Galasphere 347 – the syntax of things

Galasphere 347 is an international band of musicians come together to make Anglo – Scandinavian progressive rock. With pedigrees in bands such as White Willow, Henry Fool, Airbag, IQ, Änglagård, The Tim Bowness band, No-Man, John Wetton, Weserbandland and Necromonkey, Galasphere 347 bring epic widescreen scale to their music. The band’s line-up includes Stephen James Bennett (vocals, keys & guitar), Ketil Vestrum Einarsen (flute & keys), Mattias Olsson (drums), and Jacob Holm-Lupo (bass & guitar). Additional contributions come from guest musicians Bjørn Riis, John Jowitt, Myke Clifford and Pete Smith.

After seven years of silence, and since the eponymous self-titled 2018 debut, this supergroup is finally back with their acclaimed sophomore, seven compositions long, album titled the syntax of things. And what a come back opus it is, definitely worth the wait!

Throughout the syntax of things the band blends nostalgic vintage synths, mellotron and progressive instrumentation, altogether in order to explore deep themes of longing, nostalgia, and a feeling of a lost identity. Thus, the lyrical content of the syntax of things delves into similar subjects; nostalgia, the loss of identity and the choices we make in life. Where there are lyrics, there’s a vocalist who delivers them. In connection with the syntax of things the vocals of James Bennett are dry and atmospheric, although his vocals occasionally feel buried low in the mix, and it’s a shame. The musicianship on the other hand is well crafted, featuring the lush analogue keyboard textures, soaring flute solos, rich and expansive bass lines, and crispy, powerful, busy and grand drumming. I would say that particularly a guest guitar and bass performances give a highly cinematic feel.

The album begins with “Hiraeth Part 1 (Cronus)” featuring Olsson’s powerful and skilful drumming, numerous melodic shifts and a nice rhythmic drive throughout the opening song that sets a nostalgic and rhythmically complex tone for the rest of the record. Named after Hestia, the Greek goddess of the hearth and home, next song is called “Life as an Architect (Hestia)”. It is clocking in at just under 10 minutes, this song leans heavily into lush and symphonic progressive rock. Clocking in at nearly 11 minutes, “Broken Bones (Eris)” is one of the album’s most dynamic focal points. It features brilliant and emotionally heavy guitar solo, fluid bass playing, and the wild, boundary-pushing saxophone. Next comes “Nighthawks (Nyx)”, the first completely different song, an emotionally bare, piano/voice ballad. “Persephone (Kore)” is the standout fifth track, a metaphor for emotional fragmentation and relationship fallout. The track is a masterclass in dynamic and vintage-flavored progressive fusion sound of the 80s. “The Syntax of Things (Athena)” is another lengthy, but also a dark song, featuring a few twisted electronic and symphonic moments, a driving bass lines and a soaring electric guitar solo. “Hiraeth Pt.2 (Aion)” is the almost eight minutes long epic closing track on the syntax of things. It features a rich, 1970s analog prog-rock atmosphere built on an elegiac arrangement. Lastly, it resolves into a quiet, cinematic finish featuring over a minute of near-silence layered with overlapping spoken-word voiceovers – a perfect finishing touch!

A classic idiom saying ‘Never judge a book by its cover’ definitely aplies here, as I don’t find the cover inviting at all, featuring a boring vintage photograph of the Nye Bevan Pool building entrance located in Skelmersdale, Lancashire, England, designed by Martin Cook.

To summarize; compared with its 2018 predecessor, the syntax of things expands by bringing in other musicians with their own skills and styles. The songs are a bit shorter, yet more focussed than the case was with their debut. The overall tempo and flow are rather excellent – relying on grand, progressive arrangements.

To get a foretaste on what to expect from the syntax of things you can listen to the opening track “Hiraeth Pt.1 (Cronus)” below. I will also encourage you to purchase the album directly on the Galasphere 347 Bandcamp page.