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wolfgangIhre Beste Platte. Wir sind mal einer Meinung. :wave:
Womöglich sind wir das sogar öfters. Prog (vieler Spielarten) ist mir ja oftmals sehr nah, auch wenn mich in letzter Zeit immer weniger begeistert. Wenn etwas mich direkt an dutzende andere Kapellen erinnert, sinkt meine Fähigkeit, darin allzu viel Freude abzapfen zu können. Und die Sparte des Neo-Prog ist da halt akkut gefährdet, wie eigentlich jede Bewegung mit revisit Anhängsel. Selbst Riverside, die ich sehr schätze, laufen Gefahr immer wieder bedenklich nahe an „Wish you were here“ zu saugen, man höre nur die „Panic room EP“, wo gleich ganze Muster aufgegriffen werden. Da fehlt es an Eigenständigkeit und auch Heldenverehrung kann und muss sich auch anders ausdrücken.
P.S. Die Einlassungen zu Hip Hop waren allerdings trotzdem ein Fall für die Regenbogenpresse. Selten so ein fades Märchen gelesen.
Aber zurück zu Galahad.
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Hold on Magnolia to that great highway moonHighlights von Rolling-Stone.deDie 22 fiesesten „Stromberg“-Sprüche: Büro kann die Hölle sein!
Sechs Erotikfilme, die die Lust nach Körpern und Sehnsucht nach Sinnlichkeit wecken
Beck und sein Meisterwerk „Odelay“: Ode auf den fransigen Hund
11 coole Zitate aus „Und täglich grüßt das Murmeltier“
Alle Alben von Paul McCartney im Ranking
Alle 102 Nirvana-Songs im Ranking
Werbungdr.musicPssst! Noch Fehlanzeige.
[img]http://www.cosgan.de/images/midi/boese/a050.gif
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Savage bed foot-warmer of purest feline ancestryKeine Bange, der Dr. ist dran!
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IrrlichtWomöglich sind wir das sogar öfters. Prog (vieler Spielarten) ist mir ja oftmals sehr nah, auch wenn mich in letzter Zeit immer weniger begeistert. Wenn etwas mich direkt an dutzende andere Kapellen erinnert, sinkt meine Fähigkeit, darin allzu viel Freude abzapfen zu können. Und die Sparte des Neo-Prog ist da halt akkut gefährdet, wie eigentlich jede Bewegung mit revisit Anhängsel. Selbst Riverside, die ich sehr schätze, laufen Gefahr immer wieder bedenklich nahe an „Wish you were here“ zu saugen, man höre nur die „Panic room EP“, wo gleich ganze Muster aufgegriffen werden. Da fehlt es an Eigenständigkeit und auch Heldenverehrung kann und muss sich auch anders ausdrücken.
P.S. Die Einlassungen zu Hip Hop waren allerdings trotzdem ein Fall für die Regenbogenpresse. Selten so ein fades Märchen gelesen.
Aber zurück zu Galahad.
Das ist ja nicht nur beim Neo-Prog so. Die musiklischen Genres werden nunmal nicht ständig neu erfunden und so bewegen sich eben viele Interpreten in ähnlichen Fahrgewässern. Das ist z.B. beim Blues, Funk, Soul, Pop, Heavy Metal, Rap oder Hip Hop nicht anders.
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Savage bed foot-warmer of purest feline ancestrydengelKeine Bange, der Dr. ist dran!
Yep, der Dezember wird der Monat der Entscheidungen.:-)
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Jetzt schon 62 Jahre Rock 'n' RollwolfgangDas ist ja nicht nur beim Neo-Prog so. Die musiklischen Genres werden nunmal nicht ständig neu erfunden und so bewegen sich eben viele Interpreten in ähnlichen Fahrgewässern. Das ist z.B. beim Blues, Funk, Soul, Pop, Heavy Metal, Rap oder Hip Hop nicht anders.
Hab ich oben genau so auch bestätigt – allerdings glaube ich nicht, das der Zenit der Kreativität vergangen ist und sich mittlerweile ein kollektiver Dopplereffekt eingeschlichen hat. Glücklicherweise!
P.S. Nur ganz kurz: Hip Hop ist das Genre, Rap, also to rap lediglich die Bezeichung des Sprechgesangs (etwa nach Rhythmus, Reimen, der je nach Flow variiert werden kann).
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Hold on Magnolia to that great highway moon
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
IrrlichtEin weitestgehend unpretentiöses, sehr vielseitiges und tiefgreifendes Werk ist jedenfalls dieses:
Riverside! Ist mir ein Begriff vom Namen her, ist bestimmt auch einen Kauf wert. Eben beim Stöbern im Empire online Shop bin ich auf „Satellite“ gestoßen und habe gleich bei youtube reingehört. Ich bin begeistert! Hatte einfach mal das Album „A Street Between Sunrise and Sunset“ (trotz, oder wegen des Covers ;-)) angeklickt. Das ist wirklich allererste Güte, intelligenter Neo-Prog, atmosphärisch dicht, jedoch nie kitschig und eine super gute Gitarrenarbeit. Auch der Sänger sticht im Bereich Neo Prog sehr positiv hervor. Klasse! Also, erstmal 2 Galahad Alben, dann Satellite!
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Mr. Badlands Also, erstmal 2 Galahad Alben, dann Satellite!
Ne, drei!
1. Empire Never Last.
2. Beyond The Realms Of Euphoria
3.Battle ScarsIn dieser Reihenfolge.
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AnonymRegistriert seit: 01.01.1970
Beiträge: 0
dengelNe, drei!
1. Empire Never Last.
2. Beyond The Realms Of Euphoria
3.Battle ScarsIn dieser Reihenfolge.
Den 2. Platz habe ich doch schon ;-)! Fehlen also noch 2 :-)! Bin gespannt, ob eine der beiden fehlenden Scheiben an „Beyond..“ vorbeizieht!
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Mr. BadlandsDen 2. Platz habe ich doch schon ;-)! Fehlen also noch 2 :-)! Bin gespannt, ob eine der beiden fehlenden Scheiben an „Beyond..“ vorbeizieht!
Wenn „Beyond…“ Dein Einstieg war, wirds für die anderen schwer.
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wolfgang@ dengel
Bitte bei der Eröffnungsnummer „Salvation I“- „Overture“ nicht erschrecken, das ist nur der ungewöhnliche Einstieg in den Hammermäßigen zweiten Teil „Salvation II“ – „Judgement Day“.
Finde die Nummer klasse!
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dengelFinde die Nummer klasse!
Erinnert mich an die Zeiten, als es nur Vinyl gab. Der Opener einer LP war meistens ein Knaller erster Kajüte.
Zum Beispiel: Jethro Tull / Aqualung – der Titeltrack oder Deep Purple – Speed King / Highway Star.--
Savage bed foot-warmer of purest feline ancestrywolfgangErinnert mich an die Zeiten, als es nur Vinyl gab. Der Opener einer LP war meistens ein Knaller erster Kajüte.
Zum Beispiel: Jethro Tull / Aqualung – der Titeltrack oder Deep Purple – Speed King / Highway Star.das ich gerade höre:sonne:
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AnonymRegistriert seit: 01.01.1970
Beiträge: 0
dengelWenn „Beyond…“ Dein Einstieg war, wirds für die anderen schwer.
Denke ich auch. Habe erstmal auf „BATTLE SCARS“ verzichtet und „EMPIRE…“ geordert. Mal schauen, wann die CD eintrudelt, da ich alle 4 Satellite Alben bei jfk mitgeordert habe. Allerdings als Special Edition, d.h. A STREET BETWEEN SUNRISE & SUNSET/INTO THE NIGHT als 2CD BOX und EVENING GAMES/NOSTALGIA ebenfalls als 2CD BOX, jeweils zum Preis für eine CD (VÖ: 23.11.2012).
Salvation I ist wirklich ein unglaublicher Opener!!
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Hier nocheinmal zwei positive Reviews:
Tracklist: Salvation I – Overture (4:11), Salvation II – Judgement Day (6:08), Guardian Angel (10:31), Secret Kingdoms… (5:31) …And Secret Worlds (7:26), All In The Name Of Progress (7:14), Guardian Angel – Reprise (6:08) Bonus Track: Richelieu’s Prayer 2012 (8:40)
Geoff Feakes‘ ReviewWhen Galahad released the excellent Battle Scars in April this year they promised that it would be the first of two albums in 2012 and true to their word Beyond The Realms Of Euphoria has duly arrived. In an interview with the DPRP in May, vocalist and lyricist Stuart Nicholson commented that it would be „a much more colourful sounding album“. That’s certainly true of the romanticised artwork with its vibrant reds, oranges and yellows, a far cry from the stark black and white image of Battle Scars and the war torn Berlin of 2007’s Empires Never Last.
Fans will be encouraged by the fact that along with Stuart Nicholson (vocals), Roy Keyworth (guitars), Spencer Luckman (drums) and Dean Baker (keyboards), the incomparable Neil Pepper is credited with bass, recording his parts before sadly passing away in September 2011. Threshold’s Karl Groom is once again responsible for production and his contribution cannot be overstated with his sure touch evident throughout.
Salvation I – Overture is a splendid opener with its juxtaposition of operatic sampled voices, swirling synths, crunching riffs and a frantic electronic rhythm. Salvation II – Judgement Day features a typically cool delivery from Nicholson offset by heavyweight guitars that measure 10.0+ on the Richter scale. Guardian Angel is fast and frantic to begin with before easing into textbook Galahad territory. It’s a song that would have sat very comfortably on Empires Never Last and although the tone overall is far removed from vintage Prog, the sampled choir and haunting synth section towards the end is especially reminiscent of Genesisi Entangled.
In contrast Secret Kingdoms… is pure power-metal enhanced by rich backing vocals that bring classic Queen to mind before segueing into its companion piece …And Secret Worlds. Here piano ripples eloquently joined by lush harmonies before the song’s centrepiece where the seemingly disparate combination of classical piano and seismic guitar riffs works much better than could be reasonably expected reaching an epic climax.
For All In The Name Of Progress, celestial organ and heavenly voices soon give way to a volley of guitars, bass and drums with Nicholson’s forceful performance delivering perhaps the albums most memorable chorus. The blistering guitar work is underscored beautifully by the symphonic keys with Nicholson’s voice skating effortlessly above it all. Despite the song’s Prog-Metal leanings the growls at the end still catch the listener off-guard.
Rhapsodic piano and sampled choir again provide the opening for Guardian Angel n Reprise which is not so much a rerun of the earlier song of the same name but more a complete song in its own right. The gothic tone is epic in scale with a dramatic choral hook, pipe organ and tubular bells building to satisfying a crescendo.
Like Battle Scars, Galahad round off the album with a new version of one of their Neo-Prog classics. This time it’s the Marillion influenced Richelieu’s Prayer which originally closed the bands 1991 debut album Nothing Is Written. It’s centred around a simple but infectious vocal hook which is first heard over a stark piano backing before given the full blown treatment for the epic finale. It’s a deliciously over the top performance of an excellent song with Nicholson giving the best Fish impression you’ll likely to hear this side of the big man himself. Cards on the table, this has to be my favourite track on the album.
The inclusion of Richelieu’s Prayer is perhaps a tad ironic as it puts into focus the contrast between Galahad’s Neo-Prog beginnings and their current music. The bonus track aside, the arrangements here are leaner, sharper and more contemporary although still conveying a sense of grandeur when required. In my review of Battle Scars I cited Muse, Radiohead and Coldplay as comparators which still holds true here, laced with a heady dose of metal and perhaps just a hint of Neo-Prog. I’ll leave it to the band themselves to have the final word, as it says on the back of the CD booklet – Play Very Loud!
Alison Henderson’s ReviewTo release two albums of entirely new material within six months of each other could be viewed as either a calculated gamble or just plain foolhardy. Does the Prog-buying community have the appetite or resources to indulge one band twice in such a short space of time?
It could have been a move destined for a fall. However, we are talking here about Galahad, those loud and proud old Prog warhorses, who have staged a remarkable come-back after the untimely death last September of their bass player Neil Pepper who appears on both Battle Scars, released in March, and Beyond The Realms Of Euphoria. So it is a fitting tribute for this new collection to be unveiled a month after the first anniversary of his passing.
Also, it has to be said that at a recent unforgettable gig at the Peel, the band also showed they had retained their sense of fun, the abiding images including glittery eye-shadow, stage costumes resembling deck-chairs and Edward Scissorhands and the coming together of two toy tambourines.
Returning the music however, what is all the more remarkable is how they have delivered two exceptional albums recorded during the same sessions with producer Karl Groom at the helm for both adventures.
Exceptional is the operative word because nobody else in the Prog sphere has dared to attempt what they have done to hallmark their sound circa 2011/12. That is to mix keyboard techno trance grooves into their traditional full-on hard rocking sound which, on the face of it, does probably sound like a recipe for disaster.
Battle Scars, especially tracks Bitter And Twisted then Seize The Day, demonstrated what a clever, brave move it was as the overall feel of the album was fresh, contemporary, full of melody but with that huge pulsating seam of hard rock still intact at its heart.
If that was clever, then Euphoria has moved the bar up several notches, because there are no holds barred on the techno trickery throughout the album – along with countless nods to other bands and composers.
The dreamy chords of Salvation I – Overture soon give way the first hint of the techno treats in store as Dean Baker hits some sparse loops over a choir before unleashing the full force of the dance groove over Spencer Luckman’s big, meaty beats before Roy Keyworth’s characteristic scuzzy guitar riffs come crashing in. This is a jaw-droppingly original way to raise the euphoric curtain on the feast ahead.
Seamlessly, it morphs into Salvation II – Judgement Day beginning with huge guitar slabs before Stuart Nicholson begins the vocal journey through countless changes of tempo and instrumental settings. Again, there are lots of keyboards swirling around in there and Pepper’s beefy bass can be heard adding more depth to an immense sound.
A big chunky guitar starts Guardian Angel along with the Techo beat returning full throttle. The song settles down into a mid-paced tempo driven by Luckman, Nicholson paring down his vocals to a sensitive glide across a smooth melody with lots of delicious rocky outcrops along the way interspersed with dreamy synths and choppy keyboards.
A jarring start erupts into Keyworth’s massive guitar intro and loping riff at the start of Secret Kingdom backed with some more haunting keyboards before it hits its stride at extended canter. The guitars and keyboards fizz away under Nicholson’s voice before the chorus line comes with Queen-like high harmonies. It is quite stunningly done. From there, the tempo slows right down with Nicholson’s echoing vocals dominating over a drum machine and muted synth.
Oh yes, then Rachmaninov arrives at the start of …And Secret Worlds as Baker turns to the pianoforte for a wonderful stately solo that is accompanied by a Muse-like chorus line and then suddenly, it all changes yet again. It really does then sound so much like the thunderous guitar line in The Sensational Alex Harvey Band’s memorable version of Delilah. The track builds and builds with guitar and piano running parallel lines through the melody – and finally we are back to a Queen groove as it all reaches a heady climax.
All In The Name Of Progress has a synthy, trancey start before the pounding guitar and rhythm section takes over and Nicholson sweeps in on top of another huge melody punctuated by an angry, staccato rap. And Keyworth then can be found riffing in true Brian May tradition before the tempo is upped and returns to a spacey synth so Nicholson can deliver his verdict via the title line. It all then gets angry and frenetic again and Nicholson can be heard growling like a wolf in the woods towards the end.
Baker’s flowing piano and angelic choir takes the energy levels down a notch or two at the start of Guardian Angel n Reprise and the whole song has an ethereal quality about it especially with Baker’s churchy organ coming in towards the end before Nicholson adds a tender vocal over the piano. It brings the album to a gentle conclusion, his final thank you sounding like Freddie Mercury signing off on These Are The Days Of Our Lives.
Bonus track is a 2012 reworking of old favourite Richelieu’s Prayer which features additional keyboards by former band member Mark Andrews. This is a stately and restrained delivery compared to the rest of the tracks but having said that, part of it screams Meatloaf in its style before it diversifies yet again into classical segments with hints of both Bach and Beethoven spread throughout the song.
That is packing an awful lot into one album, but overall, the balance between the contributions of all the band members is very even-handed. Baker though has to be singled out for being the one who ventured the idea that introducing techno into the sound of a band who are fast notching up 30 years of playing and performing might be an interesting way forward.
The psychedelic cover illustration of red, orange, yellow and pink by Emma Grzonkowski is also a masterstroke especially in contrast to the tranquillity of the inside photograph over the sun setting over a poppy field. For above all, it is an album which encompasses those two very different dynamics.
Bands half their age should marvel at the energy and sheer exuberance of Euphoria: for the rest of us, it is one of this year’s essential pieces of Prog along with its stable mate, Battle Scars.
Conclusions:
GEOFF FEAKES : 8 out of 10
ALISON HENDERSON : 9 out of 10Quelle: DPRP
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Savage bed foot-warmer of purest feline ancestry
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