Deadwood Forest
Mellodramatic

The first to try cloning Anglagard were the Swedes Sinkadus, authors of two very good albums following in the footsteps of their more renowned (and now legendary) compatriots. After these two endeavors, silence ensued, but any prog enthusiast would have wagered that a new potential clone band could only emerge from the cold Scandinavian lands. And yet, surprisingly enough, here come these Deadwood Forest, a band hailing from sunny Texas, a land of oil and armadillos, as far removed as one could imagine from the icy coniferous forests covering Sweden.

Indeed, this band can rightly be considered a sort of clone of Anglagard, even though their geographical origin inevitably brings some differences. But let's proceed in order: the first point of contact with Anglagard is represented by Mattias Olssonn, drummer of the legendary Swedish quintet, here in the role of producer of the album. Other similarities are given by the use of sonic textures and crimson-inspired themes characterized by abundant layers of Mellotron, an alternation between delicate acoustic pauses and much more frenzied and slightly schizoid phases (with decidedly Frippian guitar work and wild drumming), and a sense of gloom and drama that pervades the instrumental parts, at times decidedly cold and cerebral. In contrast to this, the sung parts dispel any doubts concerning the band's origin (as they are typical of an utterly American way of composing progressive music) and significantly lighten the album’s gloom, as they are rather sunny and airy (in a section of "King Of The Skies," one can curiously listen to a melody that closely resembles, including arrangement, "Two Towers" by the German band High Wheel).

Ultimately, an excellent symphonic progressive album that won't disappoint admirers of such sounds and will whet the appetite of many Anglagard fans. Positive.