BEYOND THE REALMS OF EUPHORIA

If there is a better example of "progression' within one bands career, Galahad surely would qualify as a banner icon of unending upward spiraling inspiration. They started out as a typical neo-prog act well within the tight Pallas-IQ-Pendragon parameters, though curiously showing an early slant of diversity by publishing the acoustic quartet "Not All There" album which wallowed nicely in almost medieval climes. Recent harder-edged albums such as Year Zero, Empires Never Last and Battle Scars have emphasized a rockier approach but truth is that all along Dean Baker's spacy, almost technoid keyboards have been leading the musical charge and nowhere is this more evident than in 2012 where the band has followed up the raucous Battle Scars with this little gem, a musical spotlight now clearly on Baker's fluid electronics. The result is startling, with lead voice Stu Nicholson in the finest form and the lads are cooking in spirited fashion.

"Salvation" starts out as with all Galahad albums with a bright overture, here less symphonic but more electronic than ever and segues nicely into "Salvation Judgment Day", where Nicholson provides his trademark passionate delivery. Guitarist Roy Keyworth, sadly departed bassist Neil Pepper (RIP) and Spencer Luckman on drums literally sizzle with utter inspiration, completely entranced by Baker's swirly ivory work, a cross between Tim Blake, Tangerine Dream and some of the more talented techno wizards, with loads of choir mellotron colorations to add symphonic enhancement. The music is riveting and powerful, not afraid of stretching the arrangements such as on the splendid 10 minute + "Guardian Angel", a basic Neo-prog ballad given some solid rocket boosting and vivid sonics, with brash riffs thumping the airwaves, sudden sympho swirls and bruising rhythmic pulse. Modern applications abound, such as the well placed vocoder sections (I am generally not a big fan of this artifice but here it works discreetly well) and whistling synth passages. "Secret Kingdoms" is bloody heavy, a bulldozing monster riff that veers nearly into metalloid territory, Keyworth thrashing accurately within the pummeling beat and Luckman slamming hard and fast. Unexpected piano provides only the slightest levity as Stu keeps telling his story with undeniable zeal, especially the gloomy quiet section that would make Peter Nichols fans blush with envy. The tune segues suddenly into the mostly instrumental "? And Secret Worlds" which illustrates the new direction Galahad has taken again, surprising completely with a gorgeous acoustic piano-led performance that is achingly effective, almost classic Queen-like with Stuart's "oohing and aahing" to great effect. Fans of Mercury- May and co. will respond very nicely to this piece as well as to all the material presented here. As if to help me illustrate my comments even better, the next track is called "All in the Name of Progress" and blasts out a whoppingly immediate mood that winks at recent brash tracks from Empires Never Last and Battle Scars, with Stu spitting his brilliant venom once again, (man, what a great vocalist this dude is?), the leaden riffs fizzle like molten phosphorous and the mind sways accordingly. Roy lets off a searing solo to clash with the wistful electronics and the gentle vocal mid-section. Hard riff blasts and choir mellotron like to engage in sonic sex once again with an orgasmic growl to finish off.

A return of the drop-dead lovely "Guardian Angel" only confirms the immense talent and progressive vision expressed by the boys, utterly balancing the listening pleasure with architecturally sound peaks and expertly placed valleys. The track is melodic, melancholic and grandiose prog of the finest caliber.

The band has continued on its policy of reviving past epic glories , on Battle Scars they proposed a solid and successful reworking of "Sleepers", here they have decided to resuscitate their early classic "Richelieu's Prayer", a piece I have not been familiar with (only through its legendary status). It holds obviously a special place in the band's heart, a classic Marillionesque piece full of charming simplicity, whimsical Englishness that is truly evident, ornate guitar and fluid piano and an explosion of sound that would make Fish shudder with pride. This is a like a flashback to one's evolution and I commend this kind of "reminiscence" as it puts their current music into even more immediate perspective. A sterling move from musicians who are finally comfortable with their career path.

A towering success, by far Galahad's finest achievement yet and comes highly recommended to fans of harder edged prog , especially those who lament the memory of Queen, as this is pretty energetic and operatic stuff indeed. Galahad has arrived for good as one of the genre's absolute masters.

5 borders of Nirvana .