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GALASPHERE 347

Symphonic Prog • Multi-National


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Galasphere 347 biography
Formed in 2016

GALASPHERE 347 is an Anglo-Scandinavian collaboration from members of HENRY FOOL, WHITE WILLOW, ANGLAGARD and WESERBERGLAND. Its lineup of Stephen James BENNETT on vocals, keyboards and guitars, Ketil VESTRUM EINARSEN on keyboards, programming and flute, Jacob HOLM-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.

Biography adopted from
https://patriciathomasmanagement.com/2018/07/05/symphonic-rockers-galasphere-347-release-video-of-track-from-upcoming-album/

Edited by aapatsos

For their debut album, which is composed of three long-form pieces, GALASPHERE 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.''

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GALASPHERE 347 discography


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4.28 | 36 ratings
Galasphere 347
2018

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GALASPHERE 347 Reviews


Showing last 10 reviews only
 Galasphere 347 by GALASPHERE 347 album cover Studio Album, 2018
4.28 | 36 ratings

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Galasphere 347
Galasphere 347 Symphonic Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars A veritable supergroup of Northern Europeans lays down some gorgeous music in a style reminiscent of NO-MAN, GENESIS, PINK FLOYD, STEVE HACKETT, 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 HACKETT (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 Hackett 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 Holm- 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 THE 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 Hammond 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 Holm-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.

4.5 stars; a near-masterpiece of retro-inspired progressive rock music.

 Galasphere 347 by GALASPHERE 347 album cover Studio Album, 2018
4.28 | 36 ratings

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Galasphere 347
Galasphere 347 Symphonic Prog

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

5 stars Here's the new project of a super-group of musicians from White Willow, Anglagard and Henry Fool. The album is 3 long pieces for 41 minutes. It's no surprise that this is a return to the 70's symphonic prog rock. So we can hear some vintage sound with a modern production. The music is keyboard oriented but with some busy drums. The guitar is more of a support except for some breakout in the last song who is the highlight of the album The first song starts with some ambient music, The keys make their appearance that could remind us of the style of Glass Hammer with that distinctive bass sound, but the surprises is from the beautiful flute passage. The vocals are a bit weak, remind me of Tim Bowness and this is not the deepest lyrics I have heard, but does it matter? The second track is driven by some exquisite keyboards melodies again, and another surprise is coming with a trumpet part! The keys display some British influence of Camel while the drums patterns draw some similarity with a military march, a bit like the classical song of Ravel "Bolero". The third track picks up his momentum with an instrumental break and it's the beginning of a roller coaster ride of high emotion where the song gained some pace with some amazing symphonic prog rock. The guitar for the first time comes out of his shell before a return to the ambient style of the intro of the album. The drum part style of "Bolero" or what Pallas has done in "March of Atlantis" is back. This song displays all the moods of what we expect for an epic song. This is a really good first album from this band, just hope to hear more in the future... 4.6****
Thanks to aapatsos for the artist addition. and to Quinino for the last updates

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