Atlanta’s Pallas will release their self-titled debut album on May 26th via Drop Medium Records (Datenight, Pucker Up, Flower Girl) and they’ve shared “Cast A Lion, Cured A Crow” together with Impose Magazine. The young Atlanta post-punk quartet have created a unique and challenging mini-album that shows the band’s strength in manipulated repetition, art-rock expanse, and abrasive rhythmic shifts.
Speaking about the song, Pallas’ Danielle Brutto shared:
“There’s something relentless and impatient about the instrumentals of the song and for me it became about love hesitation, playing waiting games, and the feeling you get when you’re trying to love someone who holds all their cards to their chest while you’ve been showing off all of yours, but still getting no response to either continue or conclude. The title veers a little from that, but in the same sentiment, with sculpture casting and chemical reaction imagery. It references how something changes visually and at a molecular level in the stillness of everything but the time from the moment it is ‘cast’ in it’s liquid form (first impressions and intentions) to when it is ‘cured’, or solidified (conclusion and exposed truths, etc.). …and you know, hoping for a lion, but getting a crow.”
May 26, 2017
Drop Medium Records
7/22 – Atlanta, GA @ The EARL w/ Palm, Palberta, Mothers, Art School Jocks & Sea Ghost (Irrelevant Music Fest)
In the revival of post-punk that has swept the underground for the past few years, it often seems that many artists tend to lean towards a certain sort of style within that realm. It seems easy for musicians to lose touch with what it is they actually want to express, instead opting for the vibe that was found in some many of the acts of the 70’s and 80’s. That being said, it is very exciting when a new band emerges that doesn’t seem too concerned with these sort of aesthetics, but rather draws comparisons out of essence rather than requirement. Pallas, a new four piece group from Atlanta, GA, plays music that sprawls out of the same scene that brought us bands like Warehouse and Red Sea. Their strange arrangements are complex yet rely on repetition, touching base with each member’s own artistic understandings of rhythm, noise, atmosphere – and how all of these things correlate together to bring a concrete sound unique and not easily comparable to one genre or band.
Singer Danielle Brutto, a trained painter having studied at The New School in NYC has the fortunate ability to fashion her unique, ghostly voice into swells and swerves that serve as abstract melodies upon guitarist Zane Durfree’s noisy burts, while bassist Valetina Tapia’s no-wave grooves guide each piece through prodigious 19 year-old drummer Decker D’alesio’s percussive fits and convulsions, landing on grooves and repetitions only out of luck rather than deliberation. All together their short, two minute songs have an open, cold atmosphere so often associated with post-punk, while the music itself is lively, exciting, and interesting.