EPILOG

I have been revisiting artists that I have pretty much only one review for, and checking out their other works. I love working with bands with small discographies, since it allows me to just go into them and come back out without needing months upon months in advance to work through their discographies. Not a detriment to bands with bigger lists of albums, but I do enjoy more bitesized snacks rather than taking in a German fair's worth of sweets and treats. Which is why I shall be revisiting Änglagård since my last review of them was on August 21st, 2022. Three years ago. Way too long honestly.

So, what better way to pick them back up is with their second record, Epilog.

I think, if I am not mistaken, Epilog was meant to be Änglagård's final record, at least for the time. I mean, it's literally titled epilogue in Swedish.

That said, this was obviously not the end to Änglagård, but back then it was, and it's a pretty good way to end their short careers after their magnificent Hybris.

In a way, if Hybris is Änglagård building the gothic cathedral, Epilog is them burning it down in an act of rebellion against their own beliefs. A fully instrumental piece of music that, while extending their reach on Hybris' scores, finds itself into more folksy and anxious territories.

I think musically, which is really the only thing to look into this about, Epilog is a great distraction from Hybris for me. It has all the right beats that a gothic prog masterpiece holds, from the disjointed organs to the symphonic qualities that pay homage to acts like England and ELP. But it is all wrong. Where Hybris is pumped and ready for anything with bombastic scores and lyrical amazement, Epilog is quiet, disturbed, like someone who is near death but is pleading for life. Sometimes it'll get loud like Hybris, but it feels soulless, but obviously not in a bad way.

I believe Epilog does what it does greatly, a score that is meant to focus on the death of Änglagård, rather than on what it was in the past. I know this sounds like a weird comparison, but I think the best way to describe the kind of feelings this record has is to look at one of my favorite video games ever, OMORI. In the game, there is a character named Basil, a pretty important one in both the dream world segments of the game, as well as the real world ones. I won't spoil the game since I think one should play it for themselves, but essentially, Änglagård made two of their own Basils during their career in the 90s. Hybris is their Basil from their dreams, while Epilog is the Basil from reality. Two sides and similar sounds, but ultimately different.

Though, unfortunately, Epilog is one of those albums that never really?clicked with me. I mean, I really like it, don't get me wrong. But Hybris just feels better for me. Sure Epilog has some great moments too, like I really love the first half of Skogsranden, and I dig the little ending of Saknadens fullhet. But Epilog never really snapped into place whenever I listened to it, unlike Hybris did. I get that if they did try to just make another Hybris for this record it'd devalue it as the band's quote on quote end, since it'd be too jovial of a demise. But still, Hybris just feels better.

If I am gonna be real, I don't quite have any critiques on Epilog, so this really is more of a mental thing for me. I guess years of listening to mostly Jordrök has spoiled my brain and made me less appreciative of what Epilog manages to do.

But I'd still recommend this album since, well, it's an Änglagård album. Änglagård makes some fine records, both studio and live. So really, getting this album through Bandcamp is not a waste at all. Check it out for a darker take on an already dark band.

Best tracks: Höstsejd, Skogsranden, Saknadens fullhet

Worst track: Rösten

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