If we are talking about the current wave of Scandinavian prog, most of the time one very important name is missing from many a list: that of Isildurs Bane. Swedish band Isildurs Bane has, for a long time, been compared to Camel. Especially the lush symphonic textures and the nice melodies that have been the trademark of the band. The more time evolves the more mature the band becomes, introducing inventive themes and arrangements to their interesting music. After a reasonable studio output, the band has now issued a wonderful 2-CD live set that 90% of has been recorded at various locations all over the world, whilst 10% has been recorded in the band’s rehearsal studio. By taking the recorded output of some "older"material and editing it, putting it in a different order and then pasting it, the band composes new material or adds a different dimension to their already composed music. By adding extra musicians and by adding lush improvisations during live performances the comparaison with Camel is less appropriate and has to be replaced by that of After Crying (just listen to “Exit Permit” for proof). This double disc here consists of recordings made with a compact line-up but also with a larger band, so the atmosphere of the music sometimes is very intimate as opposed to bigger, spacier sounds. The quality of the recordings is ace and with the inclusion of guest musicians such as the wonderful Björn Jason Lindh on flute and guitarist Janne Schaffer the party can’t go wrong. Listening to the music it becomes apparent that these musicians also have a firm foot in theatre and dance alike. They cut and paste samples in order to explain certain movements which extra underline their cultural heritage. So there’s folk, progressive rock, chamber rock and some jazz interspersed with dialogue which at times has me think of the Dutch band The Nits. Little audio details are added all over the place to make it more interesting. Including a full orchestra and a matching overwhelming arrangement, the long “Exit Permit” probably is the pièce de résistance on this album mixing rock with pure classical themes. A treat! Throughout the album, six "new" pieces of collage have been added called “Extroversion” (phase 1 to 6). They kind of link the various live recordings so that the atmosphere of one recording doesn’t spoil the other. “Celestial Vessel” is a new piece based around the trumpet of Fredrik Davidsson and the trombone of Ola Akerman. Performed only thirty minutes into the new millennium “Celestial Vessel” concerned both this composition and a sculpture which were both inaugurated simultaneously in front of 2001 enthousiastic people in Halmstad, Sweden. One of the fragile textures in the music of Isildurs Bane certainly has to be the constant use of the vibraphone and other percussions by Klas Assarsson giving a completely different feel to the music. The unsuspected elements in the band’s music guarantee that no one and I mean no one dares to speak during the concert, a very rare phenomenon these days! It should indeed be a sin to speak throughout this wonderful music which constantly changes, giving way to new and interesting music, as if one would clean some varnish from a painting only to reveal a completely new painting underneath. Just listen to “Das Junkerhaus” and let me know what bastard would have the guts to open his mouth during this song! Then listen to one of the band’s masterpieces “Cheval” which also holds parts which could well be from the symphonic tour de force of The Enid. “Exit Visa” then again is pure orchestral and classical and once again illustrates what a superb combination the members of Isildurs Bane really is! As the band themselves say: "this album is a montage, an interpretation, a deconstruction and reconstruction into something new. In other words Do – Undo – Redo." I couldn’t have said it better myself. Reviewed by: John ‘Bo Bo’ Bollenberg |
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