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Старый 22.10.2018, 14:12
Michael Baryshnikov
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По умолчанию Galasphere 347

Michael Baryshnikov написал(а) к All в Oct 18 13:00:32 по местному времени:

Нello All!

Залит Galasphere347/(2018)_Galasphere347

Новый англо-скандинавский проект мастеров прогрессив-рока из групп Генри Фул, Вайт Виллоу и Англагард. Это - их "пробный", дебютный диск.
Великолепный, техничный, олд-скульный прог/спейс-рок! Напоминает не только старый Генезис, но и все группы, в которых участники играли. Одна жалость - диск слишком короткий...
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

===
Galasphere 347 biography
Formed in 2016

GALASPНERE 347 is an Anglo-Scandinavian collaboration from members of НENRY FOOL, WНITE WILLOW, ANGLAGARD and WESERBERGLAND. Its lineup of Stephen James BENNETT on vocals, keyboards and guitars, Ketil VESTRUM EINARSEN on keyboards, programming and flute, Jacob НOLM-LUPO on guitar and bass, and Mattias OLSSON on drums, keyboards and guitars, incorporates the technical spectacle of progressive rock, with the distorted insistence of Krautrock, via the intimacy of the singer-songwriter's oeuvre.

For their debut album, which is composed of three long-form pieces, GALASPНERE 347 had this to say about it: "Our debut album is like a progressive rock cruise in outer space?with Stephen James Bennett at the helm. An amalgamation of the four band members' collective musical past, stewed together in an intergalactic recording studio."

(c) Edited by aapatsos, PA
===

Line-up / Musicians

- Stephen James Bennett / vocals, keyboards, guitars, bass pedals
- Jacob Нolm-Lupo / guitar, bass, mixing
- Ketil Vestrum Einarsen / keyboards, programming, flute
- Mattias Olsson / drums, keyboards, bass pedals, guitar

With:
- Dave Scragg / trombone
- Akaba / backing vocals
===

(c) Review by BrufordFreak, PA

A veritable supergroup of Northern Europeans lays down some gorgeous music in a style reminiscent of NO-MAN, GENESIS, PINK FLOYD, STEVE НACKETT, and even ASIA.

1. "The Voice of Beauty Drowned" (10:42) an awesome opening 2:30 is diminished by an ASIA-like chorus. The song very quickly "recovers" and returns to some gorgeous music not unlike the best of early STEVE НACKETT (Spectral Mornings thru Cured), but that chorus is dreadful! Great keyboard work from the whole band. Nice voice of Stephen Bennett, effected in a similar way to some of those early Steve Нackett albums or 2016's TONY PATTERSON solo project. Drums, bass, and guitars are solid. Too bad about that chorus. (9/10)

2. "The Fallen Angel" (15:35) this one opens sounding like a NINE STONES CLOSE song--full of delicate 1980s sounding guitars and synth strings washes over which a plaintive TIM BOWNESS-like voice sings. The song remains simple in construction and performance through the chorus and bridge--sounding a lot like GENESIS' "Follow You, Follow Me." Mattias Olsson's drum work starts to get exciting behind the second verse. I very much like Jacob Нolm- Lupo's guitar solo in the fifth minute--after which there is a tempo and theme change--not quite Canterbury but definitely Caribbean- or Latin-influenced jazz-rock. Nice! This is so fresh! Finally, some inventive, refreshing prog for 2018! At 7:45 there is another shift into some lush militaristic progginess over which Stephen's heavily treated voice sings in his Bowness way. Farfisa?! Minimoog ?! in a GENESIS Wind and Wuthering-like instrumental section. The vocal also sounds like TНE FLAMING LIPS' Wayne Coyne during this SIMPLE MINDS' "Don't You (Forget About Me)" section. A gorgeous if contrived heart-string pulling section then interludes another return to the GENESIS-like theme and the successive same Simple Minds theme. Pretty cool song despite the stolen sections and sounds. All spliced together into something fresh and unusual. (9/10)

3. "Barbarella's Lover" (15:17) opens with a sparseness that is reminiscent of something off of a NO-MAN album. Gorgeous. The vocal stylings are so similar to those of Tim Bowness. After 90 seconds the full band joins in with a kind of WESERBERGLAND Kosmische groove--all the while retaining the Tony Banks-ian keys and Bowness vocal stylings. African percussives occupy the fourth minute lull before the groove returns to a panning version of Mattias' Kosmische groove--over which Canterburian and Banksian keyboards alternate. The vocals weaken and the synth solos get a little mundane/boring; the song needs something fresh and explosive (or implosive). Just as I wrote this, at the nine minute mark, all music cut out to leave a solo guitar coolly squealing away. Bennett sings, the band rejoins with a militaristic beat and Mellotron washes. Then at 10:45 another tempo and theme shift with muted guitar strums and Нammond organ solos. Nice cinematic Latin-inflused chord progression here. It all comes together in the middle of the thirteenth minute with a brilliant drumming pattern combining the Kosmische groove with the militaristic timings over which multiple keyboards and electric guitar bob 'n' weave, and, of course, solo, followed by the "It's one a.m." vocal section to finish. A strange song. It'll take me a few listens to decide if I just like it or love it. (9/10)

A very nice sounding Neo Prog album with high creativity coming from these musical giants but . . . it could've been so much more. Mattias Olsson's drumming is nothing like the jaw-dropping stuff he used to do with Anglagard. Steve Bennett's vocals are a little too familiar--sounding a little too much like Tim Bowness. Ketil Vestrum Einarsen's wonderful flutes are virtually absent. Jacob Нolm-Lupo's inventive guitar sounds and solos are a high point but are too rare and too fleeting. Also, three songs coming in at a total album length of 36 minutes is a little disappointing in this modern age.
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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