Hällas - Panorama (2026) Hi-Res

At first glance, the fourth studio album by the Swedish quintet seems very familiar. The artwork, the big epic concept, and the retro-futuristic approach have all been the band’s trademarks throughout their almost decade-long career. On the other hand, the fact that the album consists of only five songs – the first of which is a 20-plus-minute epic – suggests that on Panorama the band also explores new frontiers.

The opener, “Above the Continuum,” takes up half of the album’s total running time and is by far Hällas’ most ambitious song to date, not only because of its length, but even more so due to its bold experimental approach. The song mixes ’70s prog rock roots with more prominent retro-futuristic synth work, as well as cinematic and pop-oriented elements. As such, there is an almost soundtrack-like feel to it.

Then there is the complexity, which is rather important in order to make such a long piece of music interesting and compelling. “Above the Continuum” is adventurous in every sense of the word, and for the most part the band gets away with it. The flow of the song is strong, especially when it comes to atmosphere and overall feel. For the most part, the musical progressions and transitions between sections flow quite nicely, which is an important aspect of any song, but especially one of this length.

The opener, and the album in general, introduces plenty of new musical elements, but none of them feel out of place within Hällas’ established musical universe. Crucial elements such as twin guitar work, vintage synths, and conceptual fantasy themes are accompanied by even more ABBA-inspired hooks, choirs, horns, and even some double-kick drum action.

The thematical concept is set in a fictional, distant world, but its theme of humanity understanding itself is universal and contemporary. That makes it easy to relate to, despite its opulent nature.

While the opener serves as a good representation of the album as a whole, the remaining songs play an important role in balancing it out. They are shorter and more direct, as well as extremely catchy. “Face of an Angel” leans toward ’70s pop, while “The Emissary” has a more classic prog rock approach. The dynamics and flow within the latter are staggering, effortlessly taking the listener on one hell of a ride. At the same time, the band never compromises the song’s flow or über-catchiness. “Beastius” is a piano-and-vocals ballad, served well by the raw and vulnerable quality of the vocals. “At the Summit” rounds off the album in an epic manner, despite clocking in at only some six minutes.

On Panorama, the Swedes expand their sound and approach, yet at the same time never challenge their generally established style. As such, the album feels innovative yet familiar – and that in itself is rather exciting.