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Eclectic Prog • Switzerland

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Galaad biography
Founded in Moutier, Switzerland in 1988 - Disbanded in 1997 - Reformed in 2016

GALAAD makes a keyboard driven music, and the vocals (in french) stand out pretty much as well. Songs are of full of shifting moods, aggressive singing, complex rhythms, soaring guitar solos, fantastic Moog lines, and beautiful pastoral flute and piano duets. Another group in the new wave of French neo-progressive bands. They are a band to watch!

GALAAD Videos (YouTube and more)

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Buy GALAAD Music

Lokita Records
Vae Victis by GALAAD (2013-05-03)Vae Victis by GALAAD (2013-05-03)
$22.93 (used)
Premier FevrierPremier Fevrier
Musea Records France 2001
$29.00 (used)

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GALAAD discography

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

3.90 | 31 ratings
Premier Février
3.87 | 36 ratings
Vae Victis
3.42 | 12 ratings

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

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

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

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

GALAAD Reviews

Showing last 10 reviews only
 Frat3r by GALAAD album cover Studio Album, 2019
3.42 | 12 ratings

Galaad Eclectic Prog

Review by TCat
Collaborator Eclectic Team

3 stars Galaad is a eclectic prog band from Switzerland that was originally founded in 1988. They released 2 albums in 1992 and 1996 and then disbanded shortly after. The band then reformed in 2016 and finally released their 3rd album in May of 2019. The band returned with the same line up as they did originally with Pierre-Yves Theurillat on vocals; Sebastien Froidevaux on guitars; Gianni Giardiello on synth and piano; Gerard Zuber on bass; and Laurent Petermann on drums and percussion.

Their 3rd album is called "Frat3r". It is available on CD and has 8 tracks totaling 46 minutes. There are 2 longer tracks around 9 minutes, where the remaining tracks stay under 6 minutes. The vocals are in French.

Starting off soft and pensive, "La Machine" builds up intensity each time the verses continue. The vocals are a bit shaky, but get better as the song gets heavier and the melody gets more emotional. The rhythm is moderately slow with a heavy and dark tone. There is also a nice guitar solo in the instrumental break. "Moloch" uses a repeating piano arpeggio pattern while power chords from the guitars, support from synth and drums build up this instrumental, which finally accumulates in an emotional guitar solo.

"Kim" has a laid-back feel to it and the vocals start early. With a simpler melody and a more pop-oriented feel, this one is quite accessible. There is support from high-pitched synths and guitars that build up towards the middle and then smooth out again and finally ending with a lot of emotion. "Stone" is one of the 2 long tracks. It goes back to a dark atmosphere, starting fairly minimal with vocals, a low register synth pattern and effects. After the 2nd verse, drums come in with a moderate rhythm but the music still retaining a dark feeling, and then becoming suddenly more powerful with heavier guitar, slipping into a brighter, major key. As it nears the middle, the progressiveness increases when the instrumental break starts, and the synths take over the spotlight. When the vocals come back in after a while, they are more intense and emotional with the instruments matching that tone. At the end, things soften quite a bit and the track finishes on the more reserved feeling that it started with.

"Justice" begins with a funky synth and bass and vocals and then the band quickly joins in with the first real upbeat track on the album. The song is a more rocked-out track with a good amount of synth and keys supported heavily by the bass. Except for a softer break in the middle, the song continues in the same style throughout, with more guitar added as things intensify towards the end. "Merci [puR]" begins with bongos and what sounds like sitar giving things a mid-eastern flavor at the beginning, but keys take over while the percussion persists and vocals start. When the drums kick in, the moderate tempo is established. Between the verses, there are some nice instrumental passages that follow a recurring melody with a mix of synth and guitar.

"Encore!" is the 2nd of the longer tracks. It has a straightforward, moderately fast rhythm and again, an emotional vocal supported by synth and guitar. Just after 4 minutes, there is a sudden increase in loudness with effects and this quickly gives way to a pensive and quiet section with percussive sounds. Vocals soon bring back the band and synths help build up to a guitar break. The music remains pretty straightforward throughout with the longer length being used for the guitar solo and a more lyric heavy song. The last track is the title track "Frater". Starting with only vocals, the band soon start with a moderate and stately sounding song.

This album is mostly quite straightforward and accessible, but unfortunately does not contain a lot of progressiveness to it. As far as being a nice rock record, it does a nice job adding in a good mix of guitar and synth, but mostly comes across as being quite average sounding, with some sections becoming quite emotional. The vocals do falter, but are at their best during the heavier and more emotional sections. Really, only the synth seems to reflect any semblance of progressiveness coming close to a neo-prog sound, but there is nothing really challenging, and the prog sections are too few and far between. In fact, the only part that could be considered progressive is in the instrumental break in "Stone". Yes, it's a pleasant listen, quite accessible, but it stays pretty safe throughout.

 Premier Février by GALAAD album cover Studio Album, 1992
3.90 | 31 ratings

Premier Février
Galaad Eclectic Prog

Review by apps79
Special Collaborator Honorary Collaborator

4 stars Short-lived Swiss Neo Prog band formed in 1988 and coming from Bern.Galaad were led by charismatic singer Pierre-Yves Theurillat and featured also keyboardist Gianni Giardiello, guitarist Sebastien Froidevaux, bassist Gerard Zuber and drummer Laurent Petermann.Reputedly the band had a self-titled demo out from early-90's, sure thing is their official debut came in 1992 with ''Premier Fevrier'' (1st of February) on Musea Records.

Pretty much a legendary band in my books, their captivating and fairly complex Neo Progressive can only be compared only to the works of bands such as COLLAGE, TRIANGLE, CLIFFHANGER and SAENS.Far from being accesible, their style incorporates elements from ANGE and MARILLION into a demanding, lyrical and very adventurous mix.All compositions feature great structures and a great balance between instrumental madness and vocal-led passages.They are highlghted by the impressive, slightly distorted guitar playing of Froidevaux, both on rhythm and solo guitars, the dreamy keyboard work of Giardiello, featuring some great symphonic parts with evident Classical breaks, and of course the magnificent performance of Theurillat behind the microphone.Coherent arrangements full of shifting moods, keyboard- based instrumentals, alternation between strong and mellow parts and a grandiose atmosphere overall guarantee a massive number of repeated listenings.''Sabliere'' must be among the best Neo/Symphonic Rock compositions to have been written by a band of the style with its dramatic atmosphere throughout.

A pure gem not only for Neo Prog lovers but also for anyone into demanding and highly theatrical Progressive Rock.The rich sound, intricate melodies and deep atmosphere of the album are among the best to be heard in the scene.A milestone for the Neo Prog scene.Add another half star for the genuine composition of ''Sabliere''.

 Vae Victis by GALAAD album cover Studio Album, 1996
3.87 | 36 ratings

Vae Victis
Galaad Eclectic Prog

Review by Discographia

4 stars the album is sung mostly in French with some English passages. French singing is sweet, powerful and the lyrics are poetic and worked, but also a very strong image of the music. The sound is powerful, the guitars very furious. What is interesting is the song that pushes the limits of the plaintiff to give the bass, which gives a beauty, and the guitars are hard, the rest is very progressive and worked. It is difficult thing to say why I do not consider this album as a masterpiece even though it possesses the necessary qualities, perhaps lacking a touch of madness or an additional additional title that pushes the limits even further.
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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