MIND VOL. 4 - PASS

A few years ago, a colleague had brought to my attention the musical qualities of the band Isildurs Bane. This Swedish band mainly makes instrumental music, with a tendency towards classical style. In their early years, some songs contained singing in Swedish, but since 1987, the lyrics and singing were dropped and the band concentrated on variable instrumental and technically advanced musical themes. This definitely demanded a certain effort from the listener and, after awhile, the necessary respect and appreciation, as well. In 1997, Mats Johansson came up with the concept of MIND (music investigating new dimensions) and here we are on part four. Once again, the music completely fulfils this concept. All the MIND CDs are unique, except for MIND vol. three. For me, MIND vol. 3 is a total letdown, unless you're a lover of free jazz. However, in the framework as a whole, this CD could be totally justified because of the new dimensions that are explored. J

Once again, on this MIND vol. 4: Pass, there is the use of English language lyrics and singing. AND HOW! This album can't be compared to any former Isildurs Bane album. Actually, they sound like a totally different band, but without having lost any of their inventiveness or virtuosity. If you let an ordinary 'pop music lover' listen to this album, he will, without hesitation, end up asking you if this is the latest Peter Gabriel album. Yes, you read that correctly. The singer, Christof Jeppsson, sounds like Peter Gabriel, as well as does the music. But watch out.there is in no way any plagiarism or imitation. It's just that the total atmosphere of this album could've originated from Gabriel. Even the harmonies reminds one of the songs from "So". Musically, there's really more attention given to the instrumentation than on an ordinary Gabriel album (except for the first one, where 'real' music was still being played). After a few listening sessions, the quality of the songs becomes quite evident. This album has all the ingredients necessary to make Isildurs Bane known to a wider audience. The songs are solid and keep a perfect balance between melody and technical (read as progressive) inventiveness. Even the Zappa influences are skilfully processed. This album is anything but corny. All the modern influences are used in the right doses so as to satisfy everyone. Just listen to the songs "Cage" and "Good", what masterpieces!

The only thing I ask myself is 'what are they going to do for their next performance?' I'd love to see the 'old' Isildurs Bane because they were already so strong. The band has definitely grown. And this metamorphosis is not only surprising, but especially successful as well! I recommend this CD!

For those who would like to get to know Isildurs Bane better, I recommend the following

Cheval - Volonté de rocher MIND volume 1 MIND Vol. 2 - Live MIND Vol. 4: PASS

Review by: Jany (8,5/10) Translated by Jennifer Summer

3.5 stars. There are some nice songs on this record, and the vocals (male and female) are performed at a high level as well. I also felt there were some so-so songs and others that were less than ok.

The highlights for me were "Heal" a song that features lots of energetic drum work, as well as violin, flute and a horn section.The male vocals are very good. "Open" has lots of sampling in it, reminding me everytime of CHROMA KEY. "Eyes" features emotional male vocals as well as a scorching guitar, flute and female vocals. Lastly "Idea" opens and closes with birds chirping away, and the male vocals are so lush, the best sounding on the record, throw in a guitar solo and some violin and yes, a great tune.

My prog journey takes me into familiar symphonic territory but I am a colossal fan of electronic, folk, zeuhl, Canterbury, Eclectic, Cross-Over , jazz and even oblique RIO. I have traveled the progressive highway to distant lands that have a fan and musician base of devoted aficionados, and I am the richer for it. So a little dabble into the obscure is often highly pleasurable and has permeated my collection with delightful glee. The number of groups thus discovered litter my CD bookshelf and Isildur's Bane is no exception. This Swedish band has been around and they have ventured into a more vocal expanse that is vibrantly experimental, daring to tackle IMHO the progressive world's Achilles heel: the vocals. So it comes as no surprise that "Halo" is a short vocal wisp that shines the path for the monstrous steamroller "Heal", a Crimson-esque barrage that veers into immediate dissonance courtesy of some judicious strings and a blaring trumpet and shiny brass. The neo-classic vocal passage sets the tone with some poignant swerves and lush textures, perhaps closest to Peter Gabriel's recent output, chasing the sunlight. The harsh return is a crafty finale. "Cage" is edgy, almost punky, with a bizarre jarring structure that conjures up modern intonations in a schizoid sort of way. An oblique James Bond theme guitar foray further upsets the cart of expectancy. More "cold rush" vocals and a gung-ho spacy off ramp section. Weird ! "Good" is er? good, a bopping bass slithers this one along, a male- female duet that shoves this into dreamier spans, another stunning piece of music especially when the band kicks in with some devastating echoes, careening lustily at times. The too short "Open" is a majestic guitar flight with gurgling synth bubbling in the moss. The massively manpowered "Eyes" is intriguing, almost like a mistier Hoggarth era Marillion with a magnificent Jonas Christphos axe solo , a resounding melody, great vocals and suitable instrumental involvement (the liner notes read: "genuinely faked Mellotron". Priceless!). The inquisitive 'tron-drenched "Self" is again way too short as it swims in rushing luminosity. "Idea" is an 8 minute job that proves that these guys can stretch with best of them, walls of percussion melding with dizzying bass, slashing and dueling violin/guitar leads that are spectacular and the obligatory vocal to further ignite the lead guitar's full fury. Both male and female voices combine again to revive the Gabriel impression successfully, except that the jamming is way more jazzy and experimental. A brilliant fretless bass propels this further down the path, soft and hard contrasts collide with guile, a violin surfaces from the silo, targeting some distant bull's eye. After the moving and succinct "Talk", the next one really nailed down the verdict here, as "Rage" describes itself in no uncertain terms, tough electronica with furious voices fighting off the vibraphone barrages, vocoded rants, a gentler passage ensconced in a mixture of paranoia and despair with more hard-edged, almost Frippian guitar detonations, a truly masterful performance even though the sonic bubble bath can be overwhelming for the uninitiated. Not easy listening, this! Both "Dark" and "Part" are mini sketches that streak towards the ambient and dissonant, "Loss" prefers a more dramatic platform to weep and wallow, a depressing dirge that, again aptly defining the title, a forlorn sense of "loss of innocence and trust", close to No-Man/Gabriel territory with a synthesized chorus that inspires the heavens. "Ends" ends well with loads of treated instruments, dense programming and eerie sound effects, a modern orchestral maneuver that has flute rippling through it and a hard electro end. Like Hungarian band After Crying's output, this is not a recording one comes to often but when in need of challenges, the ear will be pleased to venture beyond the norms. That's what progressive is all about, I guess. 4 chanted halos.

MIND = music investigating new dimensions. This volume includes vocal-oriented art rock and thus probably differs the most from other albums by this Swedish band. The album feels very conceptual and structured: each track title is one short word and tracks are divided into subdivisions in 4x4 structure.

I'm already a third one to say this but I strongly associated this music with PETER GABRIEL's later output (albums Us and Up). The biggest - but not the only - reason was that the vocals of Christof Jeppson sound a lot like Gabriel's. There are also a couple of female vocalists but their voices remain in a small role. Music is rich in sound, dark-toned, modern and exciting, at times quite technical and edgy, just like Peter Gabriel can be. Also in PG's discography this album would be convincing, but still ISILDURS BANE have a style of their own. The later King Crimson could be another comparison.

This is an album that takes a tight hold on the listener and doesn't necessarily reveal all of its secrets at once. On the other hand it's emotionally cold, tense and slightly disturbing album to listen to and really doesn't suit for harmless background music. Some warmer and more relaxed moments would have done good. 3½ stars.