point. In 1976, when the punk movement turned the so- called progressive movement on its head, the winners were the major record labels. The cul-de-sac which the big 70s groups found themselves in had been created by the pomposity of the groups themselves. Previously, there had been an interest in quality - like in poetry or art - but all of a sudden music could no longer develop and flourish.
The older members of Isildurs Bane were brought up musically at a time when ELP, Yes and Genesis were appearing in the charts. New members come and go and in some ways things change to a degree, but the fundamental ideas remain unchanged. Nobody has seriously challenged the basic ideas by suggesting, for instance, that Isildurs Bane should play a more accessible form of music. Isildurs Bane have always been able to perform different projects where musicians could realise ideas that could not be heard in another context. At least not locally.
Mats Johansson's role as the group's composer is somewhat paradoxical. He has to be historically consistent, but at the same time develop and progress. This situation is a constant source of stimulating discussion within the group. As to influences from the 70s bands we grew up with: We think we carry them with us even though no-one in the group really listens to those bands anymore, King Crimson being one rare exception. The younger members have never listened enough to progressive rock to be influenced by it in the first place. There seem to be several problems regarding the newer progressive bands; many are more concerned with belonging to a genre than challenging the expectations of the audience, the record labels and the distributors. This would never happen if the music is truly progressive. It is very frustrating to know that if we decide to use a trombone section for example, sales drop immediately. We prefer to make a distinction between progressive and symphonic rock. The former represents creative music making, the latter is useful for finding a label the record business can put on the music in order to sell it to a specific audience. Isildurs Bane is an electronic chamber orchestra.
Isildurs Bane 2001
Klas Assarsson - Mallets & Percussion
Fredrik "Gicken" Johansson - Bass
Joachim Gustafsson - Violin
Mats Johansson - Keyboards
Jonas Christophs - Guitar
Jan Severinsson - Sound
Kjell Severinsson - Drums & Percussion
Discography
"Sagan om den Irlandska Algen" (LP - IRLP 001 CD - SUCD 392)
"Sagan om Ringen" (LP - IRLP 088 CD - SUCD 392)
"Sea Reflections" (LP - IRLP 002 CD - SUCD 492)
"Eight Moments of Eternity" (LP - IRLP 003 CD - SUCD 492)
"Cheval" (LP - IRLP 004 CD - IRCD 489)
"The Voyage - A Trip to Elsewhere" (CD - SUCD 192)
"Lost eggs"(CD - SUCD 194)
"MIND Volume 1"(CD - SUCD 197)
"MIND Volume 2 LIVE
