We have put together a significant amount of pictures and videos covering approximately the band's last three years. The idea is to include as many pictures, videos, interviews or any other digital content appealing to the fans (Actually many of the pictures included here has been sent by them). Also as the band moves through the motions of the recording of the new album new rehearsal videos will see the light of day here, before anywhere else!


Concert Photos

Pictures taken during the two Änglagård performances aboard Cruise to the Edge, Miami, November 2015.

Pictures courtesy of Joel Barrios for NORRSKEN PHOTOGRAPHY


These images may not be reproduced, copied, transmitted or manipulated without the written permission of the photographer.

Pictures taken during the Änglagård performance at The Spirit of 66, Belgium, April 2015.

Pictures courtesy of Jaak Geebelen.


These images may not be reproduced, copied, transmitted or manipulated without the written permission of the photographer.

Pictures taken during the Änglagård performance at 2 Days Prog+1 Festival, Italy, September 2014.

Pictures courtesy of Vincenzo Murphy Nicolello.


These images may not be reproduced, copied, transmitted or manipulated without the written permission of the photographer.

Band Photos

First official 2016 band picture

Pictures taken during the first 2016 Änglagård rehearshal, January 30th, 2016.



First ever live performance of new song Dagsmeja

Rained out fist performance during Cruise to the Edge 2017

Änglagård Live: Made in Norway (Promotional Video)

Rehearsal Room Jam # 7

Rehearsal Room Jam # 6

Rehearsal Room Jam # 5

Rehearsal Room Jam # 4

Rehearsal Room Jam # 3

Rehearsal Room Jam # 2

Rehearsal Room Jam # 1


The Viljans Öga poems "Sorgmantel" (Mourning Cloak), "Ur vilande" (Once Dormant), "Lägtans Klocka" (Clock of Longing) and "Snårdom" (Brushwood Hide) were written by Johan Brand, Thomas Johnson and Anna. Holmgren. Click on any of the images below to see them supersized with Swedish lyrics and English translations


Ur Vilande


Längtans klocka


This is an interview with Jonas Engdegård by Joel Barrios. It was originally included as part of the Fan Club Newsletter #1, sent to the Fan Club members in November 2016, and now has been also published at The Prog Report online magazine.

Swedish’s masterminds of dark, moody and wildly-complex progressive rhythms ÄNGLAGÅRD will return once again to Cruise to the Edge next month, following their presentation with a few handful of additional US/Canada dates in May, and closing with the Sunday headlining spot at the 2017 edition of the prestigious Rite of Spring Festival (RoSfest) to be held in Gettysburg, Pennsylvania. Since their appearance in Cruise to the Edge 2015 the band has been working on several projects, and we sat down with guitarist and founding member Jonas Engdegård to learn more about what have been happening in the “House of Angels”…

Q: I guess that there's no other way of starting this interview than asking the most impending question coming to the minds of every single Änglagård's fan on Earth. What about the new Änglagård's record? How is that coming along?

A: "It’s been quite stagnating due to the tours in 2015, but last few months it’s been taking off good. I’m constantly getting reminded that we do have an extremely slow way of writing music together, which is sometimes frustrating. Anyway - I can guarantee we’ll have new songs for the upcoming concerts in 2017."

Q: Is the songwriting a group effort, or do individual members bring their own songs to the band? I think it’s always interesting to read how a band construct their songs…

A: "A little bit of both. Sometimes we all sit together (all six members) in a room in a songwriting session, jointly coming up with riffs, melodies and parts, and also merging selections of individual compositions. That’s the really slow part. Sometimes we write longer pieces individually or in smaller groups, though. That’s much more efficient. For example, Johan and me have been working on a piece for quite some time that’s starting to look like a promising baseline version. But the most important step is the ensemble/orchestration work with the full band to let all our personalities get into the music in order to create the “Änglagård sound”."

Q: Looking back at past experiences... What was challenging and what was fun during the “Viljans Öga” recording sessions?

A: "For Viljans Öga we did a pretty detailed pre-production (with drum machine), so from there the actual recording was much more controlled than before. If I would list pros and cons in that, I’d say I enjoyed the deterministic part as we got very early indications on how the recording would turn out and we could work a lot with just perfecting things rather than firefighting. On the con side I’d say the “decentralized recordings” that technology allows nowadays, was a nightmare. I expected overseeing the recordings of all tracking work, but the number of new tracks from other band members was growing out of proportions. We sometimes needed to cut down from some 150 tracks before even consider to give it to Alar (who was mixing), and having still too many parts and alternatives during mixing session made it very slow and expensive."

Q: Do you feel you have evolved as a musician in the last years? If so could you explain in what sense?

A: "I’ve been doing the acoustic guitar parts for the live shows recent years. It’s somewhat new for me as Tord always was the acoustic guitar guy in the band when we played in the 90s. But it feels refreshing indeed. Nothing beats the expression from a real acoustic instrument. Except from that, I’ve played the same Änglagård repertoire for quite some number of shows now (looking forward to add some new stuff…), so I guess I’m more or less the same although doing it in my sleep."

Q: Is there an all-time favorite guitar model you like to play with?

A: "I’ve been searching among many guitar models in my days but I always end up with a Fender Stratocaster. Although I sometimes use other guitars in order to get a certain sound on a recording, the Stratocaster is the model that aligns with my expression and style the most. "

Q: Have you played with any other bands outside of the Änglagård’s realm?

A: "Yes, many. But it was many years ago I had time to engage in multiple bands. At that time, it was nice to get some change and blow off some steam sometimes. However, nothing in my musical life has been anything near that ambitious as Änglagård."

Q: Will there be any of the new material in the set for Cruise to the Edge next February? When do you think the new album will be ready?

A: "Yes, there will definitely be new material for the upcoming shows in 2017 (including CTTE). The new album, that’s harder to tell. However, we have been working like busy bees to have the first ever official live video in the history of Änglagård ready for the Cruise. There’s a lot of expectations about it and we are doing as much as humanly possible to make this memorable for all our fans. It’ll be a Blu-Ray/DVD box containing the show we did at Norway in 2015, and as I speak the final touches are underway to enter the mass production stage."

Q: Have you got any plans for future vinyl reissues of the Änglagård's back catalogue? Fans will be extremely pleased if Hybris and Epilog are brought back to vinyl again, they are constantly asking about this subject in the forums…

A: "Yes, we really want to and there are some plans. However, it’s pending a few obstacles to be overcome related to editing work, record label and distribution. 2017 seems to be a very good year to make this fan’s dream come true."

Q: Who can you name as your biggest musical influences?

A: "I will skip this one. I panic when I’m thinking about 100 names at the same time and can’t rank them."

Q: If you would be given the power and the chance to assemble a dream band (living or dead) who would they be? (vocal/bass/drums/keyboard/lead guitar/rhythm guitar)

A: "No! I don’t think it works that way. A successful band, let’s say Pink Floyd, wasn’t successful because they were outstanding musicians, they just found the right combination of people at the right place, at the right time in their life and at the right time in history."

Q: This one is for the music nerds... What kind of equipment/gear are you using on the road and in the studio?

A: "Fender Strat Custom, stacked hum bucking pickups is very important for me when playing in this extremely dynamic band. Boss GT-3, which has hung around for a long time now. It has some favorite distortions that I still can’t replace and just the basic delay and volume control I need. On “Viljans Öga” I also used a Boss ROD-10 for the really fat, fuzzy sounds. Actually, the ROD-10 was the distortion I mainly used on Hybris in 1992. Fender Deluxe amp. Acoustic guitar on stage: Taylor 114CE, Fishman Rare Earth sound-hole pickup, Fishman Aura Spectrum DI. The Aura Spectrum is really irreplaceable for live use. Without it I would perhaps even consider to drop the acoustic guitar for live shows."

Q: Any anecdotes or special memories from your live performances you would like to share?

A: "Perhaps when rain was pouring down during our first Cruise to the Edge gig (no roof over the stage) and we ended the show after only half a song? Well, they scheduled another bonus gig for us and our equipment worked fine despite being quite soaked. Anyway - shortest show ever…"

This is an interview with Änglagård by Gunilla Härefelt. It was originally posted on October 27th, 2016 in The Swedish Side Artrock website, obviously in Swedish. This is the English translation, but if you read Swedish you can find the original article here

Änglagård was formed in Stockholm in the summer of 1991 by guitarist and vocalist Tord Lindman and bassist Johan Högberg (now Brand). They put up a note on the wall of the record store Mellotronen where they asked for musicians who were interested in playing music with roots in 1970s progressive rock. Keyboardist Thomas Johnson and guitarist Jonas Engdegård called, and soon Mattias Olsson on drums and Anna Holmgren on the flute also joined the band. In 1992 the band did a few gigs in Sweden and released the critically acclaimed album "Hybris". The following year they did their first ever tour, including Sweden, Norway, the US and Mexico. The band's second album "Epilog" - also acclaimed by the critics - was released in 1994. Änglagård made one last appearance at the NearFest in Los Angeles in 1994 and shortly afterwards the group disbanded. A live album - "Buried Alive" - was published in the fall of 1994

It wasn’t until 2002 the band started playing together again, this time around without Tord Lindman. They did some gigs in Europe and the US in 2003, then went silent again for years. However the remaining members continued to compose music. In 2011, they began to rehearse a little more regularly, and in 2012 they made a few appearances in Sweden, Portugal, France and the United States. The album "Viljans Öga" was released in June of 2012. In 2013, the group played three nights in a row with The Crimson ProjeKCt in Japan. The album "Prog på svenska - Live in Japan" was recorded at that time and was released in 2014. Tord Lindman was now back on guitar and vocals.

From 2013 through 2015, the band toured extensively, visiting several European countries, Japan, Mexico and the United States. The members have changed little over the years. Current members are: Anna Holmgren - flute, saxophone and mellotron, Johan Brand - bass, Tord Lindman - guitar and vocals, Erik Hammarström - drums and percussion, Linus Kåse - keyboards and saxophone, and Jonas Engdegård - guitars.

In connection with King Crimson's concert in Stockholm on 31 September, I met Anna, Jonas, Tord and Johan and had a chat with them.

Q: Änglagård did a successful tour in 2015 and are booked again including Cruise Cruise to the Edge in February 2017 and headlining RoSfest in 2017, and in addition a new International Fan Club is now operating. How do you feel about this?

A: "Yes, it's great fun, of course! Oddly enough, we have always been bigger abroad than in Sweden. A contributing factor is the emergence of the Internet. The music is simply more accessible. Another reason for the popularity has increased is that we have played a lot live at various festivals. When you reach out to new listeners."

Q: What is the process you follow to compose new music?

A: "Often it so that someone presents a musical idea - maybe just a theme, or maybe an entire composition - then we work together with the material until we are satisfied. Änglagård has a great advantage in the fact all the members compose music. We try to get together and rehearse about once a week."

Q: We haven’t heard anything from Änglagård for long periods of time and then the band has suddenly resurfaced on occasions. What have you guys done during the band’s downtime? Solo projects? Played in other bands? Worked with another musicians?

A: "The main reason is probably that the members have been busy with other life projects such as education, work and family. Tord has worked in the film industry and as an electrician, Anna and Johan have both worked in the photo industry, Anna is now a flute teacher and Johan has worked as a recreation leader at a school. Jonas has worked in the computer industry. Several of us play or have played in other formations. Johan is slowly putting together his own solo project which also includes Änglagård's original keyboardist Thomas Johnson. Anna is also planning to work on a solo project eventually. Both Anna and Johan has previously worked with Thieves Kitchen."

Q: When will we have a new album?

A: "We have some new material and are planning to enter the studio in the Spring of 2017. A single will be released before the album sees the light of day. Änglagård's first official live DVD was recorded in Norway in 2015 and it will be released in time for Cruise to the Edge in 2017. We will also play some new music on the cruise."

Q: Will there be any concerts in Sweden in the future?

A: "As for Sweden, so far we are only booked for a concert in Gothenburg March 4 ("Musikens Hus goes Progressive"). As for overseas, we'll play Cruise to the Edge (Florida - Mexico) on February 7th through 11th, Quebec on May 5th, and RoSfest on May 7th. We would love to do more gigs in Sweden if we get in touch with a good promoter. Musicians need to be paid for their work too, and it’s also important that we have access to the equipment we need at our gigs."

Q: What are your main musical inspirations / influences?

A: "Tord’s influences are largely rooted in the Swedish traditional music and political progg such as Cornelis Wreeswijk, Pugh Rogefeldt, Ulf Lundell and others. He has also drawn inspiration from bands like Henry Cow. Johan began with classic hard rock, but early on he started listening to progressive rock in his older sister’s ample vinyl collection. He now listens mainly to jazz and progressive rock, and draws inspiration from bands like Magma, early King Crimson, John Coltrane and Miles Davies. Anna began listening to prog-rock mix tapes that were largely given to her by Johan in the early 90s. Jonas listened a lot to bands like King Crimson, Genesis and Yes in his teens, but also listened to a lot of classical music, from the 1700s to contemporary music."

Since we are on a King Crimson concert: What impact King Crimson's music had on you?

A: "King Crimson has been a tremendous source of inspiration for us all. The concert was absolutely amazing! The music still sounds fresh and vital, and the three percussionists gave a whole new dimension to the compositions."

Finally: How would you describe Änglagård's music to someone who has never heard of you before?

A: "Our music is electric-acoustic with rock elements and many different influences. There are many sudden changes, but we strive for the transitions to feel natural."

Thank you for the chat and I wish Änglagård the best of luck in the future!


The English translation of "Vandringar i vilsenhet", "Ifrån klarhet till klarhet" and "Kung Bore" (which were all originally written by Tord Lindman) was the work of Hans C. Larsson and Sandy Santra, with modifications by Ron Chrisley and Jonas Mellin. The final revisions were made by Emil Holmgren.

The poems to "Rösten" (The Voice) and "Sista somrar" (The Last Summer) were written and translated by Rut Hillarp. "Gånglåt från Knapptibble" received a tentative translation from Petter Sundlöf. He and Henrik Johansson played a key role in transcribing the lyrics of that song. The remaining poems were snatched from the wind. Those poems were translated by Christian Holmgren.


Sol sjunker sakta, likt ett fallande löv i höstens tusen färger,
mot en brinnande horisont,
men färgerna överger den snart i dunkelt grått,
i piskande oväder och ruttnande löv,
den bränner sin skog för att börja om på nytt.


Sun sets slowly, like a falling leaf in the thousand colours of fall,
towards a burning horizon,
but colours soon abandon it in dusky grey,
in lashing storms and rotting leaves,
it burns its forest to start anew.


Vad är ni för underligt ting som talar om vilsenhet?
De asar som styr oss i vär tro talar om att det som sker,
tar oss till en bättre värld.
Vad är sant, vad är falskt i en framkallad illusion?
Att bli försedd och ledd, konstant beredd,
gör det dig fri och stark it tron?
Frågor som ständs är mig när.
Drömmar om abstrakta ting tar oss med på en okänd färd,
där begränsning, rätt,
fel och tid ej har nägon existens.
Förunderlinga ting finns det där.


What kind of strange thing are you who talk of confusion?
The norse gods that govern us in our faith say that what is happening,
takes us to a better world.
What is true, what is false in a fabricated illusion?
To be supplied and guided, constantly ready,
does that make you free and strong in faith?
The questions asked are close to my heart.
Dreams about abstract things take us on an unknown journey,
where limitations, right,
wrong and time do not exist.
There are wondrous things there.


I ljuset från min lykta
ser jag skuggan utav sorg,
drömmar som har slocknat
ifrån ett liv som haft sin tid.
Inte kan jag stå och se på
då vi flyr,
verklighet och sanningar
där moralen är fantasi.

Det är ju du själv som väljer,
det är ju du själv som sväljer,
deras sagor och lögner och fjäsk.

Är det sant att även de som talar
högt starkt och rätt
planterar döda blommor?
Då kan det inte vara lätt
för människan att tro
på Gud att han är stor,
när tystnaden breder ut sig
i huset där hon bor.

Det är ju du själv som väljer,
det är ju du själv som sväljer,
deras sagor och lögner och fjäsk.

Kung Bore är död
och våren, den nyvalde är folkets hjälte.
Visioner föds
och det är dags att befolka
sina massiva luftslott.
Livets panorama,
hallucination, jag har
längtat något så gränslöst.
Ge mig evig insyn
in i drömmarnas land,
först då blir jag lycklig.


In the light from my lantern
I see the shadow of sorrow,
in dreams that have been extinguished
from a life that has had its time.
How can I stand and watch
while we flee
reality and truths,
where morality is fantasy.

It is you who chooses
it is you that swallows
their fairy tales and lies and flattery.

Is it true that even those who speak
loud, strong and true
also plant dead flowers?
Then it cannot be easy
for a human to believe
that God, that he is great,
when silence spreads
in the house where she lives.

It is you that chooses,
it is you that swallows,
their fairy tales and lies and flattery.

"King Winter" is dead
and Spring, the newly elected, is the people's hero.
Visions are born,
and it is time to populate
our castles in the clouds.
Life's panorama,
a hallucination,
I've such a boundless longing.
Let me forever view
the land of dreams,
only then will I be happy.


Vad är det som säger,
att allt är rätt,
allting som är runtomkring?
Två kanske är mer än tre,
vad vet vi om det?

I en värld där upp är ner och
ut är in. Det är med
självklarhet, att han blir sedd
som vriden (eller) kallas han

Han ser liv, perspektiv. Han
ser nuet, duet och jaget som
ett. Livet är ett tidsfördriv.

Levgossen talar vanskapt språk
och tidsforsen skriker gällt sin väg
Avgrunden öppnas och bilder dör.


What is it that says,
that all is right,
everything around us?
Two may be more than three,
what do we know of that?

In a world where up is down
and out is in
Is it a certainty
that he's seen as twisted,
he is called prophet?

He is as divided,
even though now is the You and I as One.
Time is a pastime.

The living boy speaks misshapen words,
and the shrill torrent of time shrieks its course.
The abyss opens and images die.


Det finns en sol
som är större än mitt leende
Det finns en sol
som är större än mitt hat
Det finns en sol
som är större än mitt leverne
Men ingen sol är större än mig
släck mig


There is a sun
that is greater than my smile
There exists a sun
that is greater than my hate
There exists a sun
greater than my way of life
But no sun greater than me
extinguish me.


I drömmen hörde jag honom ropa.
Och i detta ögonblick av långväga svar
återfinner jag den milda döden,
andas jag trädens födelse.
Ljungens klockor lämnar fritt sina hemligheter i min hand.

Min kropp är markens svalka
och den sköra höstens moln
glider genom mina ögon.

Han ropar i gryningen och
rösten var min moders.
Havet ska bära mig till en famn.


In my dream, I heard his call
And in this moment of distant answers
I rediscover the gentle death,
I breathe the birth of trees.
The bells of heather freely yield their secrets in my hand.

My body is the cool of the ground
and the clouds of the brittle autumn
drift through my eyes.

He calls at dawn
and the voice was my mother's
The sea shall carry me into an embrace.


Jag ser ner i bäcken djup
Och ser ett björklöv flyta förbi
Jag tror att under stenen
finns en gång som leder till himmelriket.


I look in the deep brook,
And I see a birch leaf floating by.
I believe that under that rock
leads a path to heaven.


Den oerhörda grönskan dessa sista somrar.
Smala björkstammar skymtande som knippen av begär.
Kvinnorna födde barn på barn utan att förstå varför.
Inga händer kunde vissna. Havet stillande, Sjöarna sjöng.
Dikena frustade av älggräs. Vägarna lyste alldeles vita,
men inte av skräck. Vita av sina drömmar.
Längs åkrarna blå förgetmigej.
Men ingen skulle minnas oss. Vi var de sista.


The incredible green of these last summers.
Slender birches glinting like bundles of desire.
The women bore children upon children without knowing why.
No hands could wither. The sea stilled.
The lakes sang. Ditches snorted with meadow-sweet.
The roads shone white, but not with terror. White with their dreams.
Along the fields blue forget-me-nots.
But no one would remember us. We were the last.


Levgossen talar vanskapt språk,
och tidforsen skriker gällt sin väg.
Avgrunden stängs och bilder dör.
Allting tar vid skogsranden slut.
Världen bakom skogsranden börjar
där törnrosen sliter sig fast vid din buk
och ger själen ingen vila
då sägnen är skapt
och tiden att tänka och tala dör ut.
Ingen skola mer leva i dvala.


The living boy speaks misshapen words,
and the shrill torrent of time shrieks its course.
The abyss closes and images die.
Everything ends at the edge of the forest.
The world behind the edge of the forest begins
where the briar clings to your stomach
and gives no rest to the soul
when the tale is created
and the time to think and speak dies out.
Never again shall anyone live lethargic.


Spillror ifrån det förgångna tiden är nu.
Ensamhetens värld där lever vi,
med allting som samlats på hög
runt omkring oss,
för ständigt vårt inre
mot störning och disharmoni.
Alla drömmare som vet
någonting annat har fel.
Det kanske är så att man är vilseledd.
Varför finnas här till ingen nytta?
Tiden går lidande
min själ far vidare
i drömmen.

Sökandes svar i en dimma som präglas
av vilsenhet och ofullständigt liv.
Där morallösa människor tar vid
och tanken blir till en känsla
av maktlöshet tvivel och likgiltighet.
Då, vi råkas och samlas till fest
för förstånd bortom en
hycklandes, gycklandes, abrakadabra värld.


Fragments from times past are now.
The world of loneliness is where we live,
with everything that has been piled up
all around us,
constantly brings our inner being
towards disturbance and disharmony.
All dreamers who know
something else are wrong.
It may be that one is led astray.
Why exist here for no good?
Time goes suffering
my soul passes onwards
in the dream.

Searching for an answer in a mist dominated
by confusion and incomplete life;
Where immoral people take over
and thought becomes a feeling
of despair, doubt and indifference.
Then, we meet and gather for a feast
for comprehension beyond
a hypocritical, jesting and abracadabra world.