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Pallas: Wearewhoweare

Neo-prog veterans combine old and new values.

Pallas will never abandon certain musical imprints that have helped to make their name.

Among them are the guitar refrains of Niall Mathewson and the keyboard washes of Ronnie Brown, dating right back to The Sentinel more than 30 years ago. It’s what Pallas fans would want.

However, within these constructs, the band have always been capable of making musical mischief, of taking risks with small steps. There’s nothing radical on Wearewhoweare, but what they have done is synchronise occasional moments of surprise with the expected. On opener Shadow Of The Sun, there’s an insistent, underlying funkiness that adds fulsome flavour. This is more obvious on And I Wonder Why, allowing Graeme Murray to develop a bass line more in keeping with Steely Dan than these veteran Scots. And just when you think you have a handle on its groove, the track ends with a mystical clash of vocal sounds and keyboards, leading into Dominion.

This ability to stray from the narrow path is repeated again and again, so just when you have Dominion marked as an intelligent pop song – the sort Genesis might have revealed in the 80s – the band throw in a dramatic concoction of Middle Eastern strings and echoey piano, before returning to the main theme.

Paul Mackie’s vocals really have come into their own. If he displayed confidence and style on 2011’s XXV, then he takes these to new levels the second time around. You get an impression of his dramatic spectrum on Wake Up Call, where he traverses emotions from distant desperation to more strident demand. And he does this constantly, able to bring out meaning through a slight shift in emphasis on a syllable. It keeps the listener ever engaged, and proves he has transcended those inevitable comparisons with his predecessors.

Lyrically, the album is about control. Pallas appear to be calling for us all to take situations and turn them to our advantage, to face even the gravest threats with positivity. Songs that could be superficially interpreted as being about midlife crises take on a different perspective. Even In Cold Blood, which has a mournful tread, bursts with optimism.

Everything is summed up in final song Winter Is Coming, which tells us that whatever the bleakness, you should stay true to your individuality because this is all you have left, and it’s worth all the sacrifices.

It’s easy to see Wearewhoweare as a cycle of metaphors about death, but Pallas project the spark of a renewed life.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica (opens in new tab), published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio (opens in new tab), which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.