I don’t think there is much doubt in anyone’s minds that one of the most important bands in the Eighties prog scene was Pallas, whose ‘Arrive Alive’ cassette in 1981 led to the two massively important albums ‘The Sentinel’ and ‘The Wedge’. There was a significant gap until the band reformed to record ‘Beat The Drum’ in 1999, with founder Graeme Murray and long-time members Niall Matthewson, Ronnie Brown and ex-Abel Ganz singer Alan Reed being joined by drummer Colin Fraser. That line-up released three well-received albums and then Alan left to follow a solo career, being replaced by Paul Mackie, with whom Pallas released two more with the last being 2014’s ‘Wearewhoweare’. Then it went somewhat quiet on the Pallas front, and what no-one expected was a new album in 2024, a full fifty years since the band were first formed, and with Alan back at the front. Colin has departed, and the line-up is Alan Reed (lead and backing vocals), Niall Mathewson (guitars, percussion programming, vocals), Graeme Murray (bass, Taurus bass pedals, 12-string guitar, vocals), and Ronnie Brown (keyboards, percussion programming, vocals), back in the studio together for the first time since 2005’s ‘The Dreams of Men’.
One thing I noticed is that in the press release it states, “This is an album which repays countless listens” and that is definitely something I can attest to. The first time I played it I thought it was quite weak with not enough energy and passion, and then the second time it started to attract my attention as I realised just how many highs and lows there were with this and the way the music kept moving, swelling and descending, but it wasn’t until the third time that I realised just how good this really is and that instead of being something I was unlikely to listen to again it is indeed a masterpiece – it shows the need to play albums all the way through at least a couple of times before writing about them, something I know many reviewers tend not to do.
Lyrically this is fascinating as while 'The Sentinel' echoed the concerns of the cold war and the shadows it cast on all of us, 'The Messenger' finds the band reacting to the existential threats to the world we find ourselves in. From what we've done to the world, to the politics that shape it. I have always thought of Alan as Pallas’ classic singer, possibly because I enjoyed his vocals with Abel Ganz and numerous works with Clive Nolan, but also as he was the singer in the Nineties when I was so heavily involved with the local prog scene. Strangely I never saw them in concert at the time, as I once left a venue before they were due to come onstage as I had fallen asleep during the previous band’s set (I was working nights at the time) and was worried I would not be safe to drive the hundred miles home after Pallas had played, thinking I would catch them again, but I never did.
That is definitely my loss, as while back then they were a little more brash, here they have matured like a fine wine to create something which is full of nuances and embellishments here and there. Niall has taken more of a back seat, coming in to provide emphasis when the need is required, but often letting Graeme (especially with the pedals) and Ronnie to provide the backdrop for Alan to pitch his voice against. I am normally scathing of the use of programmed drums, but due to the style being employed they are not nearly as annoying as normal, and while they will need a “live” drummer to reproduce this onstage here it actually works quite well.
It is packed full of emotion, with multiple threads allowing Alan to play many parts, with the arrangements being massively complex yet also seeming quite simple with everything there for a purpose, with everything in its place. This is one heck of a return from four guys whose first album together was ‘The Wedge’ back in 1986. So when is the next one?
