SINKADUS

I could not have been more wrong. On Cirkus, Sinkadus truly come into their own sound - still rooted in 1970s prog, still with an approach not dissimilar to that of Anglagard or Landberk, but with a particular mood and atmosphere and aesthetic that is all their own. There's a haunting, foreboding quality to much of the material here, and a certain broadening of the prog influences they take on board; there's some segments, for instance, which genuinely wouldn't be out of place playing on the soundtrack of some forgotten 1970s giallo movie out of Italy.

Whilst the melancholy of Aurum Nostrum overlaps somewhat with the melancholy that Anglagard or Landberk have managed to capture in some of their own releases, nothing from that Swedish prog scene is quite as spine-chilling as the dread-inducing material here - not even the Morte Macabre supergroup project which covered all those Italian prog horror soundtrack classics from back in the day.

Come back, Sinkadus: all is forgiven. Whilst their debut may have had a mixed reception (perhaps with some small justification), Cirkus is an outright overlooked classic which doesn't deserve to languish in obscurity - nor do Sinkadus deserve to do the same. As I understand it, they've never formally announced a breakup, so perhaps we can hold out hope that one day this haunted circus will come back to down...

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

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.

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.

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.

The reason is that, even though I tend to be critical towards things retro and everything that looks like style-exercises, this album is simply too good, overwhelming even. With every listen I have found myself being soaked deeper and deeper into this imaginative piece of music. For symphonic prog fans, it isn't a particularly difficult album to get into, yet it takes time before all its intricate power and secrets will entirely reveal themselves.

Sinkadus sound very much like Änglagard and offer a Swedish mood-mix of Camel's Mirage, Genesis' Nursery Cryme and early King Crimson, featuring lots of vintage equipment such as moogs, flutes, hammond and mellotron. The sound is very natural, organic and direct, with a very solid foundation of tasty bass and drums. Depending on your point of view, you could either call them old-fashioned and retro or authentic and timeless. However, the quality of the musicianship and song material can't be denied. Add the vigorous performance to that and my vote swings in all positive directions.

Each of the 5 pieces here has so much things going on that a full description of all themes and song developments would take up an entire page. To give an impression, Jag Anglemarks Bane has a big cinematic introduction, reminding me quite a lot of the majestic moments of the first two albums from Ange, one of my favourite symphonic rock bands. That's a nice point they score here right from the start. The vocals are a bit awkward at first but they play a minor role and have gradually grown on me. On Kakafonia for example, the vocals are slightly processed through some voice effect device and the result is just excellent. Valkyria is a highlight amongst highlights, very adventurous, soulful, warm and melancholic. The album ends with big washes of mellotron that go through a chord modulation that reminds me very much of the vocal line from Genesis' Seven Stones, the .. only grieves him, Believe him part. Not a bad quote at all.

Cirkus is an album in a recognizable classic symphonic style and it's honoring classic prog rather then cloning it. When done with so much flair, passion and inspiration, 4 or 5 stars are easily deserved. Even within the symphonic prog sub that is crammed with essential material.

It is true that Sinkadus music sounds a bit easier to approach, which is even better to my ears.

Still, this album is more intricate than the marvellous and fully melodic debut Aurum Nostrum. While the opening song Jag, Änglamarks Bane fully reminds the grandeur of its predecessor (featuring some brilliant fluting as well as mellotron, but not enough tron to my likings) and is fully Crimsonesque, the follow-up Positivhalaren has a more eclectic feeling. The mood is darker, more oppressive. But the mellotron is there to smooth the angles.

Cirkus is not such love at first sight as their fantastic debut. You have to listen, and to listen more to discover all of its beauty. Because, there are no doubts: this is a beautiful album.

Bizzarely, Kakofonia is the most melodic track of the whole. Such a fine melody is just gorgeous. The instrumental intro is a jewel IMHHO. As I pointed out for their debut, the only minus point would be the vocals. This is the second highlight (after the opening song).

But of weak songs, there is no question here. Each track is a serious piece of music, featuring wonderful and symphonic passages. The closing of Valkyria is absolutely stunning in this respect.

The same magic takes place with the second half of Ulv I Faraklader. Do I need to mention the superb mellotron? I guess not. But each time that a band has used this great instrument (Paatos, Anekdoten, Anglagard, not to mention KC and Genesis of course), I feel the same passion.

If orgies of keys (mellotron), sweet flute, and great harmonies are of your liking, you shouldn't hesitate to listen to this album. I don't like it as much as their debut one but Circus remains a very good album. Four stars without hesitation.