A Quest for Prog 3: Änglagård - Epilog

"A Quest for Prog" is a series of 50 Progressive Rock reviews to be written over a year.  The band selection is taken from the book in the first post on this blog.  And the albums I am reviewing is based on the highest user ratings for each band on Progarchives.com.

Änglagård - Epilog (1994)

Produced by Änglagård & Roger Skogh

Mattias Olsson – Drums, Cymbals and Percussion

Johan Högberg – Bass

Thomas Johnson – Hammond organ, Mellotron and Keyboards

Jonas Engdegård – Guitar

Tord Lindman – Guitar

Anna Holmgren – Flute

Åsa Eklund – Voice

Martin Olofsson – Violin

Karin Hansson – Viola

Jan C. Norlander – Cello

Track listing:

1. Prolog (2:00)

2. Höstsejd (15:32) (Rites of Fall)

3. Rösten (0:14) (The Voice)

4. Skogsranden (10:48) (Eaves of the Forest)

5. Sista somrar (13:10) (The Last Summer)

6. Saknadens fullhet (2:00) (The Fullness of Longing)

Released in 1994 "Epilog" was the second and last album by Swedish band Änglagård. 

“Epilog” is essentially three 10 minute plus instrumental works with a few short pieces to top and tail the album.  The songs share a similar compositional structure in that they move from mellow passages to heavier passages (reminiscent of Dream Theater and Rush) a number of times within one song.  The band are very accomplish musicians and can tackle extreme shifts in time and texture with ease.  But for me the mellow passages of these tracks are where they get interesting.     

The first song “Prolog” is more of an intro to the record with strings and flute.  It sounds like the opening credits music to an old B&W film. 

“Höstsejd” is the first of the three major compositions and for the first 5 or so minutes sounds like a cross between Rush and Yes.  The next section is a stripped back Flute, Keyboard and Guitar passage that has some great restrained playing.  It’s quite folky and atmospheric and goes on for about 4 minutes before returning to the signature from the first section.  This section goes for a few minutes before the forth section begins with a subtle piano and then the Flute returns for some interesting lines and melodies before the last section.  This section features what I can only describe as a carnival keyboard line and slowly ramps up with the Guitars, Bass and Drums entering into a jumble at the end of the song. 

“Skogsranden” is preceded by a very short vocal intro “Rösten”.  “Skogsranden” begins with a slow guitar, Flute and Piano section which reminds me of British folk groups like Pentangle.  It builds up for 2 and half minutes before the drums begin.  The second section features the electric instruments and some interesting synthesized vocals.  There are a number of time changes and Guitar, Bass and Keyboard acrobatics in this section.  Good fun.  A third section begins about 5 minutes in.  This section features some nice subtle bass playing and female vocals.  Kind of gothic and it reminds me of quieter passages that norwegian black metal bands love.  The flute returns for some nice lines.  The quite is broken at the 9 and a half minute mark when electric instruments return for the last section.  This last section is a bit of a letdown as I would have liked the song to end on a slower note.

The final major composition is “Sista Somrar”.  Begins with the lightest instrumentation all of the songs and features a small string section.  This is probably by favourite section of the whole album and offers a new colour texture to the palette.  The electric instruments arrive abruptly at the 4 minute mark with a section similar in style to bands like Dream Theater.  This section reigns itself in with Flutes and Keyboards adding much needed lushness to the instrumental workouts.  There are times when this section made me think of 80’s Jethro Tull with the Flute and Guitar interplay.  The final section begins at about the 10 minute mark with acoustic guitar and the ever present Flute.  The electric instruments return to finish the track in a more subdued setting.  It’s nice to have an electric section without lots of notes and time signatures coming at you.

The closing credits of the album is “Saknadens fullhet” which is a short piano piece that ends the album off nicely.

I’m of two minds when it comes to this album in that I enjoy it when I’m listening to it but at times I get frustrated by the tendency for acrobatics when the eclectic sections arrive.  “Epilog” is interesting and at time exciting and by a group of a very accomplished group of musicians.  If you like your prog on the technical side then give these guys a listen.

6/10