ENGINES OF CREATION

I remember vividly that I listened to Galleon their just released debut CD entitled Lynx in the early Nineties. Their simple but tasteful sound appealed to me, especially the compelling parts featuring fat synthesizer flights, deep Moog Taurus bass pedals and dramatic vocals with a bit melancholical undertone.

After many years this new album is my renewed musical meeting with Galleon and I notice that they have matured in all ways. Remarkably is the amount of fluent songs with bombastic climates, fiery guitar solos, propulsive guitar riffs and flashy synthesizer runs like in A.I. (wonderful bass pedal sound), The Assemblers (from sparkling piano to blistering wah-wah guitar), Signals, the titletrack (howling guitar and intense Mellotron waves), Machine Mother (flashy synthesizer solo) and Lightworks. My highlight on this CD is the composition Men And Monsters (almost 10 minutes), it contains lots of shifting moods and breaks, howling guitar, pleasant keyboard variety (organ, synthesizers and Mellotron) and a great final part with a bombastic atmosphere, the biting guitar solo and the slow synthesizer make it a progrock party!

I am sure this new Galleon album will appeal to many progheads, it sounds both accessible as pleasant and dynamic with good work on guitar and keyboards and the vocals add an extra dimension.

Anyone who likes their Prog on the heavier side without straying into the realms of Prog Metal could do worse than check out Engines of Creation, the latest release from Galleon, a Neo-Prog band from Sweden. What we get here is a concept album with a technological theme or should that be anti-technology running through it. For example they touch on the imposing nature of surveillance cameras and in the track Men and Monsters state that they are the same thing amongst other topics.

The band are good players, required to carry off the dynamics and twists and turns of many of the tracks. Ulf Pettersson's Keyboard sounds range from modern synths to Mini-Moog and Vox Organ and Sven Larsson's Guitar is well to the fore with strong fluent playing. Drummer Goran Johnsson is no slouch either and finds his way round his instrument effortlessly as does Bassist Goran Fors who also provides more than adequate Vocals. Additional female backing vocals are provided by Tanja Hedlund.

My favourite track is the previously mentioned Men and Monsters which is the longest piece on the album at just under ten minutes giving the band ample opportunity to stretch out. Jazz influenced parts works well complimenting the heavier instrumental second half of the song. However, the material is strong throughout with many excellent tracks, particularly The Assemblers, title track Engines of Creation and closing track Lightworks, another mini Epic.

I was torn between 3 and four stars for this album and eventually decided on a well deserved 3 ½. This band are well worth checking out.

This is my first review of this Swedish neo prog band even though I know them for quite some time now. Galleon is a very skilled band but their Achilles' heel is the lyrics. By now I heard about 4 albums by this band but in practically all cases the lyrics are politically loaded or society critical sometimes even human critical. On itself nothing to get upset about but probably not everybody is equally charmed with them. And this feature is very noticeable on this release as well. Enigines of Creation is a very critical album directed against governments and multinationals. If you have no problem with such lyrics you are in for a real treat here because instrumentally and compositionwise this is a great album.

First track is a very pleasant short instrumental called A.I., a nice warm up for what is to come (3,5*).

Next is The Assemblers, a pretty fierce song, not yet quite in the beginning but in the second half there are some raging moments. The tone is set with this one (4*).

Third track, Signals at first seems to be a bit more quiet but also here the second half it gets rougher and rougher, another cracker (3,75*).

Fourth up is the title track starting with a sort of seventies soul rhythm accompanied by vocals and other instruments but the rhythm stays all through the song. Interesting element created by Galleon here. Very nice song by the way with great guitar halfway down and also near the end(3,75*).

State Insane is of the best examples of the lyrics I was talking about. The title says it all actually. Musically the song is somewhat less despite a nice guitar solo towards the end (3,5*).

Fog City is a more keyboard/organ dominated song, not quite the best of the album but not really bad either (3,25*).

The Cinnamon Hideaway is a short instrumental interlude with a bit of gloomy atmosphere. I do believe I hear a machine on the background, something like in Welcome to the machine by Pink Floyd. It's probably the engine from the title (3*).

Men & Monsters is the highlight to me and also the prime example of human-critical lyrics. That's what they are singing about all through the song, first half gives the impression the whole thing has a problem to get really started but in the second half (or better the 4th quarter) it really does and make up for that 100% (4,25).

Machine Mother is another heavy track where the band is firing at all cilinders but in this they do it all through the song except in the middle. Another excellent composition with variation and all instruments get the chance to excell. Fantastic track again and 2nd highlight (4,25*).

With Lightworks the band decided for a worthy closer, another critical song also confirming my statement in the introduction. And another very good song (4*).

So two significant features determining this album: critical lyrics and a pretty heavy sound. I personally especially like the second element but since also the compositions are really excellent on this album I have no doubt whatsoever about the rating: 4 stars.

Here is another sweet paradigm of what we oddball proggers mean by progressive. Galleon is a Swedish band that has been kicking around for quite a while now, slowly improving by honing their skills, focusing on their musical identity and delivering entertaining progressive rock music that is close to the edge of neo and in the court of the symphonic king. Their previous "From Land to Ocean" was a superb 2 CD affair combining stretched out epics with some truly memorable ear-friendly pieces that stuck a deep chord. This new offering has a highly modern sheen, with sprightly production, futuristic artwork and most of all, an innovative attitude towards the utilization of their respective instruments (coated with atmospherics and sharpened to an edge). "Signals" is a fine example of a leaner, meaner sound far removed from the sappier neo outfits. The rhythm guitar in particular is harder than ever before, a bit similar to how Galahad got recently more aggressive on their sulfurous "Empires Never Last", the drums smack, the synthesizers have a more metallic zing to them and the vocals are more up tempo than ever before. At least they sound like they made this in the current (21st, may I remind you all) century, so enjoy the schizoid ride. Another important attribute that was crucial to the previous album and is smartly continued here is the social consciousness of the lyrics. The tone in fact gets angrier than ever before. Wow, a group that tackles environmental issues, that lambastes waste, pollution and rampant consumerism. Talk about retro! The title track in particular holds little back, going straight for the jugular, assailing the "failings" of human progress, the lies, the deceptions, the manipulations we have all come to know and some even love (just watch the tube , you will get the picture). So as to back it up and point the accusatory finger, the next track can only be named "State Insane", aimed at our wonderful politicos ("Leaders will claim that the information is for us all to gain, this state insane", "Surveillance madness rules" and "Big Brother is watching you"). So Orwell was off by 23 years or so, a speck of time in the grander scheme of things. "Fog City" playfully assaults the "Very strange new appliance , new technology, new science, manufactured genes, splendid by all means" with a whimsical organ, bass and synth performance, a sprinkling of Arabic sounding violin sample in the background, just to confuse the matters further. A vigorous track that hits the spot, it could have been a segment of the soundtrack for "Children of Men". After a brief interlude, in order to set up the nearly 10 minute "Men & Monsters", a "we never learn" historical essay on the futility of our civilization to become a gentler, kinder species (yeah, right), featuring a grooving instrumental mid- section with all the fixins': a couple of Ulf Pettersson synth solos, a "rock me babe" guitar riff that veers close to metal territory, sliding back and forth into jazzier domains, morphing into a sensational "classic" lead solo that peels the paint. "Machine Mother" offers no critical let up, crossing swords with neuro-scientific computer technologies that are toying with our "natural selection", a fiery burst from Sven Larsson's ruffian guitar, a somber and sad piano section, and excellent bass/drums from the two Gorans. The bombastic finale "Lightworks" is another 9 minute epic, that illuminates the soul with a positive message, in the nick of time ("future bright, like stars in the sky"), just as the doom and gloom were becoming toxic and asphyxiating. Saved by the bell (or gong or prog, I guess), the playing here remains spirited but full of enlightenment and hope. My favorite track here, as I like to maintain my optimism at all costs. We need more bands like Galleon, cannot rely on The Tangent, Fish and Steven Wilson all the time! 4.5 turbo engines

I should've punted on first down!

I say that because as I had to stop listening to this lackluster schlock of an album, a fellow member said, Sucks when you have to punt like that, while in one of the threads here on ProgArchives. For those not familiar with American football, when you can't sustain a drive, you forfeit the possession by 'punting' or kicking the ball away to the opposite team. Normally you have 4 opportunities to keep the drive alive, but in this case, I should have punted it away from the very beginning. Galleon's Engines Of Creation is so dull that I had to just shut it off. I NEVER abort like that, but I had to with this.

I've had it for about a year now, and it never really latched on to me from the very beginning. I set it aside hoping that when I put it on again, I would hear it with fresh ears. The subsequent listens still registered noting. That was about 6 months ago, and unfortunately it hasn't aged well. As a matter of fact it's collecting a moldy-like substance and emitting a foul and unpleasant odor. Yes, I dislike it that much.

The engine was sputtering from the first notes of A.I. It's not really the music that turned my stomach because they are quite capable musicians--nothing exciting, but capable. The lyrics....criminey sakes, the lyrics were almost laughable. God love 'em, but the band tries so hard to make that 'life altering' statement, but I was left rolling my eyes and smirking just a little. I'm perusing the lyrics to use as an example here, but there are too many to list. It's all the same chaotic, paranoid rants that just seem to bleed into each other after a bit. State Insane, for example, is all about the government knowing a bit too much about us and how they're trying to control our every day lives by any means necessary. Pretty cool concept, eh? Well, if it had been worded in a well-thought out concept then it may hold my interest, but it's just spilling out into a clustered heap of one rant after another.

As soon as I can, I'm going to try to sell this on ebay or trade it in because it's one of the worst discs I've ever heard. Period. I'm respectful of the preceding reviews who have praised it, but they're hearing something that I'm not. Do yourself a favor and save your dough because Galleon's Engines Of Creation is about as exciting as the Ford Edsel!

Engines of creation from 2007 is another well played and well produce album by this excellent neo prog band from Sweden. I realy enjoy this band and I think is one of the top neo bands from today and in last 15 years, and yet very underrated in prog circles. They play a wel crafted music , with long instrumental passages who alternates from mellow side to more uptempo, delivering some very fine moments as well on every album. Aswell I like very much the voice of Goran Fors with melancholical undertone, he fits like a glove in this kind of music. This album is their last release to date entitled Engines of creation from 2007. Well, something is diffrent here, bith musicaly and at the vocal parts. The music on this album is more towards heavy prog, the neo prog arrangements are almost gone leaving space to a more heavier aproach, sometimes I have the impression I'm listning to Rush. The vocal arrangements are not bad but this time Goran Fros don't shine anymore like on previous releases, of course the voice is not bad but does'nt impress me much, he sounds like he is tired to sing anymore. The pieces are well constructed but I prefer the sound and manner of composing and interpretention of the previous albums, who were neo prog at the highest calibre, now they sound diffrent more heavier and I don't really like that in Galleon's soind. I want to be like they were before on Heritage and vision, King Aragon and the rest, that was the peak and the pest period of the band the '90's. On previous review I said that I'm looking to judge this last Galleon offer 'till now to see if this album beats Heritage and vision (the best Galleon almu to me), well no, he is far from that album from 1994 both musicaly and lyricaly and I think is the least enjoyble Galleon album to me. 2.5 rounded to 3, still a good album , but nothing special either.

I've enjoyed every one of GALLEON's 8 studio albums but have noticed that beginning with their debut i've given every other release 4stars and the rest 3 stars. So of course this 3 star rating was mean't to be right ? Anyway I did have high expectations for this one and to be honest they weren't met.This is the first album by this band that is lacking that charm (I don't know how else to say it) that all the others have.That familiar sound has changed.This is more modern sounding and it's heavier.This may be in part to founding member and drummer Dan Fors leaving. He has been replaced by CROSS keyboardist Goran Johnsson, yes I said keyboardist, but he does know how to drum (haha). He was the drummer in GRAND STAND years ago.This is a concept album about the bleak future of earth, perhaps the logical followup to "From Land To Ocean" then.

"A.I." is the short intro track with some soaring guitar. "The Assemblers" opens with guitar and keys before a really good full sound kicks in. Vocals before 1 1/2 minutes. An aggressive track really and the vocals have some attitiude at times. So does the guitar solo 3 1/2 minutes in. "Signals" opens and closes with Morse Code. I like the pulsating keybords perhaps copying the Morse Code. "Engines Of Creation" recalls GALLEON of old when it settles when the vocals come in. Check out the chunky bass ! Outbursts of heaviness come and go. "State Insane" is fairly heavy and bombastic. A calm before 2 1/2 minutes with acoustic guitar as almost spoken words come in. Some female backing vocals here. It kicks back in before 4 minutes. Love the guitar that follows. "Fog City" has lots of synths and drums early. Vocals after a minute. Not a fan of this one. "The Cinnamon Hideaway" has a mellow intro with acoustic guitar.This is a short 2 minute instrumental. Seagulls late.

"Men And Monsters" is without a doubt my favourite track on here. Nothing is even close to this one. Vocals with drums and organ early. Spoken words before a minute followed by soaring guitar and chunky bass. It settles before 3 minutes and it's sounds so uplifting, then we get some growly bass a minute later. It's almost jazzy after 5 1/2 minutes then it turns more powerful before 7 minutes. Scorching guitar before 8 1/2 minutes. Nice. "Machine Mother" opens with aggressive guitar as drums pound. It settles some when vocals arrive.The tempo continues to shift. The guitar sounds amazing when it kicks back in after 5 1/2 minutes. "Lightworks" is the over 9 minute closer. Great intro here with guitar leading the way. It settles when the vocals come in. I really like the drumming and bass after 3 minutes. Organ floats in the background as the vocals return. It kicks back in as the song continues to change. My second favourite tune.

3.5 stars and an enjoyable listen.