Lembro-me que em 2018, o primeiro disco que ouvi e que foi lançado naquele ano, fui agraciado com Seas of Change, o então mais recente lançamento do Galahad. O álbum, que na verdade é uma única composição de quarenta e dois minutos dividida em doze partes, surgiu de uma ideia inicial de uma faixa de sete minutos, mas que evoluiu para uma obra estendida devido ao fluxo criativo que atingiu os músicos. Com esse estilo vanguardista, a música percorre várias direções, incluindo uma fusão de estilos como folk pastoral, rock tradicional, guitarras pesadas e elementos de música eletrônica.
Minha expectativa para esse lançamento era alta, pois sou um admirador de longa data da banda. Sempre apreciei o fato de que, mesmo possuindo um som mais acessível, eles nunca temeram experimentar e explorar seus limites. Seas of Change foi uma oportunidade perfeita para a banda demonstrar suas diversas facetas musicais, proporcionando uma verdadeira amálgama de tudo o que foram e são agora.
A saída de Roy Keyworth, guitarrista de longa data, foi um momento triste, mas a alegria veio com o retorno do talentoso Lee Abraham, que recentemente havia lançado o álbum solo Colours. Sua contribuição nas guitarras trouxe um frescor à banda. Além disso, Dean Baker, tecladista do grupo, merece elogios por ter composto toda a música e arranjos do álbum. Seu trabalho é impressionante, criando uma "sensação épica" que transforma o álbum em uma verdadeira celebração auditiva. Seu talento para criar efeitos mágicos nos teclados é inegável. Os vocais de Stu Nicholson estão sólidos e no auge, dando brilho à música, apesar de ocasionalmente as palavras lutarem para se encaixar no ritmo, um problema que às vezes também é perceptível em outras bandas, como o Pendragon. E não poderia deixar de mencionar a seção rítmica: Spencer Luckman na bateria e percussão, em combinação com o retorno de Tim Ashton no baixo, formam uma base formidável. O álbum também conta com a participação especial de Sarah Bolter, que adiciona flauta, clarinete e saxofone soprano, enriquecendo ainda mais a sonoridade.
A música começa de forma prolongada, com sintetizadores imersivos seguidos por um piano delicado. Efeitos orquestrais e notas cristalinas nos transportam para uma atmosfera quase de um jantar formal, onde uma voz pomposa e humorística adiciona um toque cênico. O cravo, acompanhado pela flauta suave, abre caminho para uma explosão de bateria e mellotron, seguido por guitarras ressonantes e ecoantes até que, após cerca de seis minutos, o primeiro desempenho vocal emerge. A partir daí, a música se torna mais envolvente, tanto pela narrativa lírica quanto pela rica tapeçaria musical. As guitarras são poderosas, e os teclados, majestosos, remetendo a influências que parecem vir de "Guiding Light" do IQ. Um ponto interessante sobre o disco e que talvez não agrade a todos, é que ele não é para uma audição casual; é preciso dedicar tempo para absorver a peça em sua totalidade.
Gostaria de destacar novamente o retorno de Lee Abraham à banda. Sua presença foi um fator crucial para revigorar o grupo. Nos últimos anos, ele desenvolveu sua carreira solo com crescente confiança, resultando em álbuns de alta qualidade. Inicialmente, o plano era utilizar o produtor Karl Groom nas guitarras principais e alguns guitarristas convidados para as partes adicionais, mas isso não se mostrou prático. Abraham foi convidado a tocar como convidado, mas acabou se oferecendo para fazer o álbum inteiro. Sua qualidade e alcance impressionaram tanto a banda que ele foi reintegrado como membro oficial, desta vez como guitarrista, em vez de baixista. Seus solos são emocionantes e acrescentam muito ao álbum.
Álbuns que consistem em uma única faixa são difíceis de descrever em detalhes, mas mesmo assim, muito pode ser dito. Em Seas of Change, o ouvinte encontrará muitas reviravoltas, alternando entre momentos sombrios e de leveza, resultando em uma experiência progressiva e extremamente satisfatória.
================================I remember in 2018, the very first album I listened to that was released that year was Seas of Change, the then most recent release by Galahad. The album, which is essentially a single forty-two-minute composition divided into twelve parts, originated from an initial idea for a seven-minute track but evolved into an extended work due to the creative flow that struck the musicians. With this avant-garde style, the music traverses various directions, including a fusion of styles such as pastoral folk, traditional rock, heavy guitars, and elements of electronic music.
My expectations for this release were high, as I’ve been a longtime admirer of the band. I've always appreciated that even with their more accessible sound, they never feared experimenting and pushing their boundaries. Seas of Change was the perfect opportunity for the band to showcase their diverse musical facets, providing a true amalgamation of everything they were and are now.
The departure of longtime guitarist Roy Keyworth was a sad moment, but joy came with the return of the talented Lee Abraham, who had recently released his solo album Colours. His contribution on guitars brought a fresh vibe to the band. Moreover, Dean Baker, the group's keyboardist, deserves praise for composing all the music and arrangements for the album. His work is impressive, creating an "epic feel" that turns the album into a true auditory celebration. His talent for crafting magical effects on the keyboards is undeniable. Stu Nicholson’s vocals are solid and at their peak, shining through the music, even though at times the words struggle to fit the rhythm—a problem that is occasionally noticeable in other bands like Pendragon. And I must mention the rhythm section: Spencer Luckman on drums and percussion, combined with the return of Tim Ashton on bass, form a formidable foundation. The album also features special guest Sarah Bolter, who adds flute, clarinet, and soprano saxophone, further enriching the sound.
The music begins in an elongated manner, with immersive synthesizers followed by delicate piano. Orchestral effects and crystalline notes transport us to an almost formal dinner atmosphere, where a pompous and humorous voice adds a scenic touch. The harpsichord, accompanied by the soft flute, paves the way for an explosion of drums and mellotron, followed by resonant and echoing guitars until, after about six minutes, the first vocal performance emerges. From there, the music becomes more engaging, both through the lyrical narrative and the rich musical tapestry. The guitars are powerful, and the keyboards are majestic, reminiscent of influences that seem to stem from IQ’s "Guiding Light". An interesting point about the album, which may not appeal to everyone, is that it’s not for casual listening; it requires time to fully absorb the piece in its entirety.
I’d like to highlight again the return of Lee Abraham to the band. His presence was a crucial factor in revitalizing the group. In recent years, he has developed his solo career with growing confidence, resulting in high-quality albums. Initially, the plan was to use producer Karl Groom on lead guitars and some guest guitarists for the additional parts, but this didn’t prove practical. Abraham was invited to play as a guest but ended up offering to do the entire album. His quality and range impressed the band so much that he was reinstated as an official member, this time as a guitarist instead of a bassist. His solos are thrilling and add much to the album.
Albums consisting of a single track are hard to describe in detail, but even so, much can be said. In Seas of Change, the listener will find many twists and turns, alternating between dark and light moments, resulting in an extremely satisfying progressive experience.
NOTA: 8/10
Tracks
Listing:
1.
Seas of Change (42:43)
Ouça, " Seas of Change"
I remember in 2018, the very first album I listened to that was released that year was Seas of Change, the then most recent release by Galahad. The album, which is essentially a single forty-two-minute composition divided into twelve parts, originated from an initial idea for a seven-minute track but evolved into an extended work due to the creative flow that struck the musicians. With this avant-garde style, the music traverses various directions, including a fusion of styles such as pastoral folk, traditional rock, heavy guitars, and elements of electronic music.
My expectations for this release were high, as I’ve been a longtime admirer of the band. I've always appreciated that even with their more accessible sound, they never feared experimenting and pushing their boundaries. Seas of Change was the perfect opportunity for the band to showcase their diverse musical facets, providing a true amalgamation of everything they were and are now.
The departure of longtime guitarist Roy Keyworth was a sad moment, but joy came with the return of the talented Lee Abraham, who had recently released his solo album Colours. His contribution on guitars brought a fresh vibe to the band. Moreover, Dean Baker, the group's keyboardist, deserves praise for composing all the music and arrangements for the album. His work is impressive, creating an "epic feel" that turns the album into a true auditory celebration. His talent for crafting magical effects on the keyboards is undeniable. Stu Nicholson’s vocals are solid and at their peak, shining through the music, even though at times the words struggle to fit the rhythm—a problem that is occasionally noticeable in other bands like Pendragon. And I must mention the rhythm section: Spencer Luckman on drums and percussion, combined with the return of Tim Ashton on bass, form a formidable foundation. The album also features special guest Sarah Bolter, who adds flute, clarinet, and soprano saxophone, further enriching the sound.
The music begins in an elongated manner, with immersive synthesizers followed by delicate piano. Orchestral effects and crystalline notes transport us to an almost formal dinner atmosphere, where a pompous and humorous voice adds a scenic touch. The harpsichord, accompanied by the soft flute, paves the way for an explosion of drums and mellotron, followed by resonant and echoing guitars until, after about six minutes, the first vocal performance emerges. From there, the music becomes more engaging, both through the lyrical narrative and the rich musical tapestry. The guitars are powerful, and the keyboards are majestic, reminiscent of influences that seem to stem from IQ’s "Guiding Light". An interesting point about the album, which may not appeal to everyone, is that it’s not for casual listening; it requires time to fully absorb the piece in its entirety.
I’d like to highlight again the return of Lee Abraham to the band. His presence was a crucial factor in revitalizing the group. In recent years, he has developed his solo career with growing confidence, resulting in high-quality albums. Initially, the plan was to use producer Karl Groom on lead guitars and some guest guitarists for the additional parts, but this didn’t prove practical. Abraham was invited to play as a guest but ended up offering to do the entire album. His quality and range impressed the band so much that he was reinstated as an official member, this time as a guitarist instead of a bassist. His solos are thrilling and add much to the album.
Albums consisting of a single track are hard to describe in detail, but even so, much can be said. In Seas of Change, the listener will find many twists and turns, alternating between dark and light moments, resulting in an extremely satisfying progressive experience.
NOTA: 8/10
Tracks
Listing:
1.
Seas of Change (42:43)
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