XXV

The sacking of lead singer Alan Reed after he had collaborated on the writing but just before the recording of this album, appears to have surprised him as much as it did the rest of us. It would be inappropriate for me to presume to comment on the rights and wrongs of his dismissal, all I can do here is recognise his immense contribution to some wonderful albums over the years. Reed's replacement Paul Mackie therefore makes his album début for the band on this their sixth studio album.

Conceived as a follow up the the band's first studio album "The sentinel" (which was released just before the arrival of Reed), the title is not actually intended to reflect the gap between the release of the albums, which is in fact 27 years. Admittedly, it was probably around 25 years after the release of "The sentinel" that the decision to release a part 2 was taken, but the "Twenty five" nomenclature refers to the setting of the album (25,000 years in the future), the number of leaders who then run planet Earth, etc. The album's concept is that of said planet's obsession with technology over civilisation.

According to the band, the superb opening track "Falling Down" forms the bridge between "The sentinel" and this album, by borrowing melodic themes from that album. The track pre-dates the others on the album, as it was developed live in recent years, this version being slightly different though to that in the live set. The track literally takes off as soaring synths and scything guitar riffs pound out the opening theme. Mackie's vocals are impressive, although for my money they are not quite up the the standard of his predecessor (with apologies for the inevitable but necessary comparisons). There are all the tenets of good neo-prog in this fine opener, including some impressive guitar and keyboards from Niall Mathewson and Ronnie Brown respectively.

"Crash and burn" finds our superiors visiting from planet Atlantean coming up with an amazingly simple way of ridding our world of its leaders in a chaotic melting pot of quasi- improvised, controlled noise. "Something In The Deep" softens things completely, with ambient synth sounds ebbing and flowing as the sentinel sent from Atlantean sends his craft deep into the ocean to rendezvous with a waiting machine. The distorted vocals which are a feature of the track sound mechanical yet emotional. As the piece concludes, a delightful orchestrated section develops.

"Monster" reminds me of Arena, and in particular their "Contagion" album. This plodding piece of power prog at first sounds like one of the album's most accessible tracks (and indeed was released as an internet single), but in reality it requires a number of plays before it actually reveals itself. Lyrically, "The Alien Messiah" seems like an extract from the Who's "Tommy", as the sentinel presents himself to an admiring crowd in Egypt. There is something of a theatrical/musical feel to the track, indeed while listening to the song my thoughts drifted to Clive Nolan's "She" project, which ironically starred one Alan Reed.

"XXV [Part 1: Twenty Five Good Honest Men]" finds the sentinel trying desperately to find a small group (yes 25!) of good humans to assume the leadership of the planet, or else... Once again, I am reminded of Arena's "Contagion", in particular its final track "Resurrection", this piece having the same power and majesty. The sentinel's frustrations with our (humanity's) lack of vision continues in "Young God", another heavy song with some find lead guitar at its core. "Sacrifice" sees the humans finally beginning to realise they they are in a war of the worlds situation, with the odds stacked against them. The track itself is probably the most straightforward on the album, both musically and lyrically. The basic rock song on which it is constructed does however hold within it a fine instrumental core.

The brief "Blackwood" is intended as a prelude to the following "Violet sky" This beautifully emotive piece takes us by surprise by featuring a female lead (vocalised) vocal by guest Melissa Allan. As we move seamlessly into "Violet sky", Mackie's vocals come into their own. This gentle, highly moving piece offers a breathing space in terms of the story and in the generally full on nature of the music. The closing track, "XXV [Part 2: The Unmakers Awake]" offers an appropriately anthemic conclusion to the album, while leaving the way open for a further chapter in the story.

In all, a fine comeback album from Pallas, who prove that they have lost none of their ambitions. The tracks are of a consistently superior standard. I have to confess that I do miss the fine vocals of Reed, but if the choice is for the band to continue without him or not at all, then the former is by far preferable. Recommended.

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