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GALAHAD

Neo-Prog • United Kingdom


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Galahad biography
Founded in Christchurch, Dorset, UK in 1985

GALAHAD formed just for fun playing roughly half covers (GENESIS, ZEPPELIN, RUSH, SABBATH, FOCUS etc) and half original material. Galahad then supported a few fairly well known 'Progressive' bands that were coming up at the time including IQ, PENDRAGON, HAZE and later PALLAS and MAGNUM.
Then, after mixing it with the slightly 'bigger boys' GALAHAD decided take it more seriously, and began playing only original material resulting in the release of their first proper album in 1991, 'Nothing Is Written', which was purely self -financed and released independently but which went on to sell several thousand copies.

The success of 'Nothing Is Written' was also helped by the fact that the band received substantial air play on BBC Radio One, especially on the Radio One Rock Show hosted by the late, great Tommy Vance. The band then landed themselves with deals in the UK, Japan and Germany.

The band has now released fifteen albums including albums by main band offshoots such as GALAHAD ELECTRIC COMPANY and the GALAHAD ACOUSTIC QUINTET. The band has played hundreds of gigs in the UK, Europe and America over the last few years, at times in some very unusual venues!

In 2002 Galahad released 'Year Zero' which featured John WETTON (ASIS, KING CRIMSON, FAMILY etc.) on guest vocals.

In September 2006 Galahad released their debut DVD 'Resonance' , which was recorded live in Katowice, Poland in May 2006.

'Empires Never Last' , which features Karl GROOM (THRESHOLD)) on engineering duties, was released in 2007 and took the band in a heavier, more muscular, guitar orientated direction. This more contemporary, metallic approach seems to have worked as 'Empires' was a great success, both commercially and critically, and resulted in them winning album of the year at the 2007 Classic Rock Society awards. 'Empires' was also included in many top 10 album listings for 2007.

In the interim and whilst recording TWO new studio albums GALAHAD released a couple of live albums 'Sleepless in Phoenixville - Rosfest Live 2007' and 'Whitchurch 92/93 - Live Archives -Vol.2' (CD/DVD) plus a re-issue of their 1992 Year Zero album, which also contained bonus CD consisting of live versions of tracks from Year Zero.

'Battle Scars', again recorded at Thin Ice by Karl GROOM was released in April 2012 and took the band further in to a heavy/rockier direction but mixing it up with a few mor...
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Buy GALAHAD Music


Seas of ChangeSeas of Change
Avalon 2018
$31.29
Beyond the Realms of EuphoriaBeyond the Realms of Euphoria
CD Baby 2016
$5.94
$15.34 (used)
Quiet StormsQuiet Storms
Oskar
$12.78
$14.55 (used)
When Words Collide 30ThWhen Words Collide 30Th
JFK 2015
$21.99
Empires Never LastEmpires Never Last
Avalon Records 2011
$15.99
Battle ScarsBattle Scars
CD Baby 2016
$9.99
$13.50 (used)
Mein Herz BrenntMein Herz Brennt
Single
Mhb 2014
$9.82
$27.37 (used)
Guardian AngelGuardian Angel
Single · EP
Imports 2014
$8.16
$27.37 (used)
Seize the Day  EPSeize the Day EP
Avalon 2014
$6.36
$6.36 (used)
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GALAHAD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

GALAHAD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.44 | 77 ratings
Nothing Is Written
1991
2.89 | 65 ratings
In A Moment Of Complete Madness
1993
3.38 | 44 ratings
Galahad Acoustic Quintet: Not All There
1994
3.48 | 107 ratings
Sleepers
1995
3.00 | 80 ratings
Following Ghosts
1999
2.17 | 23 ratings
Galahad Electric Company: De-Constructing Ghosts
1999
3.53 | 116 ratings
Year Zero
2002
4.09 | 397 ratings
Empires Never Last
2007
3.80 | 272 ratings
Battle Scars
2012
3.84 | 288 ratings
Beyond The Realms Of Euphoria
2012
3.79 | 119 ratings
Quiet Storms
2017
4.14 | 137 ratings
Seas Of Change
2018

GALAHAD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.78 | 8 ratings
The Christmas Lecture
1993
3.19 | 17 ratings
Classic Rock - Live
1996
3.86 | 2 ratings
Two Classic Rock Lives
2008
3.90 | 20 ratings
Sleepless In Phoenixville - RoSfest Live 2007
2009
3.83 | 12 ratings
Whitchurch 92/93 - Live Archives vol. 2
2012
4.04 | 15 ratings
Solidarity - Live in Konin
2015

GALAHAD Videos (DVD, Blu-ray, VHS etc)

3.82 | 38 ratings
Live in Poland - Resonance (DVD)
2006

GALAHAD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.08 | 13 ratings
Galahad - Other Crimes and Misdemeanours vol. 1
1992
3.03 | 20 ratings
Other Crimes And Misdemeanours II
1997
3.13 | 8 ratings
Decade
1997
2.61 | 18 ratings
Other Crimes And Misdemeanors III
2001
4.88 | 7 ratings
When Worlds Collide
2015

GALAHAD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.67 | 9 ratings
In A Moment Of Madness (Tape)
1989
3.40 | 5 ratings
Voiceprint Radio Sessions
1994
4.14 | 11 ratings
Seize the Day
2014
4.04 | 5 ratings
Guardian Angel
2014
4.00 | 4 ratings
Mein Herz Brennt
2014
4.74 | 4 ratings
30
2015
4.00 | 4 ratings
Empires Never Last (Orchestral Version)
2016

GALAHAD Reviews


Showing last 10 reviews only
 Empires Never Last by GALAHAD album cover Studio Album, 2007
4.09 | 397 ratings

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Empires Never Last
Galahad Neo-Prog

Review by VianaProghead
Prog Reviewer

5 stars Review N║ 189

'Empires Never Last' is the eighth studio album of Galahad and was released in 2007. Through this album, Galahad invited the contribution of Karl Groom, the guitarist of Threshold, on some additional guitar work. Karl is also credited with co-production, engineering and the overall sound of the album. No wonder that the album has some flavour of progressive metal, especially in the use of guitar riffs. So, the final sound of the album is much heavier than the sound of all their previous studio albums. In reality, their last studio albums have taken them towards a much heavier sound, creating a unique and modern sound whilst retaining very occasional nods to their more 'progressive' past.

Karl Groom is a British guitarist and record producer. He his best known as the founding member of the progressive rock metal band Threshold, but he also played guitar on other bands like Mercy Train, Shadowland and Strangers On A Train. As a producer, he is mostly known for metal styles production of various bands like his own band Threshold and Dragon Force. But he has also worked on other progressive rock acts including Yes, Pendragon and John Wetton.

'Empires Never Last' has seven tracks. The first track 'De-Fi-Ance' is divided into two parts: 'Part 1' and 'Part 2'. It begins with a beautiful female choral vocals formed by Tina Groom, Sarah Quitter and Tina Booth, before Stuart Nicholson growls the name of the track in the style of the death metal music. This is a magnificent, astonishing and surprising musical overture that sets perfectly the overall tone of the album, showing that the Galahad's sound appears to have changed. The second track 'Termination' confirms the first impression and expectation that we are in presence of a Galahad's album completely different from their previous studio albums. This is a magnificent, astonishing and surprising track which comprises heavy guitar and bass riffs perfectly sustained by excellent keyboards, drums and vocal works. It's a very bombastic track that puts the album on a very high musical quality level. The third track 'I Could Be God' is the lengthiest track on the album that keeps the album in a very high quality level. It's a very energetic track, in the same mood of the previous tracks. This is a fantastic piece of progressive music with a very melancholic musical ambience and where Martin Luther King's famous and touching speech fits very well, bringing to my memory also the famous and touching speech made by Winston Churchill that appears on 'Fool's Overture' of Supertramp. Curiously, some vocal parts of the album, in the middle of the track just before Martin Luther King's speech, reminds me Rush, from the times of 'Hemispheres'. The fourth track 'Sidewinder' is also another great song and confirms that we are in presence of a great progressive album, which is probably a truly masterpiece. It's a track that opens with a very cool and pacific musical atmosphere and where we can hear some portions of George Bush's speeches. It's a song with an excellent musical atmosphere and where we can highlight a great guitar work, a beautiful keyboard performance and a very catchy choral job. Karl Groom appears on the song with a solo. The fifth track 'Memories From An African Twin' is another surprising track, but this time, because we are in presence of a different kind of song. It's a more classic song, nothing heavy and with a jazzier style in the end. It's a song based on acoustic guitar, harpsichord and pipe organ and is the only song on the album without lyrics, despite have some choral work. It's the weaker track on the album but doesn't spoil the overall quality of the album. The sixth track is the title track 'Empires Never Last'. It represents the return of the album to its overall mood. This is one of the most powerful tracks of the album and represents another highlight. It's a track with an excellent musical balance between the heavy and mellow parts of the song. The seventh and last track 'This Life Could Be My Last Life' is a very emotional song that makes us think about the significance of our life and that like the empires we also doesn't last forever. It's a pleasant, beautiful and melodic track, a fine rock ballad with hard rocking guitar riffs, in the same mood of the rest of the album. It's the perfect ending for a great album.

Conclusion: 'Empires Never Last' is, in my humble opinion, a masterpiece and one of the best neo-prog albums ever made. There are bands that can grow with the passage of time, becoming more mature and innovative. This is the case of Galahad. They seem to me very similar with to Port wine, the older the better. 'Empires Never Last' is a very strong album, perfectly balanced and superiorly produced and that doesn't have any disappointing or any truly weak point. It's a departure from their previous works with a little more emphasis on keyboards and guitars. It has a more modern sound which is sometimes more close to metal. I dare to say that Galahad, with this album, made one of the greatest contributions to the category of 'British Neo-Prog' and is setting definitively a place alongside such established names in the neo-prog rock sub-genre, such as Marillion, IQ, Pendragon, Pallas and Arena. If Galahad continues to innovate with this high musical quality level, I sincerely hope that they don't crumble and fall, and that they can will last forever.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Nothing Is Written by GALAHAD album cover Studio Album, 1991
2.44 | 77 ratings

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Nothing Is Written
Galahad Neo-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

2 stars GALAHAD has become one of the better known bands to fall into the broadening neo-prog section of the progressive rock universe in the 21st century but the band actually started all the way back in 1985 as a seven-piece band inspired by the usually prog revival suspects such as Twelfth Night, IQ, Pendragon and of course Fish era Marillion. The band actually started out as a cover band playing everything from symphonic rich prog like Genesis to more crossover prog and classic rock such as Led Zeppelin and Rush. Lead singer Stuart Nicholson readily admits that the whole project was only put together for fun and that nobody in the beginning was the least bit concerned with any sort of professional career to emerge out of it. In a similar storyline of Steven Wilson and his Porcupine Tree project, GALAHAD gradually garnered enough attention by their contemporaries and ended up playing live with some of the neo-prog heroes they were emulating.

All of this turning of the tides forced the band to take their project more seriously as they found themselves in an unforeseen trajectory. Around 1990 the band started to realize that they might have a real musical career in their future and began to craft what would become their first album NOTHING IS WRITTEN which emerged as was an independent release. This debut was pretty much a DIY enterprise as it was self-financed, self-produced and self-promoted and despite the poor quality in both production and performance managed to sell several thousand albums which was enough impetus to launch the band's career into the next level. While the band's lineup has changed substantially throughout the decades. Three members: vocalist Stuart Nicholson, guitarist Roy Keyworth and drummer Spender Luckman have been with the band since the beginning album.

Anyone who is familiar with the later works such as the excellent "Empires Never Last" or their other modern day albums that incorporate a heavy guitar heft to the mix will be quite underwhelmed by what lackluster performances are displayed on NOTHING IS WRITTEN. Although i rarely agree with harsh vitriol dished out by the critics, this one is often cited as uninspired and down right bland with too many derivative aspects lifted from the 80s neo-prog movement without adding anything original. In the case of NOTHING IS WRITTEN, i would have to completely agree with every single word. This is indeed one of the most carbon copy and paste examples of a neo-prog i've ever heard all dished out in the most generic fashion possible.

Think of this one sitting more in the territory of the IQ album "Are You Sitting Comfortably?" Like that turkey of an album, NOTHING IS WRITTEN's material lies somewhere between bland 80s AOR and the weakest aspects of neo-prog all the while offering boring cliche melodic and instrumental performances. Likewise Nicholson sounds more like a tired has been who has ruined his voice through too much touring throughout the years. Clearly the focus of the band had changed but the talent was still on amateur mode at this point and when hearing this debut release at the time, it would have been impossible to predict that GAHALAD would actually get their act together and become one of the major players in the neo-prog world. While i'm usually pretty lenient on early albums because they often provide some sort of interesting origins, this one is truly a mess in every way and should be completely avoided by all but completionists.

 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by Progrussia

4 stars 30 years into their career, Galahad go all in with creating a 42-minute megaepic lamenting the current state of British politics. Other than the length it probably doesn't hold much surprises, taking about 10 minutes to really lift off and then shuffling through familiar neo-prog staples of Pink Floydian up-in-the-sky atmospherics , the bounciness of Genesis, folksy melodies and an occasional drift into a heavier mode (though not as metallic as some of their recent releases). But as far as 40-minute songs go nowadays, it is an impressive and ear-pleasing feat. As a bonus, the release offers two of the most catchy cuts from the said epic, spiced up with more Gilmore-esque guitar heroics.
 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars So, last year I went back to the UK for the first time in five years, and arranged to stay with Stu and his wonderful wife Lin for a night. It was something of a shock to discover that he had been admitted into hospital, which of course warranted a trip over to Poole, so instead of sitting in his living room imbibing on the odd Hobgoblin or three we instead made do with a coffee at his bedside (and I drank his Hobgoblin later that night). It was while we were visiting that he told me that Roy had left the band again, this time presumably for good. I can remember back when he told me that Roy had left previously, but after some time he had been coaxed back into the band he founded, but this was more permanent and they had already found a replacement. Knowing that Karl Groom (Threshold) had assisted on the last release, for a minute I wondered if it might be him but couldn't work out how he could commit the time, but I think I was even more surprised when Stu told me that it was multi-instrumentalist and solo artist Lee Abraham. But, it did make sense as Lee had already been a full member of the band, as bassist, but what would this mean to the overall sound? Also, this was going to be the first electric release featuring Tim Ashton on bass, whose last "proper" album was 'Nothing is Written' before he left the band to travel to Japan.

Stu sent me some edits to whet my appetite (which are "bonus" songs on the CD), telling me that the new album was going to be a single song clocking in at more than 40 minutes. Over the years Galahad have moved from neo-prog to prog metal, have dallied with both acoustic and dance, even brought some trance into what they have been doing, so what was the new album going to sound like, bearing in mind that three of the five last recorded together in 1991?

Just one guest has been brought in, Sarah Quilter, who has played with the band on and off since the Galahad Acoustic Quintet album, again adding flute, clarinet and soprano sax. Her touches are delicate and richly enjoyed, but this is really about the five guys this time around, who sat down and ripped up the Galahad playbook and have produced something that no-one really expected, namely a back to the roots neo-prog album which is a concept, a view on the political shenanigans surrounding Brexit, and musically one of the most diverse they have ever released. This latter is in no small part to Lee, who is approaching the guitar parts with a fresh mind, playing acoustic or electric as the need arises, soloing when he needs to but often letting everyone else take centre stage and staying more in the background than some of their more metallic releases. Dean is enjoying himself by using a larger variety of sounds than previously, Tim sounds like he has never been away, while the use of Karl as a producer has yet again captured just how important Spencer is to the overall sound of the band, and just how much variety he offers in terms of technique. Then there is Stuart, who still hits the notes with ease, and sounds as if he is having an absolute blast.

How does this fit within their canon? Well, in many ways it is the logical album to follow 'Sleepers': it certainly doesn't sound as if the band have been releasing music for the last 20 years, as if they had been able to produce the former without all the issues they suffered at the time, then this would have been a logical follow-up. Here we have a line-up of some guys who were there in the (relatively) early days, one who has been there before and has returned, and Dean who is by far the longest-serving keyboard player and who has seen the band through many musical changes. He provided the music and arrangements, Stu provided the lyrics and vocals, and all five of them have provided the most complete and wonderful album of their career to date.

That it is a masterpiece is not in doubt, that it will be viewed as album of the year by many is also a shoe-in, while the understanding that in many ways this is the most important release of their career should be taken as read. Let's hope that they capitalise on the success this is already garnering, and gain the plaudits this so richly deserves.

 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars One long 42+ minute song--and what a song! This is a Neo Prog masterpiece in the IQ/Pendragon vein! But this is better. Way better, this is the best Neo Prog album I've heard since EDISON'S CHILDREN's The Final Breath Before November.

"Seas of Change" (42:43) The piece opens with ambient synth layers and treated flute setting up a spacey, latent energy atmosphere over which a "radio" voice speaks a few lines at a time. At 1:35 solo grand piano breaks the introductory spell, setting a kind of classical/symphonic scene, over which a cathedral-filling solo female voice sings some wordless vocalise. Beautiful, like the Alexandre Desplat pieces used in the last Harry Potter films. (10/10) At the three minute mark we shift into a kind of theatric, mediŠval section with pompous male vocal announcing the upcoming play from the "future." This is followed by harpsichord and harp and, then, piano sounds with Gregorian voice--all keyboard generated. Radio voice "play-by-play" seems to be covering the rising tension and decay of national government. At 6:23 Galahad lead singer Stu Nicholson enters for the first time to start singing his bard-like version of the eery tidings happening. "Bring it on," he says before wailing solo guitar seems to keen our plight. At 8:15 comes the first breakout of true rock fullness--a nice section with some excellent deep bass notes and matching organ and guitar chord progressions in an odd time signature. Great instrumental section! (10/10) At the ten minute mark there is another shift--into a slow, panning percussive synth bouncing around the background while winds and synths take turns filling the soundscape with incidentals and arpeggios. Drums introduce another section at 11:30 as "La-la-la-las" set up the next vocal section of the story. Great support for Stu's vocal. The part of this section is simple as the section follows the ABACAB structure of a pop song. (9/10) At 15:05 there is another break in which a radio play-by-play catches us up to speed. The music then amps back up into the full force of the previous section before suddenly breaking into a new section with acoustic guitar strumming providing the foundational fabric for Stu's next section--the "Smoke" section. Sounds quite a bit like a Peter Jones vocal on Colin Tench's albums: theatric. Nice drums as the music thickens with volume and intensity behind Nicholson's vocal. (8/10) At 18:10 we switch back to a familiar heavier riff, with low end dominating over the organ and excellent cymbal play. Another slight shift at 18:57 into an angrier section about consensus (or the lack thereof). (9/10) At 20:05 we again break for a staticky radio update. Great sequenced synth background support for Stu's higher octave vocal. Staccato choral vocals sing the next section over a hard-driving, heavier section. Another radio update is followed by an excellent synth solo over the heavy, choral section. (9.5/10) At the 24 minute mark there is a break for a long synth and organ interlude before the next radio update occurs. Nice. (5/5) Then, at 25:20, begins the intro to the "Dust" section with its strumming acoustic guitar and return of the soprano female vocalise. By 25:45 we are into the full sound of the song with its catchy throbbing beat and swirling soloing synth. Stu's vocal here is kind of laid back as he sings about the vengeance the planet is serving to the smug liars running our race into climate catastrophe. The section that begins at the 28 minute mark, the second part of "Dust," is the album's only truly weak link (both lyrically and in its IQ familiarity), though the lead guitar work is wonderful. (8/10) At 34:40 another "radio" interlude pre-empts another shift in the song thread, this one singing about "danger," "trust," and "faces." (8.5/10) At 39:18 a cymbal crashes denotes the shift into the final slowed-down, piano-based section. Ambience and atmosphere seem burgeoning with potential energy--as if ready to burst forth in another foray into hard-drive. But then Stu enters and calms and quells any thoughts of rebellion with his smooth voice and words. The true finisher is the female singer performing the vocalise to the end. (9.5/10)

A five stars; a masterpiece of Neo Prog music!

 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by The Jester

5 stars After the two - rather powerful ? albums Galahad released back in 2012, the release of Quiet Storms was kind of a surprise to me. Very nice album without a doubt, but "different". And when I learned about the release of Seas of Change, I had no idea what to expect.

Seas of Change was another surprise to me, in the sense that it includes only one song! The 42-minute long suite Seas of Change. In my opinion, it needs something more than "guts" to release an album with only one song in it, especially if your name is not Mike Oldfield!

The truth is that, the CD and the digital version, are including 2 more songs as bonus tracks. But not the vinyl version. The production is excellent once more, and responsible for that in no other than Karl Groom and the Thin Ice studios. Karl Groom, further than the leader of Threshold, is also an excellent producer, as it is proved by the productions he did on Galahad's latest albums; starting from Empires Never Last. Another very important fact is that, Stu Nicholson is once more in great form, and his vocals are adding a lot to the album's dynamic.

As far as I understood, the album's main theme is the uncertainty that is spread above UK, because of the upcoming Brexit. This also proves that Galahad do not afraid to deal with some serious problems that our modern world is facing. Because Brexit is not only an English thing; it's a European thing, if not universal.

As you can understand, because the album includes only one song, it is impossible (and needless) to try and write something about each its 12 parts, because it must be heard as a whole piece of work. And there is the album's strongest point for me. The only thing you will have to do is to insert the CD into your player, press 'play' and let yourselves sunk into the beauty of Galahad's music. This is an excellent piece of work in my opinion, and it is highly recommended to the fans of Progressive Rock and/or Neo-Prog. Hat's off to Galahad, not only for trying to present something so ambitious and creative, but also for succeeding in it! My Rating would be 4.5 stars

 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by rdtprog
Special Collaborator Metal / Heavy / RPI / Symph Prog Team

5 stars This 42 minutes epic song or album started as a 7-minute piece that evolved into an extended piece because of the flow of inspiration that hit the musicians. The song starts where the band has left with "Quiet Storms"; some melancholic passage with piano, memorable choral note, and samples taken from film dialogue of the Great War. Then a Gilmour style guitar part kicks in from Lee Abraham back with the band. It is followed by some heavier parts that will become a recurrent themes throughout the whole thing. The band's music has never used so much spacey electronic effects and the keyboard never had so much space because Dean Baker is the one who has written the music and the orchestral arrangements. So the atmosphere of the music is different from previous albums except "Quiet Storms". There is some nice vocals work from Stuart and some welcome flute from Sarah Bolter. This is a modern prog album that is mixing the new and the old, the hard and the soft in a sweeping panorama of sound that reminds me at times that I was in the heart of the atmosphere of a movie. Naturally, this long piece is to listen as a whole and you will only want to hear more after the short 40 minutes. We have 12 minutes more of that as bonus tracks but those songs are a continuation of the whole story keeping the same mood of the whole epic.
 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by shaunch

4 stars I am listening to this album on a sunny day in the garden, in New Zealand. I am one of the "Leavers" and it seems, so it should remain, as I shed a tear for all the "Remainers". Last year, Marillion had a go at the state of the nation with the album "Fear" and whilst that was open to some interpretation, you are left in no doubt that Britain is on the edge of collapse whilst listening to 'Seas of Change'.

In terms of the lyrics, there is some sarcastic humour that I like, commentary with similar effect and a reference to a government that we don't even know and who don't even know what they stand for. My only negative feeling here, is that during this one song epic, they never really tell a story, instead, continue to focus on the negative from different angles. There is certainly no solution to the on-going problems of Brexit and rising tension at the thought that our Englishness is being diminished. Well they said it.

The music varies. There is the typical wordy style of Galahad, where at times the words struggle to find their place in the rhythm, (a problem I also hear in Nick Barret's Pendragon at times). This is my problem with Galahad, on this album this is improved and the tone of Stu Nicholson's vocals to my ears are his best. There is a change of style throughout, which on one hand I really enjoyed and on the other left me feeling annoyed. On the positive, there is the inclusion of the flute to provide a more retro sound and a groove which goes beyond the usual for this band. The first half of the song provides some mellow moments, melody and then dips in and out of a heavy groove. Really great! After my first listen, I wanted to jump straight back in for another listen but at the same time there was a nagging feeling that I was enjoying this because it was familiar. Last year, Steve Hogarth left me feeling slightly annoyed when the same melody that had been used on his album "ice cream genius" was revisited at a key moment during the epic song "The Leavers". Last year, I got into Wobbler, it seems someone in the Galahad family has done the same. Certainly, the heavy riff dances between "Foxlight" and "La Bealtaine", there is even that "Yes" moment. Now Wobbler can be criticized for their retro sound and similarities to the past, not sure what to make of this. A bit too soon maybe. The second half contains some nice melodies and trademark aggressive vocals before a return to the gentle opening, warning us about the coming storm. There are brief moments when you feel that the song has overstayed it's welcome but then a new idea emerges. In particular, there is some delightful Gilmour guitar work towards the end.

Plenty of twists and turns, dark and light and all that goes to make a prog delight. I will be interested to read, what my fellow "Leaver" Kev Rowland makes of this album.

To my ears, annoyance apart, this will be one of my top albums of the year, hopefully alongside IQ, and it's only January.

 Seas Of Change by GALAHAD album cover Studio Album, 2018
4.14 | 137 ratings

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Seas Of Change
Galahad Neo-Prog

Review by mitarai_panda

3 stars Galahad is previewing the new album "Seas of Change" in 18 years, but it's already on bandcamp. Before they just released the album, I said too popular too soft, it is a bit far from the avant-garde. This one is very avant-garde form, only one song, a full 42 minutes. A mix of musical styles, such as pastoral flok, traditional rock, heavier guitars, and some electronic music. On the instrument, joined the flute, clarinet, saxophone, more abundant. Overall, the beginning of the music is more like folk songs, accompanied by male singing, behind the guitar gradually joined the combos behind the fuel fueled, the keyboard began to walk, quite avant-garde feeling. Then heavier guitars and drums entered, the strings were rendered in the back atmosphere, followed by a large number of vocal singing into the topic. The introduction of some mid-level electronic music, with heavy guitar and chorus, followed by crazy synthesizer sounded, 15-25 minutes this section is still more interesting. The last is still good, but always feel a little similar to the front, and finally attributed to the singer. Although it is good to hear, but lack of innovation than the wobbler's long song "From Silence to Somewhere" that is much worse, the overall Samsung semi-evaluation.
 Two Classic Rock Lives by GALAHAD album cover Live, 2008
3.86 | 2 ratings

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Two Classic Rock Lives
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

When I was staying at Stu Nicholson's house recently, I was told to go into the studio and have a good luck at the CDs and merchandise and see if there was anything that I didn't already have. I was somewhat surprised to come across this double CD release from 2008, as it was the first time I had seen it! Back in 1996 Galahad released a single CD live set called 'Classic Rock Live' on their own label, and at the time I had quite a moan at Stu as they hadn't included "Exorcising Demons" in the set, to which I was told they could lonely afford to release a single CD and they couldn't fit everything in that they wanted. It has appeared on a couple of live albums since then, but this was their live album released on CD and I did always feel that it was an opportunity missed.

But, that has now been rectified by this double CD digipak from Poland's Oskar, as the first CD contains a set from Mister Smith's on 28th October 1994 and the second is the original album, recorded at Rotherham CRS on 22nd April 1995. Given that the recordings were only six months apart, there is no surprise that there are similarities between the sets, but the earlier set contains ten songs instead of eight, and there are some beauties to be heard here as there is not only 'Exorcising Demons" but also "Parade" and "Lady Messiah" and the wonderful tongue-in-cheek (literally) "The Dentist Song". The last was a number that I always felt was much better live than the studio version, as the humour came over much better.

I wasn't at either of these gigs, but this was a time when I was seeing the band regularly, and is the line-up I have seen most in concert. By now Neil was making "Room 801" his very own, while the rest of the band had the confidence of having been together a few years, and were riding the crest of the neo prog wave (if there ever was such a thing). Listening to these recordings in 2017 there is a sense of naivety and innocence that has long gone from the scene, and the Galahad of 1994/1995 couldn't have thought that they would still be recording and gigging in more than twenty years later (although only Stu and Spencer are still there). There are times when the sound at Mister Smiths is a little muddy, especially during the bombastic sections of "Exorcising Demons", but this all seemed so very familiar to me, taking me back to venues like The Railway, The Standard, Whitchurch and so many more.

Fans who have come to the band since Dean has been involved may be surprised at how very different they used to sound, and how far they have moved on from their roots, and may find this not to their taste. But for those of us who were involved in the scene in the early Nineties in the UK will listen to this with a massive smile on our faces. When I was staying at Stu Nicholson's house recently, I was told to go into the studio and have a good luck at the CDs and merchandise and see if there was anything that I didn't already have. I was somewhat surprised to come across this double CD release from 2008, as it was the first time I had seen it! Back in 1996 Galahad released a single CD live set called 'Classic Rock Live' on their own label, and at the time I had quite a moan at Stu as they hadn't included "Exorcising Demons" in the set, to which I was told they could lonely afford to release a single CD and they couldn't fit everything in that they wanted. It has appeared on a couple of live albums since then, but this was their live album released on CD and I did always feel that it was an opportunity missed.

But, that has now been rectified by this double CD digipak from Poland's Oskar, as the first CD contains a set from Mister Smith's on 28th October 1994 and the second is the original album, recorded at Rotherham CRS on 22nd April 1995. Given that the recordings were only six months apart, there is no surprise that there are similarities between the sets, but the earlier set contains ten songs instead of eight, and there are some beauties to be heard here as there is not only 'Exorcising Demons" but also "Parade" and "Lady Messiah" and the wonderful tongue-in-cheek (literally) "The Dentist Song". The last was a number that I always felt was much better live than the studio version, as the humour came over much better.

I wasn't at either of these gigs, but this was a time when I was seeing the band regularly, and is the line-up I have seen most in concert. By now Neil was making "Room 801" his very own, while the rest of the band had the confidence of having been together a few years, and were riding the crest of the neo prog wave (if there ever was such a thing). Listening to these recordings in 2017 there is a sense of naivety and innocence that has long gone from the scene, and the Galahad of 1994/1995 couldn't have thought that they would still be recording and gigging in more than twenty years later (although only Stu and Spencer are still there). There are times when the sound at Mister Smiths is a little muddy, especially during the bombastic sections of "Exorcising Demons", but this all seemed so very familiar to me, taking me back to venues like The Railway, The Standard, Whitchurch and so many more.

Fans who have come to the band since Dean has been involved may be surprised at how very different they used to sound, and how far they have moved on from their roots, and may find this not to their taste. But for those of us who were involved in the scene in the early Nineties in the UK will listen to this with a massive smile on our faces.

Thanks to kev rowland for the artist addition. and to Quinino for the last updates

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