Some bands are accused of plagiarism. Änglagård is a band that will never be accused of stealing someone else’s tune. Sure, there was a Genesis tape playing as we walked in, and audience members sported a range of prog rock t-shirts, from Jethro Tull to King Crimson, but the complex, instrumental songs performed by this Swedish five-piece are like nothing else.

The show was an act of love and devotion by Shachar Tal, who crowdfunded the entire concert through an organisation he named Highly Unprofessional Productions, and Kumeran Sahar, who led the production team. The event felt less like a rock concert and more like a bunch of friends getting together to celebrate amazing music. Although it had a very intimate feel, the venue was completely sold out with over 300 people coming to listen to the music of Änglagård.

If you are not familiar with Änglagård, they play unplayable songs with even more unpronounceable titles. The band began in 1991, broke up in 1994, reformed in 2002, broke up again in 2003 and then reformed again from 2011-2012, again from 2014-2017 and reformed most recently in 2022. Three of the current members have been in the band since the beginning (or near enough) — bassist Johan Brand, guitarist Jonas Engdegård and drummer/percussionist Mattias Olsson. They were joined on this tour by Staffan Lindroth on keyboards and Oskar Forsberg playing flute, saxophone, megaphone and shaker.

Tal came on stage to welcome everyone who contributed to bringing the band to Israel and he introduced the band.

Änglagård came on to the small, intimate stage as the tape played Prolog. Then they launched into Gånglåt från Knapptibble. Brand explained that this song was originally recorded for an English prog rock magazine as a floppy record. According to him, those floppy singles are very rare today.

If you are not familiar with Änglagård’s music, they weave patterns of sound with syncopated, odd time signatures. I suppose the best description I can give is organised chaos. If you imagine the more tame, sanitised prog rock bands of the past few decades, Änglagård is nothing like that. They are daring and breathtaking and constantly pushing the limits of what is possible to play and to hear.

Brand played his bass as a lead instrument, often venturing up to the dangerous part of the Rickenbacker neck. He alternated between using a pick and fingers on his Rotosound 606s.

Engdegård switched frequently between electric and acoustic guitar, though he also pulled out a classical at one point. His leather trousers contrasted sharply with Forsberg’s blazer and shorts.

Forsberg’s vibrato-drenched flute sparkled like a diamond, while his saxophone augmented the heavy, bassy keyboards. And he even pulled out a megaphone for “Kung Bore.” Lindroth stayed out of the spotlight, but his keyboards held the entire ensemble together.

Olsson was like a magician, pulling one trick after another out from his drum kit. He played drums, chimes, a gong and a host of other percussion instruments. He even switched to guitar at one point. His rhythms took the band out into the deep, dangerous waters of anarchy, yet remained the bedrock of their sound.

The audience was an interesting mix. There were plenty of middle aged men and women along with a contingent of head banging teenagers in the corner of the stage.

To highlight how personal this concert was, the band came out to chat with the fans (and sell some merch) during the break (yes, they had an intermission). There were a lot of hardcore fans lining up for photos with the guys.

Davidavi (Vidi) Dolev, vocalist for the opening band Subterranean Masquerade joined Änglagård for the vocals on “Kung Bore.”

Olsson summed up the love in the room when he spoke of the songs and the audience as being old friends and becoming new friends. He quoted the Beatles, saying, “We’d like to take you home with us, we’d like to take you home.”

The concert ended with a haunting theme played in flute.

Subterranean Masquerade

I’ve seen the opening band, Subterranean Masquerade once before, when they opened for Sons of Apollo. I was very impressed with them then, and they were even better this time (with a slightly different lineup).

Vocalist Dolev looked like an extra from Fiddler on the Roof and spoke of how he was recently weaned off sleeping pills. He has an amazing vocal range, switching from a baritone to growls and then to a high falsetto.

The band’s analogue keyboard textures transported us back to the early 1970s. The pounding toms ensured it was rocking while the duelling guitars interwove lines in a blend of middle eastern and Celtic lines.

At times, the band were jumping like hasidim at a mitzvah tantz, while at other times they were thrashing and bashing.

The band, comprised of Dolev on vocals, Tomer Pink, Omer Fishbein and Or Shalev on guitar, Shai Yallin on keyboards, Golan Farhi on bass and Jonathan Amar on drums, are one of Israel’s best. Check them out.

Änglagård Setlist

Höstsejd
Ur vilande
Jordrök
Vandringar i vilsenhet
Ifrån klarhet till klarhet
Kung Bore
Encore:
Sista Somrar

The Venue
Grey. Ibn Gabirol 30. On floor minus one of a shopping mall with a parking lot conveniently located downstairs.
Seated venue with capacity for just over 300 people. There is food and drink available.
Tables for four. Best to come with a few mates if you feel uncomfortable on my own.

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Blues legend Buddy Guy announced via Facebook on Tuesday that he is cancelling his two scheduled Israeli concerts due to “unrest and recent military operations.”

He had been scheduled to play Caesarea and Tel Aviv on July 19 and 20, 2023.

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The band appreciated the crowd singing along. Lead man, Dexter Holland, and lead guitarist Kevin Wasserman (aka Noodles), paused Bad Habit in the middle and messed with the crowd and warned them they were going to curse.

Balloons and confetti were thrown into the crowd and the stage was “decorated” with dancing man inflatables.

1. Come Out and Play
2. All I Want
3. Want You Bad
4. Staring at the Sun
5. Hit That
6. Hammerhead
7. Bad Habit
8. Iron Man / The Trooper / Sweet Child o’ Mine / In the Hall of the Mountain King
9. Blitzkrieg Bop (Ramones cover)
10. Gotta Get Away
11. Why Don’t You Get a Job?
12. (Can’t Get My) Head Around You
13. Pretty Fly (for a White Guy)
14. The Kids Aren’t Alright

Encore:

15. You’re Gonna Go Far, Kid
16. Self Esteem

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The Black Keys

At the same time The Offspring were hitting the stage for their debut in Israel at the Tel Aviv Expo center, The Black Keys hit the stage for their own debut at Park Rishon LeTziyon. The Black Keys opened with “I Got Mine” from 2008’s Attack and Release, and continued for almost an hour and a half playing hits from throughout their discography. In fact only 2 of the songs played were from their most recent album, Dropout Boogie, despite the fact that Tel Aviv was a stop on their Dropout Boogie tour.

Patrick Carney played the drums in his signature way- almost slumped over the kit, while Dan Auerbach seduced the crowd with his unique blues-rock riffs. The backing band stood behind the two, and the stage was backlit by a large panel that displayed images relevant to the song or album (some of which were probably lost on fellow fans not from northeast Ohio).

The night climaxed with the Keys’ encore where Auerbach played the delicate opening to Little Black Submarines. The entire crowd was silent until Dan began singing along with all 10,000 fans at Park Rishon. The Black Keys finished their set with their (probably) most popular song Lonely Boy.

Set List:

1. I Got Mine
2. Gold on the Ceiling
3. Your Touch
4. It Ain’t Over
5. Crawling Kingsnake (Junior Kimbrough cover)
6. Have Love Will Travel (Richard Berry cover)
7. Everlasting Light
8. Next Girl
9. Fever
10. Weight of Love
11. Heavy Soul
12. Low High
13. Howlin’ For You
14. Ten Cent Pistol
15. Tighten Up
16. Wild Child
17. She’s Long Gone

Encore:

18. Little Black Submarines
19. Lonely Boy

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Swedish progressive rock band Änglagård will bring their unique style of symphonic prog to Israel for the first time in September. The band is set to play the Grey Club in Tel Aviv on September 11, 2023.

Änglagård was formed in Sweden in 1991. The band’s sound is heavily influenced by the 1970s progressive rock scene, particularly by bands such as King Crimson, Yes, and Genesis. Their music features complex arrangements, intricate guitar and keyboard work, and a strong emphasis on melody and harmony. Änglagård’s music is often described as “symphonic prog.”

Although the band split up in 1994, it reformed in 2009 and has been active ever since. The current band lineup is Mattias Olsson (drums), Johan Högberg (bass), Jonas Engdegård (guitars), Oskar Forsberg (flutes, saxophones, keyboards) and Staffan Lindroth (keyboards).

Israel band Subterranean Masquerade to open

The band is being brought to Israel by a brand-new promoter called Highly Unprofessional Productions. The promoters say that the concert is, “crowdfunded as a purely non-profit initiative. A work of passion, by fans of the band.”

Well established, highly renowned Israeli band Subterranean Masquerade will open the concert. I last heard them open for Sons of Apollo and was very impressed with their tight sound and impressive musical talents.

History of Änglagård

Änglagård’s debut album, “Hybris”, was released in 1992 and was a critical and commercial success. The album features a blend of acoustic and electric instruments, with a strong focus on the mellotron, a keyboard instrument that was popular in the 1970s. The album’s intricate compositions and complex arrangements garnered praise from fans and critics alike, and helped to establish Änglagård as one of the leading bands in the progressive rock scene.

After the release of “Hybris”, Änglagård went on hiatus for several years before reuniting in 2002. The band released its second album, “Epilog”, in 1994, which further cemented their reputation as one of the premier progressive rock bands of the era. The album features a more mature sound, with a greater emphasis on acoustic instruments and a more subdued approach to the use of electric instruments.

The band’s intricate compositions, virtuosic musicianship, and classical influences have inspired countless other musicians to explore the boundaries of progressive rock.

The venue

Grey Club (Tel Aviv) is located at 30 Ibn Gabirol Street. It is one of three Grey Clubs (the others are in Modi’in and Yehud). There is a wide variety of music happening at Grey – check their website (Hebrew) for more concerts.

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The Melvins tore up the Barby Club on Wednesday night with a fast-paced, no-nonsense crowd pleaser of a gig. And they will do the same again on Thursday night, July 6, 2023. The last time The Melvins played in Israel was in 2007. Just like buses, you wait 16 years for a Melvins show and then two come along at once.

There was no time wasting with this band. They came onstage at 10pm exactly, to A-Ha’s “Take On Me” and launched into an hour’s worth of material (In that time they got through 14 songs) with no breaks, no time for anyone to catch their breath and hardly any time to applause at the end of each song. Then, after a very brief break, they came back for a one-song encore. Though that song was “Boris” which lasted 15 minutes, including at least five minutes after two-thirds of the band had left the stage.

I have heard of The Ramones blasting through a dozen songs in half an hour, and trying their best to shave off a few seconds when they could. The Melvins (who’s name I’m sure was at least partly inspired by The Ramones) were the next best thing. One strong song after another. No introductions, no “thank you”s, no “ifs” or “buts.”

Buzz Osbourne stomped around the stage in heavy boots and a wizard’s robe. With his fleece of grey hair he looked like a dandelion that had taken up magic and guitar. Unusually for a guitarist, his pedal board was at the back of the stage, next to his amps. Which meant that some of his greatest moments were played with his back to the crowd, while he was absorbed in the musical mayhem he was creating.

Steven Shane McDonald wore a sharp red suit and mangled a hot red bass. In contrast to Osbourne’s moody stomping, McDonald danced, jumped, posed and shape-shifted for the entire hour. He both threated and made love to the crowd with his bass.

Dale Crover kept the entire show moving with his drumming. While Osbourne and McDonald were tuning their instruments, or searching for the magical optimal feedback point, his incessant rhythms kept the crowd hopping and jumping. The only time he stopped drumming, and almost the only time the band spoke to the crowd, was when he came up front to introduce the others. While the other two had big pic stands, Crover’s head mic allowed him to harmonize and syncopate the vocals almost without anyone noticing.

The crowd last night was like a fourth member of the band. They were moshing and bopping and even a few — very slow motion — stage dives. Not like diving into the deep end of the pool, but gingerly climbing in at the shallow end.

If you are looking to rock your socks off tonight in Tel Aviv, head to the Barby Club — if you are lucky, there may be a few tickets left.

Full Setlist:

• Tape: Take On Me (a‐ha song)
• Snake Appeal
• Zodiac
• Copache
• I Want to Hold Your Hand (Beatles cover)
• Hammering
• Never Say You’re Sorry
• Evil New War God
• Let It All Be
• Blood Witch
• Your Blessened
• A History of Bad Men
• Honey Bucket
• Revolve
• Night Goat
• Encore:
• Boris

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The Melvins are an American rock band that formed in Montesano, Washington, in 1983. Since their formation, the band has undergone several lineup changes, with Osborne being the only constant member. The current band is comprised of Buzz Osborne (guitar and vocals), Dale Crover (drums) and Steven Shane McDonald (bass).

In honor of the 40th anniversary, the band rereleased “The Devil You Knew, The Devil You Know” on Amphetamine Reptile Records.

The band has been highly influential in the development of the sludge and stoner metal genres, and is also known for their experimental and avant-garde approach to music. The band’s original lineup consisted of Buzz Osborne on guitar and vocals, Matt Lukin on bass, and Mike Dillard on drums.

The Melvins’ music is characterized by its heavy, distorted sound, slow tempos, and unconventional song structures. The band’s early albums, such as “Gluey Porch Treatments” and “Bullhead,” were highly influential in the development of grunge music, and the band is often cited as an influence by bands such as Nirvana and Soundgarden. However, the Melvins have always been more experimental than their grunge counterparts, incorporating elements of punk, metal, and avant-garde music into their sound.

Over the course of their career, the Melvins have released over 25 studio albums, as well as numerous EPs, live albums, and collaborations with other artists. Some of their most acclaimed albums include “Houdini,” “Stoner Witch,” and “The Maggot.” The band has also collaborated with a wide range of artists, including Jello Biafra, Tool, and Big Business. Despite their experimental approach to music, the Melvins have maintained a dedicated fan base over the years, and their influence can still be heard in a wide range of contemporary heavy music.

In conclusion, the Melvins are one of the most influential and innovative bands in the history of heavy music. Their unique approach to songwriting and their willingness to experiment with different genres and styles have made them an enduring force in the underground music scene. While their music may not be for everyone, there is no denying the impact that the Melvins have had on the development of heavy music over the past three decades.

The Venue:

The Barbie Club. Kibbutz Galuyot Rd 52, Tel Aviv-Yafo.

The Promoter:

ZUZZ Agency

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The Icelandic band Kaleo will play Raanana Amphipark on June 22, 2023. Tickets are available from Eventim starting at NIS 294. This is the band’s first visit to Israel, as part of their “10 Years of Unforgettable Music” tour.

Icelandic Sensation: Kaleo’s Meteoric Rise

Hailing from the land of fire and ice, Icelandic rock band Kaleo has taken the international music scene by storm. Formed in 2012, the quartet features Jökull Júlíusson on vocals, Þorleifur Gaukur Davíðsson on guitar, Rubin Pollock on bass, and Davíð Antonsson on drums. With a unique blend of folk, blues, and rock influences, Kaleo has managed to captivate audiences across the globe through their soul-stirring melodies and powerful performances.

A/B: The Turning Point

Kaleo’s breakthrough came in 2016 with their debut international album, “A/B”. Featuring the hit singles “Way Down We Go” and “All the Pretty Girls,” the album quickly gained traction and catapulted the band into the spotlight. “A/B” showcased Kaleo’s musical versatility, with tracks ranging from haunting ballads to bluesy rock anthems. The album’s success led to numerous accolades, including an Icelandic Music Award for Best Album and a US Billboard Chart appearance.

Kaleo’s Impact on the Global Stage

Since their international debut, Kaleo has continued to make waves in the music industry. They’ve performed on the stages of renowned festivals such as Bonnaroo, Coachella, and Lollapalooza, and have also been featured on popular TV shows and movie soundtracks. The band’s distinctive sound and evocative lyrics have resonated with listeners and critics alike, earning them a dedicated fanbase and a growing list of achievements.

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Both concerts will be held in Tel Aviv’s Park Hayarkon, which holds over 60,000 people.

Bruno Mars is a singer, songwriter, and record producer. He was born on October 8, 1985, in Honolulu, Hawaii, and his birth name is Peter Gene Hernandez. Bruno Mars is of Filipino descent and was raised in a musical family. He began performing at a young age and quickly gained recognition for his talent.

Mars has released several successful albums over the course of his career, including “Doo-Wops & Hooligans,” “Unorthodox Jukebox,” and “24K Magic.” He has won multiple Grammy Awards for his music, which is known for its blend of pop, funk, R&B, and soul.

Some of Bruno Mars’ most popular songs include “Just the Way You Are,” “Grenade,” “Locked Out of Heaven,” “Uptown Funk,” and “That’s What I Like.” He has also collaborated with a number of other artists, including Mark Ronson, Cardi B, and Beyoncé.

In addition to his music career, Bruno Mars has also appeared in films and television shows, including “Honeymoon in Vegas,” “Rio 2,” and “Saturday Night Live.” He is considered one of the most successful and influential artists of his generation.

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When vocalist James LaBrie addressed the crowd, it felt almost like a family reunion. “It is so nice to be back,” he said. “How long has it been? Four years? But now we’re back together. It is so nice to be back together.”

The unspoken message throughout the evening was that we’re all back together, and Dream Theater has a new album, despite COVID-19 (or perhaps because of the pandemic). A year ago, it would have been unthinkable to have thousands of people crammed together into Hangar 11 for a concert. And without the pandemic, Dream Theater would have continued touring their previous album, and would not have written and recorded “A View from the Top of the World.”

The concert kicked off with the band’s Emmy-winning song, “The Alien.” The song as a 17/8 time signature, and guitarist John Petrucci said in his award acceptance speech that it was impossible to dance to, but that did not deter a few young men standing behind me from stomping around (and crashing into quite a few others around them). An almost 10-minute song is an ambitious way to start a show, but that is what this crowd was here for.

Each song was accompanied by an epic video presentation, shown on the giant screen behind the band. This gave the impression that they were playing on alien landscapes, or above a hot air balloon, or in the depths of the sea.

The band launched immediately into “Six O’Clock” accompanied to a backdrop of clocks — most, but not all, going clockwise. Then came the live debut of “Sleeping Giant” off the new album, followed by “Bridges in the Sky.”

They played “Caught in a Web for the first time since 2015, accompanied by images of crawling spiders and webs (not ideal for anyone in the audience suffering from arachnophobia).

They performed four of the seven songs off the new album, including “Answering the Call,” followed by “Solitary Shell,” which they haven’t played live since 2010. Digging even deeper into their back catalog, they brought out two songs that haven’t been on stage since 2006, “About to Crash” and “Losing Time/Grand Finale.”

Finally, they got to a song that everyone knew and could sing along with — “Pull Me Under.” The lyrics seemed very poignant for a band and audience recovering from the trauma of lockdowns:

This world is spinning around me
This world is spinning without me and
Every day sends future to past
Every breath leaves me one less to my last
…
Pull me under
Pull me under
Pull me under, I’m not afraid
All that I feel is honor and spite
All I can do is to set it right

As LaBrie said, “Music is magic because it brings everyone together.”

Finally, they ended the set with the epic, 20-minute “A View From the Top of the World” — the final song on the new album.

After leaving the stage, they then came back for a 20-minute encore with “The Count of Tuscany.”

Almost two and a half hours of show, 12 songs, great show.

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