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TRACKLIST

1. The Big Bang. . . . . . . . . . . . .3:18
2. The Cross And The Crucible. . . . . .9:06
3. For The Greater Glory . . . . . . . .7:36
4. Who's To Blame? . . . . . . . . . . .4:45
5. The Blinding Darkness Of Science. . .6:43
6. Towers Of Babble. . . . . . . . . . .8:12
7. Generations . . . . . . . . . . . . .5:22
8. Midas Touch. . . . . . . . . . . . .11:15
9. Celebration!. . . . . . . . . . . . .7:23

Musicians:
Alan Reed - vocals
Niall Mathewson - guitars
Ronnie Brown - keyboards
Graeme Murray - bass
Colin Prazer - drums

SPOILER!

Released in 2001, some 3 years after "Beat the drum" (a mere blink of an eye in Pallas terms!), "The cross and the crucible represents Pallas most complete and indeed progressive work up until that time. That completeness may lead to impatience among those who will simply dip in and out of an album without stopping to fully discover it. There are some sections here where it appears at first as if little is happening, this being especially true of some very soft parts. These though are an integral part of the whole, demanding the attention and concentration of the listener right from the start.

The concept of album examines the conflicts and parallels between the world through religious eyes, and when see through scientific ones. Many of the songs though seem to concentrate more on the futility of war in all its forms, the religious and scientific contributions to conflict being strongly derided. This theme is brought out early on in the magnificent title track through observations such as As the iron hand of science took revenge upon the pious, they wondered if the world they knew could ever be the same. Pallas generously credit Motzart's Lacrimosa for inspiring part of the track. The stance in respect of religion is more than a little cynical, the following For the greater glory mocking the futility of religious war and strife.

It is easy to get embroiled in the heavy themes, the lyric sheet included in the lavish packaging being essential. It is though the musical arrangements and structures which make this such an essential album. This is neo-prog at its absolute finest with magnificent symphonic sounds, driving rhythms and a myriad of moods and atmospheres. The aforementioned For the greater glory has all of these in absolute bucket-loads, the guitar work of Niall Mathewson being particularly impressive here.

There are slightly lighter moments musically, such as the shorter Who's to blame which features female backing vocals, but the substance of the song remains deadly serious. One could be forgiven when hearing the early part of the 8 minute Tower of Babble for thinking a stray Therion track had ended up on the album. The operatic chorus is quite unlike Pallas' usual style (if they can be pinned down to one), and represents a magnificent foray into yet another area. The track also features some fine church organ sounds by Ronnie Brown introducing a menacing core and some more superb guitar.

Generations appears in terms of the album's theme to be an odd track out, apparently (unless I am missing something) being a simple acoustic based love song. It is probably the only possible single on the album. The longest track Midas touch runs to over 11 minutes. Here the mysteriously named The Doctor makes a guest appearance as the Alchemist speaking almost inaudibly at the start of the song. The lyrics translate the efforts of the Alchemist to make gold into a human context. The basis of the track is clever on several fronts, not least of which as the essence of alchemy is a blending of religious and scientific tenets. Various elements are given the characteristics of human frailties and melded together in a Crucible, the resulting gold being The power lust that divides us. What we should not overlook here though is that the track also contains a magnificent instrumental piece reminiscent of ELP at their finest.

With all the doom and gloom which has prevailed (lyrically) through the album, the closing Celebration! finally offers hope for the future. With wonderfully prog phrases such as I hear a million voices sing - celebration, we are assured that One day we will win and We are all the same beneath the skin. The chiming bells and orchestral synths offer an appealing blend of Marillion, IQ and Pendragon, the upbeat and positive nature of the song making for the perfect ending.

When an album as fine as this comes along, it can be difficult to remain objective when attempting to review it. The incredible effort which has been put into the arrangements throughout may mislead some into merely hearing this album superficially. This is though an album which demands to be heard again and again and with the listener's undivided attention. Only then will the magnificence of the complete product fully reveal itself. (Easy Livin, progarchives.com)

SPOILER!