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PALLAS

Neo-Prog • United Kingdom


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Pallas picture
Pallas biography
Formed in Aberdeen, UK in 1980 (before that as "Rainbow") - Hiatus between 1987-1998 - Still active as of 2019

PALLAS is, after MARILLION, and along with IQ and PENDRAGON, one of the most important acts of the Eighties Progressive rebirth. This is an energetic and magnificent neo progressive band in the style of IQ/MARILLION but with more edge. Their music is centered on melodic hooks, loud sound and great voice. "The Sentinel" brings a tint of pop in a still elaborate progressive spectrum.

Scottish prog band PALLAS definitely have one of the longest gaps between albums on record. They released their first album, "The Sentinel" in 1984 and followed it up with "The Wedge" two years later. Their next album, "Beat the Drum" (72 minutes of music with epic accents, rock rhythms and style, and ballads full of feeling), did not show up for 13 years. It will be followed by the wonderful "The Cross And The Crucible" in 2001. This album features all the things prog fans are looking for - atmospheric keyboards, great guitar tunes and a well working rhythm section - and last but not least an vocalist with an very own style. Highly recommended to fans of neo Progressive style.

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PALLAS discography


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PALLAS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.52 | 277 ratings
The Sentinel
1984
3.02 | 140 ratings
The Wedge
1986
3.60 | 179 ratings
Beat The Drum
1998
3.58 | 228 ratings
The Cross & the Crucible
2001
3.99 | 314 ratings
The Dreams of Men
2005
3.29 | 175 ratings
XXV
2011
3.95 | 146 ratings
Wearewhoweare
2014
4.18 | 30 ratings
The Messenger
2023

PALLAS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.23 | 68 ratings
Arrive Alive
1981
3.64 | 14 ratings
Live Our Lives
2000
4.30 | 65 ratings
The Blinding Darkness
2003
3.16 | 22 ratings
The River Sessions 1
2005
3.39 | 21 ratings
The River Sessions 2
2005
3.29 | 7 ratings
Official Bootleg 27.01.06
2006
3.11 | 18 ratings
Moment To Moment
2009
4.00 | 3 ratings
Live At Loreley
2013
4.00 | 3 ratings
Live - Southampton 1986
2013
3.00 | 1 ratings
Themelios: Proto Pallas Live 1977-1979
2023
0.00 | 0 ratings
No Sleep 'til Rotherham
2023

PALLAS Videos (DVD, Blu-ray, VHS etc)

4.47 | 54 ratings
The Blinding Darkness
2003
3.78 | 14 ratings
Live From London
2005
3.46 | 18 ratings
Moment to Moment
2008
4.67 | 3 ratings
Live At Loreley II
2013

PALLAS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.97 | 22 ratings
Knightmoves To Wedge
1986
3.83 | 6 ratings
Sketches
1989
4.17 | 6 ratings
Mythopoeia
2002
3.75 | 4 ratings
The Sentinel Demos
2013
4.00 | 4 ratings
The Sentinel Rough Mixes
2013
4.75 | 4 ratings
The Arrive Alive Demos
2013
4.50 | 2 ratings
The Knight Moves Demos
2013
4.00 | 11 ratings
Courage - and Other Songs of War and Peace
2018
3.93 | 41 ratings
The Edge of Time
2019
3.88 | 6 ratings
An Alternative Arrive Alive
2020
0.00 | 0 ratings
Binary Lives Volume 1
2020
3.50 | 2 ratings
Fragments of the Sun
2020
3.00 | 3 ratings
Messages from the Past Present & Future: A Christmas Selection Box
2023
0.00 | 0 ratings
Messages: Prog Magazine Retrospective Sampler
2024

PALLAS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 3 ratings
The Pallas EP
1978
3.50 | 2 ratings
Arrive Alive
1982
3.50 | 2 ratings
Paris Is Burning
1983
4.00 | 4 ratings
Eyes In The Night (Arrive Alive)
1984
3.75 | 4 ratings
Shock Treatment
1984
4.00 | 2 ratings
Eyes In The Night / Shock Treatment
1984
3.00 | 3 ratings
Throwing Stones At The Wind
1985
3.40 | 5 ratings
The Knightmoves
1985
2.52 | 14 ratings
Monster
2010
3.00 | 7 ratings
Atlantean
2011
5.00 | 2 ratings
Set 2013
2013
5.00 | 1 ratings
Wearewhoweare Premix Megamix
2013
5.00 | 1 ratings
XXV Megamix
2013
5.00 | 1 ratings
Something In The Deep Karaoke Mix
2013
4.33 | 3 ratings
Itiswhatitis
2014
4.20 | 5 ratings
Christmas on the Edge of Time
2019
4.50 | 2 ratings
Fragments From The Edge Of Time
2020

PALLAS Reviews


Showing last 10 reviews only
 The Messenger by PALLAS album cover Studio Album, 2023
4.18 | 30 ratings

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The Messenger
Pallas Neo-Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars In the seemingly revolving door of original neo-prog bands, namely Marillion, IQ, Pendragon, and Pallas (you can throw in Arena as a later add-on), releasing great albums and reclaiming some illusory throne, the competition is quite stiff as each tries to secure its place again. Well Pallas has certainly the perfect album to challenge all comers, including the newer breed like Galahad, Sylvan, Mystery, Drifting Sun, and hundreds more. "The Messenger" arrives just before Santa Claus it seems, as a rather unexpected gift for fans of melodic symphonic prog, perhaps too late to place very high on the 2023 charts but certainly will lead the charge into 2024! This veteran Scottish band began with a killer debut "The Sentinel" back in 1984 (Hello, George!) and has released a constant steam of enjoyable albums, some genuinely excellent like "The Dreams of Men" (2005) and 2014's "Wearewhoweare". Alan Reed is back on the microphone and the core trio of Graeme Murray, Niall Matthewson, and Ronnie Brown take care of the instrumental design, with the latter two handling the percussion programming. Fifty minutes of inspired modern prog, superb production values, 6 titillating tracks and adorned by one of the most pleasing covers in many a decade.

"Sign of the Times" wastes little of the clock, plunging headfirst into a salacious mood, setting the vein for the entire album, a heady confrontation between misty atmospherics and influential bombast. Niall's guitars scorch with merciless impunity, Ronnie's keyboards a perfect foil as it drenches the arrangements with dense symphonics, a thudding bass undertow, all united in aiding Alan to communicate his story of the seemingly hopeless human condition, as it continues to struggle with war, conflict, and suffering. We have progressed magnificently in some areas but so precious little in some of the basics that has plagued mankind since the dawn of time. Stupidity, corruption, selfishness, lies, and depression are the themes evoked on "The Great Attractor", a raging bulldozer of altering anger, disturbing disillusionment, and furious frustration. The arrangement is noisy, brash, and depressing, as little salvation seems to appear over the crest of endless suspicion and cruel manipulation. The sonically evolving "Fever Pitch" is an ear catching mini epic that slowly raises the temperature, as Alan convincingly conveys his inner pain, the guitars screeching in disbelief, shoved along by some rather mammoth programmed drums. As the silence beckons, a piano echoes briefly before being bullied by an infuriating guitar solo that wishes to condemn in the harshest terms the futility of it all. "Heavy Air" comes across a sorrowful lament, as 'time does not stand still', the solemn keyboards spewing a dreamy trembling of emotions, the mood oppressive and symphonics verging on surrender. Alan delivers a majestic vocal delivery, absolutely convincing and heartfelt to the bone. The volatile guitar solo, caressed by compelling mellotrons and a somber bass only complements the anguish. "The Nine" is the highlight track here, an exquisite piece of portentous music, with ghostly intent and frightening disposition, verging on a horror soundtrack due to the creative theatrics of the vocals. Infernal, with the devil's evil eyes fierily omnipresent, the choir sounds coming from the recesses of the molten caverns of inner earth, the orchestral transitions in synch with the lyrical intransigence. Thrilling but drenched in fear. The title track is a 13 minute + epic that functions as both a recap of all the fury previously conveyed, as well as a catalyst for some unheralded saviour to appear and liberate mankind from its own self-imposed shackles. A forlorn Spanish guitar and an ornate piano unite, as Alan utters: 'only the truth can take control', perhaps suggesting some form of imminent deliverance. The persistent choir erupts, the piano remains in misery, the guitar twirls in circular scorn, as the harmony vocals join in on the message of divine intervention with 'nothing left to give'. The true meaning of apocalypse is after all, revelation!

4.5 envoys but does require repeated spins to truly appreciate

 The Dreams of Men by PALLAS album cover Studio Album, 2005
3.99 | 314 ratings

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The Dreams of Men
Pallas Neo-Prog

Review by coldwindblows

4 stars Wow. Love this. I've been adding new names to my neo-prog favourites over the last 20 years. Listening to The Dreams of Men is one of those moments when you think how have I missed this one? I've listened to random bits and pieces of their music over the years and rejected them (as was the case with Galahad until Empires Never Last).

It was listening to one hour and forty two minutes of The Edge of Time compilation that drew me in. It led me to look up the original Ghostdancers track on The Dreams of Men, and from there I have a new favourite neo-prog album. 4 stars.

 The Cross & the Crucible by PALLAS album cover Studio Album, 2001
3.58 | 228 ratings

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The Cross & the Crucible
Pallas Neo-Prog

Review by lukretio

3 stars 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.

 The Wedge by PALLAS album cover Studio Album, 1986
3.02 | 140 ratings

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The Wedge
Pallas Neo-Prog

Review by A Crimson Mellotron
Prog Reviewer

3 stars A good album! Just not necessarily a progressive rock one. Pallas' second release came in 1986, after a strong live album and an even stronger debut album. Unfortunately, the Scottish band replaced singer Euan Lowson for this album, with a guy named Alan Reed, about whom I can say that does a great job for what the record is. And this record is essentially a solid 80s rock album, with the British neo-proggers dropping the epic edge of their music that was so prevalent in the preceding album 'The Sentinel', for a more arena rock-oriented sound, and focusing on writing catchier hooks - another aspect of their music that could be attributed as a strength of theirs.

And so, this 'commercialization', in a way, resulted in the band producing a compact 7-song album containing pretty strong, in my opinion, "jumpy", energetic 80s rock numbers, most of which will certainly get stuck in your head after a listen or two. This album is begins with the heaviest track one can find here - 'Dance Through the Fire'; it sounds like it came right off 'The Sentinel' sessions. 'Throwing Stones at the Wind' has this aforementioned poppier touch, but is nonetheless enjoyable. Maybe the band tried to add a tint of Marillion as well, but managed to do it in a way that does not make them sound like their clones. 'Win or Lose' has a simpler chorus and falls into the category of the more forgettable songs, followed by the great 'The Executioner' ? electrifying fast-paced 80s rocker, which could be appreciated by the unprejudiced listener. 'Rat Racing' features some interesting keyboard sounds and is a bit more adventurous in nature, while 'Just A Memory' shows that Pallas were good at writing slower songs, too. The re-release features some pretty decent bonus tracks, too.

As much as 'The Wedge' is enjoyable and fun, and definitely more lightweight than its predecessor, it lacks the epic touch on 'The Sentinel' and seems to be a more forgettable record. It is really just a good 80s rock album by a band that was obviously pursuing a wider audience.

 XXV by PALLAS album cover Studio Album, 2011
3.29 | 175 ratings

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XXV
Pallas Neo-Prog

Review by friso
Prog Reviewer

3 stars After the strong 'The Cross and the Crucible' of 2001 and 'The Dreams of Men' of 2005 Pallas was dropped by the InsideOut label. It would take the band six years to release another album, but not before loosing its charismatic lead singer Alan Reed. On 'XXV' the band would introduce Paul Mackie who has a powerful voice of his own, but less of that sense of natural neo-prog drama. The band would engineer and produce the album by themselves and that is something you can hear; the album is less dynamic and not as intelligently produced than its predecessors. Moreover, on two songs ('Sacrifice' and 'Young God') the vocals sound as if it were a demo take. The guitars don't cut the mix that well and the keyboards drown during heavier moments. The band moved away from their typical neo-prog vibes towards a more regular symphonic metal style, though this is still clearly Pallas. The album is a concept album about the end of the world, yet lyrically this has given the band little inspiration. Now, clearly I'm not very enthusiastic about this record, but it does have some great songs. The first two songs are intense, fierce and full of energy (as much as the mix allows) and the third track 'Something in the Deep' is a great melancholy ambient track. 'Monsters' is a bit simple, but catchy in a fun way. The title track 'XXV part 1' is also a great heavy neo-prog track with those typical spot on Pallas moments. The rest of the album sounds rather flat to my ears and the album ends rather uneventful. After 'XXV' the band ended up with no label at all and their 2014 release 'whearewhoweare' got way too little attention, for that record is actually really good, even among their best, in my opinion. On that album Paul Mackie sings brilliantly throughout by the way. The vinyl print of 'XXV' sounds as good as the digital edition, but printing 60 minutes of music on a single vinyl is of course not ideal.
 The Wedge by PALLAS album cover Studio Album, 1986
3.02 | 140 ratings

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The Wedge
Pallas Neo-Prog

Review by friso
Prog Reviewer

3 stars Pallas has become a favorite prog group of mine and in my search for vinyls I stumbled on a nice copy of their second album 'The Wedge', of which I like the artwork by the way. On this album the band basically sounds like a perfect blend of eighties Marillion and the Top Gun Original Movie Soundtrack. This is the type of eighties music that has aged terribly and requires repeated listening for getting beyond its initial muddy and roomy sonic impact. Perhaps hardcore fans of Saga could dig it on the first spin though, especially 'A Million Miles Away' sounds a lot like that band. Pallas introduces Alan Reed whose otherwise strong vocals suffer from the poppy Toto-like mix on most songs. The band has a crossover neo-prog style on this record, but does manage to pull of some great instrumental sections in most songs. The keyboards don't sound that bad at all and the guitars of Niall Matthewson are always pleasant. The poppy second track 'Throwing Stones at the Wind' - for instance - has a beautiful symphonic middle section. The second side is more progressive and has the longest track 'Ratracing' which combines some fine neo-prog moments with eighties stadion rock pastiche. The verses are quite strong here. The final track 'Just a Memory' has a nice reflective mood to it and could have been a strong Marillion track of that era. My favorite of this record. Pallas would make much better albums later on in their career, but I can imagine this being a nice relic from a depraved decade for those who witnessed it. The second side is quite good actually. Three stars it is then.
 The Sentinel by PALLAS album cover Studio Album, 1984
3.52 | 277 ratings

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The Sentinel
Pallas Neo-Prog

Review by A Crimson Mellotron
Prog Reviewer

4 stars Pallas is a progressive rock band from Aberdeen, formed in either 1977 or 1980 (with information on this varying from source to source), that has since become one of the more interesting acts of the 80s revival in this genre of music. Releasing their debut album 'The Sentinel' in 1984, their history up to that point reminisces a bit of Rush's, who were formed in 1968 but released their first studio record in 1974; What is more interesting, is that the comparisons to the Canadian trio would not halt here - in fact, the musical similarities are also pretty prevalent on that very first LP.

The six songs comprising the album are a combination of more straightforward hard-rocking numbers, that were certainly the band's attempt of gaining a larger exposure and potential commercial success, and more epic-like compositions, inspired by the late 70s Genesis records and certainly the early Rush ones from the 80s. The opener 'Eyes in the Night (Arrive Alive)' is a song of the first kind, a very memorable and upbeat 'banger' that presents Pallas as a powerful and energetic band, setting a dynamic pace for the rest of the album. This is followed by another more mainstream-oriented song, 'Cut and Run', and then the 10-minute epic 'Rise and Fall' - almost like something that has come out of 'Wind and Wuthering', this song is a good sign that this band is capable of writing longer songs that are also captivating. Opening side two is the fantastic 'Shock Treatment' that leads to 'Ark of Infinity', a guitar-oriented piece that could be classified as an exemplary neo-prog. Finally, the album is closed by the 8-minute 'Atlantis' - part of a larger suite that has been played live at the band's early shows - an epic album closer that sounds like a healthy blend of all the rest that came before it.

Something interesting about this record is the fact that there are arguably three versions of it - the first one which was essentially what the band wanted to release, featuring the songs 'Eastwest', 'March on Atlantis' and 'Heart Attack' that obviously didn't make it; the second one, which is the 39-minute LP featuring the six songs already mentioned; and the third one being the almost one-hour version on the 1992 re-issue, that features all the songs from the previous two versions. 'The Sentinel' is also a concept album about the Cold War, with the themes presented through the prism of the tale of Atlantis - an interesting way to present such a serious theme.

The whole band is really performing very well on this album - Euan Lowson on vocals, Niall Mathewson on lead guitars, Ronnie Brown on synths, Graeme Murray on bass, and Derek Forman on drums - memorable riffs and good control of each one's instrument, 'The Sentinel' is equally epic and balanced, and above all, one of the really excellent albums of the 80s neo-prog scene.

 The Cross & the Crucible by PALLAS album cover Studio Album, 2001
3.58 | 228 ratings

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The Cross & the Crucible
Pallas Neo-Prog

Review by friso
Prog Reviewer

5 stars How bright the future of neo-progressive rock looked at the turn of the century with a a string of great heavy symphonic albums by IQ, Arena, Galahad, Knight Area (in a minor way) and of course Pallas. Listening to 'The Cross and the Crucible' in 2021 I can't help but thinking how rare albums of this quality have become with only IQ still releasing classics and furthering the genre. Had Marillion redefined symphonic prog as personal and political in the eighties, during the nineties the genre became heavier, more gothic and for some perhaps slightly less relatable.

Pallas return in 1998 with 'Beat the Drum' was slightly plagued by an overdose of AOR songs, but it also showed great promise with songs like great title track of that album. On this 2001 release the band returns to full-blown progressive rock with a concept album, a new symphonic pallet and a very sophisticated production. Alan Reed is the type of singer who can deliver emotional, intimate performances and the lead guitars by Niall Mathewson are as fierce as Steve Rothery's on Marillion's 'Clutching At Straws' album. The band uses atmospherical interludes in most tracks and the addition of choral sections give the album a gothic touch fitting the album's theme. Somehow the overall sound is a bit dense and doesn't allow for easy listening, but that might just be Pallas's most defining trait in the neo- progressive genre. They are quite serious. Either you submit yourself to its mystique or are repelled by it; which I think explains the variety in ratings of this album.

For me this album is perfect example of neo-prog at its finest. To be named alongside Arena's 'Contagion' and Galahad's 'Empires Never Last'. To bad the enthusiasm around Pallas declined over the years with 'Dreams of Men' being the last on the InsideOut label. After that the band released the underrated XXV and found itself without a label altogether with the mighty 'Wearewhowheare' album in 2014. Alan Reed has released two crossover prog albums that are also worth giving a try. Currently the band is working on a new record and I do hope the band will get the recognition it deserves.

 Wearewhoweare by PALLAS album cover Studio Album, 2014
3.95 | 146 ratings

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Wearewhoweare
Pallas Neo-Prog

Review by friso
Prog Reviewer

5 stars Pallas released a neo-prog debut in 1984 and released some noted albums within the sub-genre after the turn of the century. This self-released studio album of 2014 didn't get a lot of buzz, maybe because of disappointment around its very heavy predecessor 'XXV' of 2011. On that album the band also introduced the singer Pauk Mackie, who replaced the much appreciated Alan Reed. 'We Are Who We Are' shows Pallas returning to the style of 'The Dreams of Man' with an up-dated sound. You'll hear that distinct neo-prog sound with emotive, theatrical vocals, the electronic synths and loops, the echoey hardrock lead-guitars and some thick Rickenbacker bass. Without introducing a single innovation when it comes to the song-writing, the band does further the genre here by great craftsmanship when it comes to arranging and producing. Seldom have I heard a collection of eight songs that have gotten such a detailed treatment. Pallas has a gift for making simple melodic ideas turn out sophisticated. Moreover, I don't know of any band in this genre that gets a fat symphonic sound like Pallas. This album can get almost too exciting. That refrain of 'Shadow of the Sun' almost makes me jump up. Like on 'The Cross & The Crucible' and 'Dreams of Man' the band knows how to get that distinct neo-prog mystique just right. Niall Mathewson had always been an amazing guitarist, but on this album he has some experimental solo's that really stand out. Paul Mackie is a great theatrical and subtle singer for the band and he makes every song shine here. The way his personality leads on a quiet song like 'In Cold Blood' is simply amazing. A band like Arena would wish they had found such a great replacement after Rob Sowden left. This album is a rare example of perfectly written, executed and recorded neo-prog and if you are like you are - a fan of of this genre - you are probably missing out (looking at the number of reviews here).
 The Blinding Darkness by PALLAS album cover Live, 2003
4.30 | 65 ratings

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The Blinding Darkness
Pallas Neo-Prog

Review by friso
Prog Reviewer

5 stars Well, consider me a fan. I had owned their debut on a vinyl for years, but it never really clicked with me. This live from 2003 album does. Pallas hadn't even released its highest rated record 'Dreams of Men' yet. Along with Arena's brilliant 'Live & Life' and Kayak's 'Live 2019' this live album by Pallas must be one of my favorite neo-prog live albums. The band sounds thick, magical - almost otherworldly on this impressive double cd. Furthermore, the band has its own place in the neo-progressive genre. Whereas Marillion is more sentimental and lyrical and IQ more sci-fi and abstract, Pallas sounds a bit more gothic and mysterious. The Rickenbacker bass is punchy, the drums are energetic - almost fierce - and the twin guitars create thick staccato riffs that remind a bit of Arena's style on the 'Contagion' album. The lead guitar remind me of Steve Rothery on the 'Clutching at Straws' album, with those wild vibrato's and intense fast runs. The symphonic sounds by keyboardist Ronnie Brown are the most thick I've ever heard on a live album. The vocals of guitarist Alan Reed are emotive and a bit fragile, but his choice of melodies is very strong throughout. He has that ability to instantly grab the listener (not unlike Fish), like he does on the intimate verses of 'For The Greater Glory'. I never heard any of these songs on the first cd before and I'm surprised by how spot on they all are. Perhaps they aren't that much more sophisticated than songs of other bands of the genre, but they just work and sound so amazing. In the end it all comes down to effective songwriting, dosing and the effective use of dynamics. For instance; you'll hear the band getting the most out of a relatively simple folk-infused song like 'Who's to Blame?'. The crowd is obviously enjoying this concert a lot as well and their enthusiastic reaction adds to the festive feel of this great live album. On the second cd the band returns to some of its earliest work with the Atlantis suite, and I don't think those pieces will ever become a favorite of mine. Which leaves me with still more than 100 minutes of progressive bliss - more than enough to warrant a five star rating and the warmest of recommendations.
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