AURUM NOSTRUM

3.5 stars really!!!

With the disappearance of Anglagard, the resurgent prog movement was risking a deadly (or at least crippling) blow, and as if by enchantment came other Swedes picking up where they had left off. Of course, Anglagard was solidly derivative of Genesis, Yes, King Crimson and more, but they had managed (along with the Magna Carta label stablemates) to rekindle the flame of prog. So when Sinkadus came around to fill the empty spot, my first thought was to approve and this album is a very credible retro-prog in exactly the same terms that their predecessor had done before them. Of course, without being mean-spirited, could we have expected anything remotely groundbreaking from the Cyclops label? Not a fan of the label since I have yet to find something I really like (present Swedes excepted) and their catalogue is neo-prog stable. NB: another thing I am not a fan of this label is the artworks of their catalogue, although this one present is acceptable, but nothing more.

So what is the value of such an album? Well, if you are not too picky and enjoy the music purely on its intrinsic value, there are plenty of chance you'll love this album, even if the vocals are perfectible (not speaking of the language, here, but the voices). With a superb Snalblast (Bitter Wind), the progheads gets exactly what he wishes, trons of Mello, great guitar lines, loads of melancholy, drumming a gogo and two women to add to his fantasy: one on the flute and the other on the cello. I don't really think it is necessary to go over the three remaining tracks (all well over the 10 minutes), because you get more or less what you ask for. and in abundance. What do the people want more?... Well maybe, just maybe, what they're not getting. Speaking for myself, thinking out loud, but wanting every proghead to ask themselves this: what about what they are like, the way they would really sound if they were letting go of the formula that they are dispensing us in every track.

So of course, the proghead is bound to love it as he did the first generation (Anglagard and Landberk), but the second generation brought nothing new (as opposed to their predecessor which actually did, in their own manner) and while Sinkadus has lived its course, we are now confronted with a third wave (more from Norway) with Wobbler and Gargamel, which again dish out the same kind of stuff with their slight twists. Yes I like it, yes!! I also happen to love a good real hamburger from the bbq, but let's face it: I want the Cassoulet or the Tartiflette. And this hamburger is maybe not from the golden arches, but it does have a ready-to-eat wrapper around it. And that alone is a bit of a turn-off and takes away a star. Still, I don't know how many hundreds of progheads will love this. Can't blame them, I did too. "Did" being the key word, here.

SINKADUS from Gothenburg, Sweden was formed 10 years ago, and now they are releasing their debut-CD "Aurum Nostrum" (which is Latin for Our Gold). - From the beginning of their career they were playing GENESIS covers, and you can hear that on this album. It's very reminiscent to GENESIS ca. 1971, but with traces of Nordic folk music. They are also reminiscent to ÄNGLAGARD, MUSEO ROSENBACH and CATHEDRAL. The line-up and the sound remind of ÄNGLAGARD. - Just like ÄNGLAGARD's debut CD, this album also got 4 tracks: "Snålblåst", "Manuel", "Ågren" and "Ättestupan". The shortest track is 11:06 and the longest 18:28. Although the tracks are very long the music is very varied and complex, and it keeps the interest the whole songs through. They've got layers or Mellotron and Hammond. Ad some fast-fingered bas and guitar playing, an excellent drummer, good vocals, and the beautiful tune from flute and cello. This is a album that is gonna be mentioned together with albums like LANDKERK's "Riktigt äkta", ÄNGLAGARD's "Hybris", WHITE WILLOW's "Ignis Fatuus" and ANEKDOTEN's "Vemod", when we are summing The Scandinavian classics from The 90's. A perfect masterpiece that i highly recommends! - ÄNGLAGARD is carrying the traditions of the 70's into the 90's. They are one of the best bands to emerge in the 90's. Rest in peace ÄNGLAGARD. Long live SINKADUS!

Killer Swedish progressive rock with loads of wonderful instrumentation and bushels of mellotron. SINKADUS in many ways actually remind me of Anglagard at times with uniquely shaped song structures and outbursts of deep melodies. This is rich music with some grand song writing and nice deep harmonic structures throughout. SINKADUS are highly talented musicians who deliver some great emotion in thier music. I love the combination of mellotron and flute they combine throughout this album. Vocals are rather sparse, but are well done (sung in Swedish) and explore some great vocal harmonies. "Aurum Nostrum" is esentially 4 nice long songs with many parts throughout. When SINKADUS let it all out together they sound simply amazing and I love the deep enchanting sounds they create. Highly recommended album with full sound.

This album just didn't offer me anything new, but that's not the case because I'm not always looking for something different. Honestly, this album just seemed to drag on and seemed too derivative of my favorite prog artists for me to appreciate fully. For those of youwho love symphonic prog and don't care if it sounds like your favorite prog bands, well, then eat it up. There are more essential things to listen to.

Peace & take care

This album from Sinkadus represented my return to prog rock after quite some period I thought that the genre would not exist any longer. It was triggered by a CD catalogue from Cyclops that my prog mate showed me altogether with the CD Sampler from the same label. I was amazed with list of prog bands - most of the names I was not aware of - were available producing modern prog albums. One track in the CD Sampler was "Manuel" by Sinkadus. It's a great track. Based on this track I then ordered this album and its live version direct from Cyclops. It's a purchase decision that I never regret afterwards. Sinkadus music is solid, dark, and intermittent, combining symphonic prog style and classical music. Influences from other bands include: early Genesis, Van der Graff Generator, and ELP. For those who like flute and cello works would probably enjoy this album.

Snalblast opens the album with a soft touch of flute-work accompanied with guitar fills. The music suddenly turns abruptly into a staccato ELP-like style where the intertwining punchy organ, drums and bass brings the music into a rather complex textures. What follow is a quieter passage exploring soft flute in classical music style in relatively slow tempo. There are lots of tempo changes as the music sometime turns into faster one with excellent drumming and dynamic bass lines. Yeah, I observe that the bass player has contributed his work excellently with various styles and inventive maneuver. This song offers relatively long instrumental part prior to lyrical part (non English). Structure-wise, it's relatively a complex composition as I cannot grab clearly which the heads and the tails. Mellotron sounds used quite a lot throughout the song and they serve two purposes: first, to project a dark nuance and second, to give symphonic nuance of the song. The song contains a lot of beautiful transition pieces especially through flute / cello as well as guitar fills. The only music segment that sounds bit annoying for me is the part on approximately minute [9:30] when the organ solo takes the melody part augmented with dynamic bass guitar. The melody produced by the organ sounds annoying for my personal taste and it does not seem to fit with the music textures. Overall, it's a good composition.

Manuel starts beautifully with a long sustain keyboard sounds backed up by drums and bass guitar in relatively slow tempo. The music flows smoothly with keyboard taking the lead melody accompanied with solid and inventive bass lines, and excellent drumming. The flute enters the music melodically and it projects a heavy influence of classical music. The time signature when the flute enters its first sound into the music is truly excellent - it happens unexpectedly but at a very right timing. This part is killing me. The non-English voice lines have made a unique and attractive sounds. So many segments in this song that have catchy melodies like this part. For example when guitar fills some transition pieces, or the dynamic and solid play of bass guitar that help accentuate the song, or the mellotron sounds at background that provide symphonic nuance, or the combination of flute, mellotron, bass and drums that produces great sound. It all sum up into a wonderful composition that has made the song truly enjoyable and it has become my all-time favorite. True masterpiece!

Agren has similar style with previous track: dark, symphonic, classical and performed in relatively slow tempo. Again, the combination of flute, guitar, bass, mellotron and organ is superb. The composition is heavier than Manuel as it has some variations of combined melodies between vocals, guitar, and organ - sometimes with an unexpected or even abrupt change. The exploration of flute augmented with organ and guitar produces heavy mood of classical music. Drums contribute noticeably throughout the song as the sounds appear obviously.

Attestupan starts off with a soft guitar fills followed with drum beats in crescendo, brings the music into a symphonic style with mellotron sounds at the back in a faster tempo. Again, I observe the bass lines are so inspiring and inventive. The drumming part is also excellent. As with other tracks, this concluding track is also heavy in the use of flute. But most of flute work is not similar with those like Jethro Tull or Focus, it's much softer. The organ work of this song in some parts remind me to ELP. It's another excellent track offered by the band.

SUMMARY

Overall, it's an enjoyable prog music with dark nuance and heavy influence of classical music. This album would appeal those who like early Genesis - even though you will hardly find its close similarity, but in some segments you can sense them especially through guitar fills in some transitions and mellotron sounds. Also for those who like Van der Graff Generator especially on the singing style and some musical segments. ELP influence can de found in transitions with staccato styles - it's very close with Keith Emerson's style. For me personally, this album is relatively heavy - it's not as accessible as typical symphonic prog music. Overall rating 4 ¼ out of 5 stars. Recommended! Keep on proggin' .!!!

Yours progressively,

GW

Anglagard - complexity - claustrophobia + serenity = Sinkadus

Sweden gave birth to Anglagard in the early 90's and it's a crying shame the band never got further than 2 studio albums. They had everything to make the prog scene ballistic...

Now is Sinkadus the proud successor of the buried Anglagard? Well, yes and no. We cannot talk of a TRUE clone here. First, Sinkadus shares a taste for the Foxtrot/Nursery Cryme period too. But honestly, that's as far as it goes. The rest is not so evident. Sinkadus' songs are more airy and LESS complex. Much less complex. Anglagard was so incredibly tight and aggressive at times it was difficult to see through a song. We don't meet the same feelings in Aurum Nostrum. This record is more on the folkloric side, the story telling about dwarves and hobgoblins and the more relaxed atmosphere. Rarely we ecounter the tragic, overwhelming whirlwinds of Anglagard. Sinkadus takes it's time to breathe and to sing, actually. The vocals are switching between man and woman, which is a good combination for story telling.

I don't think you could categorize Sinkadus as a true follower to Anglagard. Sure the standards has been set with Anglagard, they come from the same country BUT a sense of independence is more showing. It's obviously not the same weight of talent as Anglagard, and they have the humility not to push themselves to hard and making it sound fake. Their strenght is on the mellow, relaxing side of the recipe. This is where to me, Sinkadus scores high marks. Their signature is evident, even though their Anglagard inflences are shown.

A good choice for anybody who wants to get familiar with the nordic folk scene.

Also great for campfires Lord of the Ring style.

And so, a brand new world of awareness, magic and this sort of profound darkness was revealed to me in front of my eyes and through my ears by this Nordic band named SINKADUS. Since I've partly devoted my senses to most of the Prog Rock emerged from the Scandinavian countries, specially Sweden; I had no hesitation about lending my soulful attention to "Aurum Nostrum". And in return, when carrying on with my conviction, I got rewarded in such inexplicable ways. So, here's the vision made beautiful music that eclipsed my mind then and the one that keeps opening it wider every single time I dedicate my time and space to the almost entire hour the album lasts.

At first listen, the musical and lyrical proposal where the band stands on, may appear as a scribbled draft filtered from the iconic figure top class Swedish bands from the 90's we're all familiar with crafted throughout their work that remains still as a point of departure for upcoming generations of musicians, poets or whoever needs a sense of direction and inspiration in their life somewhat. But to me, SINKADUS took a step forward to become not only an icon within the Swedish progressive rock scene, but for to be reminded as precursors of a unique musical creation that bloomed before Nordic landscapes, born and brought to the Prog Rock world.

By taking off peacefully captivating, "Aurum Nostrum" shows through scene one, "Snålblåst"; the starting glance of perfection depicted all the way down to the end of the album. There's this sort of struggle between the instruments introduced to us in here to set off individually inside your ears, where either the charming notes of a flute can get engaged to a fight with the voracious keys of a Mellotron or where the chords of a guitar that patiently waits to blast off can provoke the compassed beat of drums to be stricken fiercely to become an unforgettable passage in music. Then, over the closing section, this kind of hypnotic eeriness will take you down to earth in a single snap. This piece is quite an overture to what's to come of this masterpiece.

Act two. "Manuel" is the shortest song out of this four piece album, but as mighty powerful as any of the rest. The movements in here are lead slowly in the beginning to become a waterfall of obscure emotions in which you'll get irremediably caught. The flute, taken away wonderfully by Linda JOHANSSON; is the instrument that blown me away the most over this track. There is no moment where the enchanting wind instrument is not executed spotlessly. A fine piece that arouses expectation to the highest point yet it can pull you down to the deepest sorrow that seeps under your sensitivity.

"Ågren" is my favorite piece of this debut album. Although "Aurum Nostrum" is undoubtedly impressive in its whole togetherness, this third chapter is particularly exceptional. The devouring sound of the Mellotron is determined to take over the entire argumentation of the song, and I must say it accomplishes the task heavenly. The determinant part comes during the first third of the piece where that Mellotron talks of anguish and rage to a flute that's willing to talk back quietly but that inevitably surrenders as every single key from the instrument played by Fredrik KARLSSON is tapped down. As the end of the song rides rapidly to the last minute, we can actually get to perceive that angst and pressure in a more depicted way. All in all, great stuff.

The song entitled to picture the whole album in the most impressive way, has to be "Ättestupan". Even though this piece isn't my favorite, is, under my appreciation, the scene where the musical clash is clearly exposed and explained. This last song is very elaborated, quite enigmatic and fearfully heavy in its description. It walks down a path where it randomly turns to one side and to the other without losing perception. The fixation to provoke your inner depths, to awake your encapsulated mind and to shake up everything around you, is outstanding. And what to obviate about the instrumentation? Nothing at all. The song is self-explaining and intriguing by all means. The perfect ending to a perfect album.

I'm sure you'll get surrounded by every single moment of this album. SINKADUS is proposing, adventurous, dark, passionate and over all, Swedish. If you want to experience the feeling of emptiness by having it all in a band, experience the sense of being found in the middle of nowhere and feel everything and nothing at the same time, your impatience to discovery has to be directed to SINKADUS. If you enjoy the company of ÄNGLAGÅRD, LANDBERK or WHITE WILLOW, this sextet of talented musicians is for you. Nothing left to be said here, definitely a must in any respectable Prog Rock collection.

Since I joined this site, in 2004, I have often heard this band mentioned, mainly in glowing tones, as successors to Anglagard. Well, I never heard anything by them until last week, when I bought this album through the excellent GFT mail order service, getting it for the princely sum of £3.50, after discounts. I took a chance as I had never heard anything by them before. I had only heard one track from Anglagard, I think it was called Jordrok, or something like that. And that didn't impress me much, sounding laboured and unmelodic to my ears. Well, this album has reviews that vary in their rating from masterpiece to boring. The truth, as is so often the case, lies somewhere between. It is certainly no masterpiece, and does remind me of the Anglagard track. In fact, the individual songs here are meaningless, they could all be condensed into one long song. Musically it does sound, in parts, like early Genesis, especially the organ and guitar work. The flute is Gabrielish in the quieter moments, yet reminds me also of Andy Latimer at times. Not Ian Anderson though. Now when Genesis did this type of thing, it was highly effective, and they were, and still are, my favourite band of all. Yet, although this has similarites, I do find it rather tedious and struggle to hear any memorable melodies anywhere. There is also a King Crimson feel to it, and of course, they were an influence on Genesis. Nevertheless, I have never been a lover of Mr Fripp's work. I can admire his talent, but his material doesn't do anything for me. The weakest part of the album, however, is the singing. Not because it is in Swedish, I indeed like the fact they sing in their native language, and I like Swedish bands a lot, but the voices themselves are so depressing, and melancholic in tone, that I find it a struggle to get through it. Of course, that type of singing is a plus to some listeners and I can see why some people would place this album high on their favourite lists. But, for me, while it isn't a bad, or boring album, it doesn't 'hit' me anywhere, and I find, whether I listen to it through headphones, or just quietly in the background, it doesn't stand out in any way, shape or form for me. Sorry I seem to against the majority here, but there is nothing new, fresh, or unique here, and, at the same time, neither is it a particulary successful parody of older times either. Decent, but not in any way essential. I doubt many could, if they didn't listen to it for a few days, recall any of the tracks as they all merge together. At least I know now not to fork out for any more of their music, or for any of Anglagard's either, if it is all similar to this.

Awesome experience of Scandinavian Symphonic Prog!! I love that band even more than ANGLAGARD,and don't consider SINKADUS to be their clones or something...Guys have their own folkish style:they replaced a CRIMSO-element (widely used in ANGLAGARD's music)with a JETHRO TULL/GENESIS' one.As a result,music has become more serene and quiet.Very frequent use of Mellotron makes the sound almost equal to 70s masterpieces of Prog...just wonderful!!!As for similary sounding bands,I'd name KAIPA,CAMEL,JETHRO TULL and GENESIS,but you must know,that SINKADUS is UNIQUE.It is very dark,but yet positive music.I'd recommend this outstanding release to every prog-fan!!!A Must-Have!!!

4.5 stars. SINKADUS are one of my favourite bands, and on this their debut they present us with 4 long melancholic compositions laden with mellotron and flute. Even the vocals sound sad.

It all begins with "Snalblast" the longest track at 18 1/2 minutes, it features lots of time changes and intricate and beautiful melodies throughout. I enjoy the tone and style of guitar that is played. Great section before 6 minutes as the drums, organ, bass and guitar create wonder. Mellotron follows. Some nice guitar before 10 minutes and later before 13 minutes. Beautiful pastoral section before 14 1/2 minutes as vocals return. A mellotron storm 17 minutes in. "Manuel" is probably the most popular SINKADUS song amongst fans. Lots of mellotron and intricate guitar playing. The flute playing is beautiful as usual.The first 1 1/2 minutes are simply gorgeous before it calms down with flute. It kicks back in with chunky bass and a full sound after 2 minutes.The mellotron before 5 minutes is awe-inspiring and other worldly as it goes on and on. Vocals before 6 1/2 minutes. I like the section after 9 minutes as the drumming, mellotron and bass shine. Amazing tune !

"Agren" features the most lyrics and many mood shifts as the organ, guitar and flute stand out.It even gets a little heavy after 2 minutes. It settles with flute before 4 minutes. Guitar a minute later as it brightens. Nice chunky bass 9 minutes in with some excellent organ. Great sound 14 1/2 minutes in. Pulsating organ and vocals 16 minutes in. "Attestupan" sounds fantastic with melltron, heavy drums, flute and bass as the organ rips it up. It settles 3 minutes in with vocals and a darker mood to follow. Tempo picks up after 5 minutes as flute, organ, drums and bass lead the way. Themes are repeated. Cello 8 minutes in. Great sound after 10 minutes, the mellotron is relentless.

A matter of taste I suppose as to which SINKADUS recording is better. I do prefer "Cirkus" with it's shorter but more dynamic ANGLAGARD-like tracks. Both are amazing though.

Almost as legendary as the mythical ANGLAGARD,SINKADUS were around since 1987 through the collaboaration bettwen guitarist Robert Sjoback and keyboardist Fredrik Karlsson.In 1991 the band takes a more original form with the addition of Rickard Bistrom,while they switch from covering rock songs to write their own compositions.At mid-90's cellist Lena Pettersson and flutist Linda Johansson had already joined SINKADUS,so the band is focused on recording their debut album.''Aurum Nostrum'' was finally released in 1997 on Cyclops.

STYLE: While the music seems a bit laid back at first sight,it is highly professional and intricate at the same time to satisfy anyone into progressive rock music.The album consists of four mini- and grand epics,where Scandinavian folk meets the Crimson-esque inventiveness and the delicacy of symphonic music.What really strikes from the very first listening is the haunting Mellotron sounds and the folk-tinged flutes.Guitar work has obvious Fripp-ian inspirations,while the adventurous interplays are often broken by calm folkish passages with an acoustic sound and there is where (Swedish) vocals are also added.The arrangements are very nice with rich orchestrations,great melodies and a semi-dark atmosphere, characterized by the Swedish traditional music.

INFLUENCES/SOUNDS LIKE: To name KING CRIMSON,GENESIS and Swedish folklore music as the main influences of SINKADUS is a piece of a cake.What is a big surprise is the similarities between this band and ANGLAGARD.They do not only sound like them,but both bands were active in the 90's,released two studio albums and a live in a short period before disappearing,they sung in Swedish and even both debuts contain four lengthy tracks!A few ANEKDOTEN similarities are also present.

PLUS: The mellotron sound is absolutely majestic!Orchestral parts are also top class with beautiful flutes and nice organ throughout.The long instrumental passages offer an untold atmosphere hardly created by an average band.The awesome blending of Swedish folklore with prog tunes is an example of how talented this band was.Guitar work comes out of a seminar.

MINUS: Too much ANGLAGARD references makes tyhe band somewhat unoriginal.Vocals are mediocre,notice though that the album is largely instrumental.Despite the presence of Lena Pettersson,the cello echoes are limited,I would like a heavier dose.

WILL APPEAL TO:...anyone without exception,but especially fans of vintage-sounding prog will love it to death.

CONCLUSION: Call it retro-prog,call it vintage-influenced prog,call it whatever you want...one thing is for sure: ANGLAGARD are dead,long live SINKADUS!The band continues what their compatriots left unfinished in mid-90's and they do it in a great way.Definitely a 90's classic...4 solid stars.

Sinkadus more or less picks up where Anglagard left off. They play a less complex, more melodic, folky and textural version of the aforementioned great of the 90's prog revival. Aurum Nostrum has me confused about my feelings for it. On one hand, it is loaded with good melodies, intricately woven among layers of instrumentation, and on the other, it's a poorly produced album with weak vocals. I can remember a handful of parts on the album, but at the same time, I don't want to go back to continue acquainting myself with the rest of the disc. Everytime I listen to this, when the musicans all come together to play a thick passage, I just wish they could have afforded a better production. That could have turned out like a melodic wall of sound, and it would have been awesome. Unfortunately, we're treated with a production that does little justice to the quality of the compositions. They are completely stripped of the atmosphere that would really bring out the textures they try to create. The band is trying to draw a colorful picture, but they only have an 8-pack of Crayola crayons (or markers) to do it. Hence, it just doesn't turn out the way it could have. And what's the deal with that unnaturally quick fade at the end of the record? Who's decision was that? Either way I'm not pleased! The vocals are also simply unappealing. The ideas are all well and good, but the vocalists just don't have any charisma. They sound dull and they lack variety. But when the band lets loose, we're treated to all of whats missing from the vocals. I could really enjoy this album, and I did for the first few listens, but when you look around you'll realize that this album just falls short of being the album it threatens to be. There's a lot to enjoy, but you'll have to come to terms with the sound. Also, it is a little too long. Good effort, so-so result.

If one should count how many great bands per capita a country has generated, Sweden should be on the podium.

So many fine music coming out from this big country but holding so few inhabitants. You might know that I am quite keen on the early Genesis and that the symphonic side of Crimson (ITCOTCK) are just sounds I am found of.

So. how can I resist to such a wonderful record as Aurum Nostrum?

It is all enchantment for me. No dull moment like Moonchild at all. This album only features great music. OK, it might sound as déjà vu, but frankly: when it holds so many great moments, I just could care less.

One of the very few negative points I could raise are the vocals. Not so much because they are in Swedish (although that it is not the most melodic language on earth) but the lead singer is just too short IMO. This shouldn't move you away from this very good album since most of it consists of instrumental parts.

If you are a tron lover as I am, there is no doubt that you'll be charmed by this wonderful album. Each of the four songs of this album clocking at almost sixty minutes is close to perfection. It's a wonderful balance of melody, dark passages and truly pastoral and tranquil acoustic ones. I told you: this is a fantastic mix of symphonic Crimson and my beloved early Genesis.

A track as Snålblåst is such a great shortcut for these two gigantic bands. I could listen to this FANTASTIC piece endlessly. It is a huge moment of symphonic rock/prog music. The first highlight.

What can I say about Manuel. That the fluting part is gorgeous? That the passage from pastoral to a wilder beat is superb? That the mellotron part is extraordinary? This is just a protion of the truth. One has to listen to this jewel, sit and (eventually) cry. Very few songs do convey so much emotion. It is maybe the property of the giants.

But this band has of course not the fame of those ones; but believe me, they just deserve a huge recognition for the music displayed here. Majestic, passionate, beautiful, poignant. In one word: PHENOMENAL. This is the second highlight of course.

The third song from Aurum Nostrum is harder and at times as light as the first two great songs as Snålblåst and Manuel. It has more the feeling of a much later Genesis track. Keyboards especially. It might well be somewhat behind, but it still remains a very good piece of music which is compelling as well my prog friends.

The closing number Attestupan is the weaker from the whole, if only one can speak about anything weak in here. It features some fine medieval passages combined with the most pastoral and Trespass- esque ones. Yes, I have the humility to say that I just love it a bunch. The finale and its fabulous mellotron lines is another sublime moment. Aaaaaaaaargh!

When I first prepared this review some four years ago, I rate this album with Y which means Yes in my jargon. Which means a wonderful album. A masterpiece in the PA jargon. I haven't change my views about this wonderful album. Go and run for it. Now, now, now, now, now!

Very mellow, soft and quiet album with elements of folk. If it wasn't for Swedish vocal, I'd be sure this came from Italian symphonic prog scene. Resembles me bands like P.F.M, LOCANDA DELLE FATE or FINISTERRE. Some traces of ANGLAGARD also could be found though not that obvious. Lots of nice keyboards; unobtrusive guitar passages; a specific vocal may seem weak a bit, but it does not spoil much the general impression on the album. Among four tracks on this album (each is 10+ min. long) the last one is the best. Deserves 4 stars +. Those who've been tired the weirdness of ANGLAGARD will love it.

Debut album from the Swedish retro-symphonic rock band Sinkadus. Just like Anglagard, the band sounds like a 90's incarnation of the vintage '71 Nursery Cryme sound, with forceful drums and bass, flutes and thick mellotron blankets. The music is slightly more melodic and folksy then Anglagard, bringing the gentle pleasures of Camel and Genesis to the fore, as opposed to Anglagard's more technical and Crimson elements.

The band has a great sincere emotionality but the vocals are often a weak link. The vocal duties are split between male and female vocals but both suffer from a limited range, an insecure tone and some unremarkable melodies. When they go for more folksy tunes they sound more confident. In my opinion, the opening Snalbast suffers most from the vocals, the melodies aren't very memorable and pale against the often excellent music. The remaining songs seem to uphold stronger melodies and tighter musicianship. The production is perfect, very dynamic, rocking and organic.

Compared to their sophomore effort Cirkus, Sinkadus still sounds a bit ill at ease with their vintage sound. While Cirkus is a sure 5 star album for me, Aurum Nostrum sits a level below that. 3.5 stars.

Paul Stump, in his 'The Music's All That Matters' (1997) notes the sexism underlying the entire history of Progressive Rock in which the role of women is primarily restricted to ornamentation or as interpreters rather than creators of the music. This suggestion conflicts somewhat with Macan's definition of Progressive Rock as, amongst other things, a interplay of 'feminine' and 'masculine' musical qualities. Several subsequent reviews of Macan's book were critical of his terminology suggesting that it revealed a gendered essentialism. Such comments, however, betray the reviewer's own patriarchal attitudes by assuming that we should read Macan's association between 'pastoral' soundscapes and 'femininity' in negative terms. Aurum Nostrum emphasises what Macan regards as the 'feminine' side of Progressive Rock recorded by a group in which two women play prominent musical roles beyond just providing the vocals. It is a gentle, accommodative album that invites listeners to share the musical experience with the performers rather than bombarding them with insistent riffs and sonic hooks. It is not an album that invites immediate appreciation for its warm and subtle harmonies and complex structures demand close attention and repeat hearing. But by accepting the album's 'feminine' aesthetic rather than hoping for the more 'masculine' bombast, fiery virtuoso displays and driving force common in much other Progressive Rock, any listen to the album can become a rewarding experience. Not that the album is by any means perfect. The music, for example, lacks the melodic 'punch' and dynamism which a more 'masculine' balance could bring to it. A warm, sensitive and welcoming album Aurum Nostrum most certainly is but listening to it is akin to spending time with a pleasant and gentle friend whose company after a period of time becomes a little dull.

The first comparison many people make when it comes to Sinkadus is their fellow Swedish outfit Anglagard, or possibly Landberk. Following in the wake of their fellow Swedes with an album constructed, like the classic Hybris, as a four-track tribute to the prog giants of the past, Sinkadus' Aurum Nostrum didn't click with me for a very long while because as pleasant as it is, the album doesn't quite manage the level of technical wizardry displayed by Anglagard on their debut.

However, over time I have to admit that there's a certain haunting melancholy to the album. True, there's touches of a similar melancholy in the work of Anglagard, or in fellow Swedish prog revivalists Landberk, but it's not quite the same as Sinkadus. Perhaps the naive nature of their approach, counter-intuitively, helps to inspire a certain je ne sais quoi which means that, much as I might have criticised this album in the past, I can't quite altogether walk away from it.

Aurum Nostrum is Truly Our Gold

Don't know for what reason, I never bought a SINKADUS album until last week when I found Aurum Nostrum in the store, so just for curiosity (and the cheap price), got I without ever having heard a second of their music?I wish I had done it long ago because the experience was as great as listening Hybris for the first time, it was like Christmas coming in March.

The album is opened by Snålblåst, a complete box full of surprises. The first minute I almost believed it was ÄNGLAGÅRD playing under a pseudonym, especially because the peculiar style of Linda Johansson in the flute so similar to Anna Holmgren's with that sad melancholic and mysterious sound so characteristic of bands from this country. But after some time it's obvious that we're before a different band that shares the same love for well elaborate music.

Yes it's true that both bands have some extremely complex passages that remind of KING CRIMSON, and great respect for musicality, but SINKADUS is more worried about melody with a pastoral touch. It's also evident that while in ÄNGLAGÅRD members jump from frenetic to soft passages without advice or warning, SINKADUS use the flute and cello as a vehicle to soften the transition. It's also important to mention that Rickard Biström is not only a great guitar player but also has also a beautiful voice

Manuel begins with an extremely beautiful and melodic introduction where the Hammond organ and guitar really shine, is somehow hypnotic and captivating, but again the flute takes the music towards Medieval Folk territory for a couple minutes with some acoustic guitars, but this is only temporal, because after a while the massive use of Mellotron and synths take us back into Symphonic territory, somehow reminiscent of GENESIS but with a unique style. This time Rickard Biström combines his voice with Linda Johansson to create a mysterious effect. Again a perfect track.

After two excellent tracks it's time for Ågren, which is even better. After a pompous opening with a delightful excess of Hammond and Mellotron played with unusual dexterity by Fredrik Karlsson, the dramatic combination of male and female vocals create a Gothic (Late Medieval) atmosphere, blending the sacred and the pagan (Religious and Folk) in one sublime combination of beauty and musicality?From this point on, we can expect anything like lush keyboards, pastoral flute, dramatic cello and guitars, all perfectly supported by an extremely competent rhythm section. If you like Prog, you have to love Ågren , the perfect expression of what Progressive Rock means.

Aurum Nostrum is closed by the extremely eclectic Ättestupan, a song that blends pastoral music with more than evident KING CRIMSON frantic sections, as if they restrained during the melodic passages just to cut the ties and allow themselves to explode during breathtaking moments. Magnificent closer for an extraordinaire album that deserves no less than 5 solid stars.

Aurum Nostrum's lush arrangements, impeccable instrumental work, and complex songwriting leaves very little room for criticism. The album is a well mounted slice of classic prog-rock that won't disappoint fans seeking that early '70's sound; however, while I don't feel right criticizing Sinkadus' performance here--I can't really find that much to praise either.

This album left me cold, or rather, uninterested. They're operating in a prog-rock template that seems to restrain as much as it inspires. The high-points don't hit very hard, and the serene moments aren't contrasted enough for me. The group sticks to more or less the same vibe throughout the album. I like it OK, but never feel like I could love it. And, for better or worse, the comparisons to Anglagard are well founded.

As I reflect, I don't think I've listened to the Anglagard albums in my collection for several years; maybe that's one of the reasons why Aurum Nostrum sits comfortably as a 3-star release. It will no doubt appeal to those seeking some very European prog-rock to sit alongside the giants of the genre, but won't pull in casual fans or those not adjusted to symphonic indulgences.

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: 2 (in Swedish) - Style/Emotion/Replay: 2