THE CROSS & THE CRUCIBLE

The Cross & the Crucible is the fourth full-length album of Scottish neoprog band Pallas, their second after the long break they took between the end of the 1980s the late 1990s. The line-up who recorded The Cross & the Crucible is the same that had recorded their 1999 record Beat the Drum, and is comprised of bass player Graeme Murray, guitarist Niall Mathewson, keyboard player Ronnie Brown, drummer Colin Fraser and singer Alan Reed. This contributes to give a sense of continuity to the two albums. Both explore a rather melodic yet edgy form of neoprog that borrows from the golden era of prog rock (Yes, Genesis) and reinterprets it in modern fashion, combining elongated song structures, complex arrangements and virtuous playing with rhythmic groove and melodic accessibility.

The music revolves around the band's prominent rhythmic section, with bassist Graeme Murray putting his Rickenbacker to particular good use in combination with Colin Fraser's effective drumming. Guitars and keyboards are used in a complementary way to tastefully supply melody and texture. This gives the music a solid, muscular feel that is peculiar to the band's sound. Pallas' other main distinctive characteristic is Alan Reed's histrionic yet smooth vocal delivery. His voice may be a bit of an acquired taste, but the singer certainly knows how to capture the listener's imagination. From quiet balladry to heavier sections, Reed adapts his delivery ' from sweet and melodious to intense and dramatic ' in a way that may draw parallels with Genesis' Peter Gabriel.

Despite their prog inclinations, several of the songs on the album are chorus-driven compositions, which may even appeal to listeners who do not normally revel in progressive extravaganza. The first part of the record is particularly effective. The title-track is an atmospheric piece that combines a strong chorus with an interesting instrumental detour, partly inspired by classical music (Mozart's Requiem). 'For the Greater Glory' is a Middle-Eastern-infused, fist-pumping epic about WWII, while 'Who's to Blame' is a simple and effective ballad featuring a beautiful fretless bass and excellent lyrics. The record loses a bit steam as it progresses into its second-half. The progressive inclinations of the band are brought more to the fore, but the quality of the melodies drops down a notch or two. This is particularly evident in the insipid, semi-acoustic ballad 'Generations' and in the two 'prog epics' ('Towers of Babble' and 'Midas Touch') that impress more for their instrumental twiddly bits than their cohesiveness as songs.

Overall, The Cross & the Crucible is a good album. It may not entertain from start to finish as it drags somewhat in the lacklustre second half, but it nevertheless reinforces Pallas' position as one of the most interesting bands in the neoprog arena. In fact, Pallas' sound may appeal even beyond the narrow group of neoprog aficionados and even metalheads and straight rock fans may find things to like here.