GALASPHERE 347 (Multi) The Syntax of Things
After a seven-year silence since their debut offering back in 2018, this mini-multi-national supergroup is back with another symphonic/galactic ride for our enjoyment. Why label them a supergroup, you may ask? Well here are their resumes: Talented multi-instrumentalist and vocalist Stephen James Bennett (Henry Fool, Airbridge, No-Man, Tim Bowness, Lahost, the Opium Cartel, Weserbergland, Time Collider) represents the British contingent, while the Norwegians include the masterful Jacob Holm-Lupo (White Willow, Kaukasus, the Opium Cartel), Ketil Verstrum Einarsen (Weserbergland, Kaukasus, White Willow, Wobbler, Motorpsycho, Panzerpappa, Rhys Marsh, Pixie Ninja) on keyboards and flute, finishing off the lengthy introductions with the mercurial Swede and Anglagard drumming beast Mattias Olsson. On this album the trio(Jacob plays only on one track) throw in some invited guests, who are not exactly too shabby themselves, namely bassist John Jowitt, Airbag axeman Bjorn Riis, as well as Pete Smith on bass and Myke Clifford the saxman. Phew, that was exhausting!
Abruptly hurled into a maelstrom (nice Swedish word for you) of collapsing weirdness at the onset of “Hiraeth Part 1 (Cronus)”, the swerve into more melodic terrain occurs with the vocal insertion and all along the bludgeon Olsson drumming keeps one alert and vibrant.
On a personal note, “Life as an Architect (Hestia)” is a hilarious title, as I happen to work with architects to earn my living (surely not from writing reviews for free). The sonic edifice is noticeably slanted towards symphonic prog here, the bass and drums erecting the ideal foundation, dollied up with interior design of the magnificent keyboard and mellotron structures, and the added Holm-Lupo guitar façade only enhanced by a terrific flute roofing of glittering tiles. A tremendous piece of music.
The nearly 11 minute “Broken Bones (Eris)” introduces the guest trio of the immediately recognizable and always up-front John Jowitt bass, while both Riis and Clifford emerge as intensely involved as one could hope for. The piano, mellotron and the ‘gizmotron’ also lay down the ideal carpet for Riis to frolic on, in an unusually restrained manner for him, the subsequent variation meanders in semi-ambient mist, before the seductive sax insists on pushing the boundaries even further. Needless to add, the two soloists are on fire.
The sedate “Nighthawks (Nyx)” is exactly the ideal mood after the previous three scorchers. Picture a sorrowful nighttime reflection in a closing bar, with only the piano player left and a couple making out on the canape, a waiter busy preparing another drink. Incredibly ballsy move, a minimalistic example of scarce beauty and melancholia. The sad vocal sounds as if Steve Wilson would be handling the microphone, but its Stephen doing the convincing performance. The effect-laden serenity expressed on the way out to the parking lot is crushingly effective.
Conventional balladry is next on the imminently saccharine “Persephone (Kore)”, harrowingly chased by a brooding mellotron, the arrangement has a bright breeziness often found in the BBT or RPWL repertoire, with just enough exquisite details to keep the heart palpitating, such as a lick of a lap steel guitar coronating the prize, a swerved synth foray, an electric guitar binge and just the right amount of mellotron madness.
The epic title track “(Athena)” opens up another window into a twisted modern electronic vista, where mellotron sheets blow in the wind, and a savagely forlorn voice pleads for some hopeless revelation. The urgency is supressed by how the track veers in and out of shadows, what with the shrouded semi-vocoded repartee and the relentless melodic hammering mercilessly. It’s a fascinating new symphonic gem that is hard to describe, immediately appealing yet begging for further inspection. The macabre organ in the mid-section dances with seeming disdain for any protocol, the insane synthesizers a constant threat to decorum of any kind. When Jowitt and Riis reappear out of the wild blue yonder through the mellotron clouds, the magic seeps deep into the pleasure nodes. One can only stand and applaud.
The proverbial prog sandwich ends with the part 2 (Aion) of the opener, a slide guitar-driven caper that maintains the power, the glory and the grace, Olsson’s drumming particularly effective in its rhythmic grandeur, with Jones’s bass keeping the controls firmly aimed at some distant sun. Riis finishes in style, his axe presumably glowing deep into the night.
That debut album was very good. This one is outright excellent, an invigorating melting pot of density, flavoured with voluptuous sounds, unending drama and appealing outcome. 2026 kicks off with a torrent of astounding releases and this is one of them. This will end up being edited to a 5 star album .
Merci, once again to Anne-Claire of Bad Dog Promotions for this! To paraphrase the Great Frank Zappa, “not a speck of cereal” in this dog food (“Come on Frenchie”).
4.5 grammatical objects