If you have ever found anything remotely interesting about Marillion, IQ, Dream Theater, Queensryche or Rush, and I was a betting man, then I’d wager that Pallas would float your boat. Although the band dates back to the early Eighties, ‘The Dreams of Men’ is only their fifth studio album. Their last, ‘The Cross and The Crucible’, was the Classic Rock Society’s album of 2001.

‘The Dreams of Men’ kicks off with the tour de force `The Bringer of Dreams'. An orchestral intro segues `Jaws Theme' style into some seriously monster riffing. The impressive verses and chorus are constantly underpinned with orchestral stabs and there is some incredible guitar/keyboard duelling that brings to mind Dream Theater.

’Ghostdancers’ might possibly be the greatest thing that the band has ever recorded. It is understated, transcendent and uplifting. From the delicate violin intro to the poignant finale, it is an emotional ride, with guitarist Niall Mathewson pulling a glorious solo from the outer reaches.

`Too Close to the Sun' is a classic in waiting. It is immersed in the timeless Pallas sound. Graeme Murray's bass guitar is so unique both in texture and technique and it is paramount to that timeless sound. He is the Peter Hook of Prog Rock and he has an able comrade in Colin Fraser on drums. The rhythm section is duck arse tight as it spins and cartwheels the splashes of guitar and keyboards to the elevating break down. And then, f**k me, it's only Dave Gilmour special-guesting on a guitar solo. No, it's that man Mathewson again, but you would be hard pushed to tell the difference.

Next up is the sinister swagger of `Messiah'. Vocalist Alan Reed slides into the somewhat disturbing and slightly perverted character of the song as the band really bring the hammer down. This track would not be out of place as the background music for some temptress as she writhes around a pole in a backstreet club (!?)

The instrumental ‘Northern Star’ is testament to the fact that you might need three or four spins of this disc to really reap its’ rewards. The strange guitar sound and over-embellished keyboards will finally get under your skin.

It doesn’t always work though. `Warriors' is the bands’ attempt to deal with the culture of the suicide bomber and 9/11 in particular. The
music develops from a menacing signature but the lyrics feel too
earnest and obvious, somewhat letting the track down. And ‘Mr Wolfe’ seems to lose its way a little in the second verse. The band pull the reins back when they should have maintained the full throttle attack they crash in on.

But these are minor set backs on an album that both recalls the
classic spirit of Pallas and embraces new horizons.

This is best illustrated on `Invincible'. As the band navigates
through the complex soundscapes, you are aware that they are performing at the top of their game.

There has been a lot of talk about the opera singing that augments the end of the final track `The Last Angel', but it has to be said that the track
itself stands alone as a great song. It is to huge effect that the band hold back, letting Alan Reed deliver his best Pallas vocal to date. And the finale is rousing and unique when it eventually materialises.

This is a very measured, accomplished and inspirational work and might just be the album of their career so far

8/10.

GREMBEL