Gamalon Marquee @ the Tralf &bull 9/28/90
Gamalon is probably the worst and the best kept secret in Buffalo. Anyone remotely connected to the Buffalo music scene has heard of the band. Their fans keep growing in numbers from gig to gig, they play weekly in the same venues, they occasionally open for nationally touring acts, and their albums are readily accessible in the Buffalo area. Yet, with all the notoriety Gamalon has received in Buffalo, it would appear that a true insight into the band's consciousness has not yet been delved into.
To justifiably set the record straight without any confluence or confusion from Gamalon's critics; yes they do at times resemble a Jeff Beck/Jimmy Hendrix synergism that has gone stark raving mad. The similarities to anyone else's overt influence abruptly ends there. From this point forward the Gamalon myth rises from the ashes of a decaying music society to form a ubiquitous face with its' own distinct characteristics.
Relying solely on instrumentation, Gamalon is without any musical vocals of any kind to express their perspectives. With this point in mind the true parlance of the band's nature can be explored.
"Lena", George Puleos' loving tribute to his mom, is an interplay of joyous music fulfilling a son's love for his mother. If it is all possible to show your mother that you and your guitar love her, George expressed the impossible. What a wonderful conundrum a mother's love represents to an artist's ambition to express himself.
"Lena", George Puleos' loving tribute to his mom, is an interplay of joyous music fuklfilling a son's love for his mother. If it is all possible to show your mother that you and your guitar love her, George expressed the impossible. What a wonderful conundrum a mother's love represents to an artist's ambition to express himself.
Truly one of the highlights in the show came early in the first set. The song "Common Ground" laid the network for what is perpetually Gamalon's trade mark. Each member of the band was able to elicit an individual musical point of view. Demonstrating technical wizardry and theoretic mastery of their instruments, "Common Ground" surged the band's energy into a fervorous living, breathing entity, swelling to new heights created by the band's musical oneness.
The slow deliberation of mood settings is another approach that Gamalon has honed to perfection. In the song "The Rift" an emotional musical dialogue poignantly leadss the listener into the ups and downs of everyday relationships. Bickering guitar solos and angry drumming reinforce the song's theme, eventually heading to a determined resolve of whatever caused "The Rift" in the first place. "Aerial View", the title cut from Gamalon's new album of the same name, presented the band in one of its' finest esoteric offerings. Inflecting the song with an ethereal sound that demanded further musical introspection, Gamalon succeeded to roar through the heavens with an immediate intimacy that tingled their core of musical experience. The band cruised higher into the upper stratosphere, time and time again reminding us that heaven is a good place to let your musical soul hang out and relax. A truly gestalt comprehension of the band in an unbounded amorphous state left the audience totally awestruck and screaming for more.
The amazing ability to reciprocate feelings, ideas and emotions so precisely through their music is what separates Gamalon from many other bands. Displaying all facets of musicianship and showmanship, Gamalon has become a musical seminar in the joy of jamming. The pushing and cajoling of each other to new elevations of musical experience warrants Gamalon the freedom to experiment and explore the multi-dimensional aspects of their musical realms. Never losing their sense of fun, or responsibility to upholding a fresh and genuine proximity ti their audiences' tastes, Gamalon is boldly going where many bands dare not to go.
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