Änglagård – Hybris

ÄNGLAGÅRD - HYBRIS (Mellotronen MELLO 004) CD 45m / (Colours COSLP 013) LP 45m
As it said in a letter we got from Änglagård, that there are so many "progressive" bands around today, proclaimed as or claiming to be in the tradition of classic progressive rock, yet often the all too sad fact is that most bands don't even come remotely close, often the musicianship is poor, compositions shoddy and have vocalists that cause pain to the artistically attuned ear. Too often the experience is of a band that are a poor imitation of a second-rate 80's progressive like Pallas. But that's certainly not the case with Änglagård, a new Swedish band, who like the other recent revelation Landberk have gone to great lengths to create a spectacular music that rivals the best of 70's classics.
Änglagård are a highly proficient six-piece group featuring a keyboard player (with a formidable collection of instruments: a Mellotron, Hammond B3 organ, Solina string-synthesizer, and much more), two guitarists, bassist, flautist and drummer, and betwixt them they create some of the most phenomenal and dynamic music, spurred on by the Mellotron and organ, with ever-present multi-guitar textures, breathy flute and complex rhythm structures. HYBRIS features just four tracks, of which Jordrök (an instrumental) is an incredible opener, a playground for multi-keyboards and high dynamics, the tumultuous and unpredictable spirit of King Crimson, combined with the finest elements of 70's Italian styled classical rock, and a heavy dose of Schicke·Führs·Fröhling's Mellotron drenched masterwork SYMPHONIC PICTURES. The other three tracks, although they contain songs are mostly instrumental and feature a uniquely Swedish style of singing with a folky touch that is most appealing, despite the fact that I don't understand a word.
I suppose to some people with less progressive tastes, the music of Änglagård could all be a bit too much, as they lay on the dynamics with relentless intensity. The effect just leaves me breathless.
choice new release review by Alan Freeman in Audion magazine #25 (June 1993)