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PALLAS

Neo-Prog • United Kingdom


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Pallas picture
Pallas biography
Formed in Aberdeen, UK in 1980 (before that as "Rainbow") - Hiatus between 1987-1998 - Still active as of 2019

PALLAS is, after MARILLION, and along with IQ and PENDRAGON, one of the most important acts of the Eighties Progressive rebirth. This is an energetic and magnificent neo progressive band in the style of IQ/MARILLION but with more edge. Their music is centered on melodic hooks, loud sound and great voice. "The Sentinel" brings a tint of pop in a still elaborate progressive spectrum.

Scottish prog band PALLAS definitely have one of the longest gaps between albums on record. They released their first album, "The Sentinel" in 1984 and followed it up with "The Wedge" two years later. Their next album, "Beat the Drum" (72 minutes of music with epic accents, rock rhythms and style, and ballads full of feeling), did not show up for 13 years. It will be followed by the wonderful "The Cross And The Crucible" in 2001. This album features all the things prog fans are looking for - atmospheric keyboards, great guitar tunes and a well working rhythm section - and last but not least an vocalist with an very own style. Highly recommended to fans of neo Progressive style.

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PALLAS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PALLAS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 254 ratings
The Sentinel
1984
3.01 | 124 ratings
The Wedge
1986
3.59 | 164 ratings
Beat The Drum
1998
3.57 | 208 ratings
The Cross & the Crucible
2001
3.99 | 290 ratings
The Dreams Of Men
2005
3.28 | 161 ratings
XXV
2011
3.94 | 131 ratings
Wearewhoweare
2014

PALLAS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.23 | 66 ratings
Arrive Alive
1981
3.69 | 13 ratings
Live Our Lives
2000
4.30 | 61 ratings
The Blinding Darkness
2003
3.16 | 21 ratings
The River Sessions 1
2005
3.39 | 21 ratings
The River Sessions 2
2005
3.29 | 7 ratings
Official Bootleg 27.01.06
2006
3.11 | 17 ratings
Moment To Moment
2009
4.00 | 3 ratings
Live At Loreley
2013
4.00 | 3 ratings
Live - Southampton 1986
2013

PALLAS Videos (DVD, Blu-ray, VHS etc)

4.47 | 53 ratings
The Blinding Darkness
2003
3.78 | 14 ratings
Live From London
2005
3.50 | 18 ratings
Moment to Moment
2008
4.67 | 3 ratings
Live At Loreley II
2013

PALLAS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.97 | 22 ratings
Knightmoves To Wedge
1986
3.83 | 6 ratings
Sketches
1989
4.17 | 6 ratings
Mythopoeia
2002
3.75 | 4 ratings
The Sentinel Demos
2013
4.00 | 4 ratings
The Sentinel Rough Mixes
2013
4.75 | 4 ratings
The Arrive Alive Demos
2013
4.50 | 2 ratings
The Knight Moves Demos
2013
4.13 | 8 ratings
Courage - and Other Songs of War and Peace
2018
3.95 | 39 ratings
The Edge of Time
2019
3.88 | 6 ratings
An Alternative Arrive Alive
2020
0.00 | 0 ratings
Binary Lives Volume 1
2020
0.00 | 0 ratings
Fragments of the Sun
2020

PALLAS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 3 ratings
The Pallas EP
1978
3.50 | 2 ratings
Arrive Alive
1982
3.50 | 2 ratings
Paris Is Burning
1983
4.00 | 4 ratings
Eyes In The Night (Arrive Alive)
1984
4.00 | 4 ratings
Shock Treatment
1984
4.00 | 2 ratings
Eyes In The Night / Shock Treatment
1984
3.00 | 3 ratings
Throwing Stones At The Wind
1985
3.40 | 5 ratings
The Knightmoves
1985
2.61 | 14 ratings
Monster
2010
3.00 | 7 ratings
Atlantean
2011
5.00 | 2 ratings
Set 2013
2013
5.00 | 1 ratings
Wearewhoweare Premix Megamix
2013
5.00 | 1 ratings
XXV Megamix
2013
5.00 | 1 ratings
Something In The Deep Karaoke Mix
2013
4.33 | 3 ratings
Itiswhatitis
2014
4.00 | 3 ratings
Christmas on the Edge of Time
2019
4.00 | 1 ratings
Fragments From The Edge Of Time
2020

PALLAS Reviews


Showing last 10 reviews only
 The Wedge by PALLAS album cover Studio Album, 1986
3.01 | 124 ratings

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The Wedge
Pallas Neo-Prog

Review by A Crimson Mellotron

3 stars A good album! Just not necessarily a progressive rock one. Pallas' second release came in 1986, after a strong live album and an even stronger debut album. Unfortunately, the Scottish band replaced singer Euan Lowson for this album, with a guy named Alan Reed, about whom I can say that does a great job for what the record is. And this record is essentially a solid 80s rock album, with the British neo-proggers dropping the epic edge of their music that was so prevalent in the preceding album 'The Sentinel', for a more arena rock-oriented sound, and focusing on writing catchier hooks - another aspect of their music that could be attributed as a strength of theirs.

And so, this 'commercialization', in a way, resulted in the band producing a compact 7-song album containing pretty strong, in my opinion, "jumpy", energetic 80s rock numbers, most of which will certainly get stuck in your head after a listen or two. This album is begins with the heaviest track one can find here - 'Dance Through the Fire'; it sounds like it came right off 'The Sentinel' sessions. 'Throwing Stones at the Wind' has this aforementioned poppier touch, but is nonetheless enjoyable. Maybe the band tried to add a tint of Marillion as well, but managed to do it in a way that does not make them sound like their clones. 'Win or Lose' has a simpler chorus and falls into the category of the more forgettable songs, followed by the great 'The Executioner' ? electrifying fast-paced 80s rocker, which could be appreciated by the unprejudiced listener. 'Rat Racing' features some interesting keyboard sounds and is a bit more adventurous in nature, while 'Just A Memory' shows that Pallas were good at writing slower songs, too. The re-release features some pretty decent bonus tracks, too.

As much as 'The Wedge' is enjoyable and fun, and definitely more lightweight than its predecessor, it lacks the epic touch on 'The Sentinel' and seems to be a more forgettable record. It is really just a good 80s rock album by a band that was obviously pursuing a wider audience.

 XXV by PALLAS album cover Studio Album, 2011
3.28 | 161 ratings

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XXV
Pallas Neo-Prog

Review by friso
Prog Reviewer

3 stars After the strong 'The Cross and the Crucible' of 2001 and 'The Dreams of Men' of 2005 Pallas was dropped by the InsideOut label. It would take the band six years to release another album, but not before loosing its charismatic lead singer Alan Reed. On 'XXV' the band would introduce Paul Mackie who has a powerful voice of his own, but less of that sense of natural neo-prog drama. The band would engineer and produce the album by themselves and that is something you can hear; the album is less dynamic and not as intelligently produced than its predecessors. Moreover, on two songs ('Sacrifice' and 'Young God') the vocals sound as if it were a demo take. The guitars don't cut the mix that well and the keyboards drown during heavier moments. The band moved away from their typical neo-prog vibes towards a more regular symphonic metal style, though this is still clearly Pallas. The album is a concept album about the end of the world, yet lyrically this has given the band little inspiration. Now, clearly I'm not very enthusiastic about this record, but it does have some great songs. The first two songs are intense, fierce and full of energy (as much as the mix allows) and the third track 'Something in the Deep' is a great melancholy ambient track. 'Monsters' is a bit simple, but catchy in a fun way. The title track 'XXV part 1' is also a great heavy neo-prog track with those typical spot on Pallas moments. The rest of the album sounds rather flat to my ears and the album ends rather uneventful. After 'XXV' the band ended up with no label at all and their 2014 release 'whearewhoweare' got way too little attention, for that record is actually really good, even among their best, in my opinion. On that album Paul Mackie sings brilliantly throughout by the way. The vinyl print of 'XXV' sounds as good as the digital edition, but printing 60 minutes of music on a single vinyl is of course not ideal.
 The Wedge by PALLAS album cover Studio Album, 1986
3.01 | 124 ratings

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The Wedge
Pallas Neo-Prog

Review by friso
Prog Reviewer

3 stars Pallas has become a favorite prog group of mine and in my search for vinyls I stumbled on a nice copy of their second album 'The Wedge', of which I like the artwork by the way. On this album the band basically sounds like a perfect blend of eighties Marillion and the Top Gun Original Movie Soundtrack. This is the type of eighties music that has aged terribly and requires repeated listening for getting beyond its initial muddy and roomy sonic impact. Perhaps hardcore fans of Saga could dig it on the first spin though, especially 'A Million Miles Away' sounds a lot like that band. Pallas introduces Alan Reed whose otherwise strong vocals suffer from the poppy Toto-like mix on most songs. The band has a crossover neo-prog style on this record, but does manage to pull of some great instrumental sections in most songs. The keyboards don't sound that bad at all and the guitars of Niall Matthewson are always pleasant. The poppy second track 'Throwing Stones at the Wind' - for instance - has a beautiful symphonic middle section. The second side is more progressive and has the longest track 'Ratracing' which combines some fine neo-prog moments with eighties stadion rock pastiche. The verses are quite strong here. The final track 'Just a Memory' has a nice reflective mood to it and could have been a strong Marillion track of that era. My favorite of this record. Pallas would make much better albums later on in their career, but I can imagine this being a nice relic from a depraved decade for those who witnessed it. The second side is quite good actually. Three stars it is then.
 The Sentinel by PALLAS album cover Studio Album, 1984
3.50 | 254 ratings

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The Sentinel
Pallas Neo-Prog

Review by A Crimson Mellotron

4 stars Pallas is a progressive rock band from Aberdeen, formed in either 1977 or 1980 (with information on this varying from source to source), that has since become one of the more interesting acts of the 80s revival in this genre of music. Releasing their debut album 'The Sentinel' in 1984, their history up to that point reminisces a bit of Rush's, who were formed in 1968 but released their first studio record in 1974; What is more interesting, is that the comparisons to the Canadian trio would not halt here - in fact, the musical similarities are also pretty prevalent on that very first LP.

The six songs comprising the album are a combination of more straightforward hard-rocking numbers, that were certainly the band's attempt of gaining a larger exposure and potential commercial success, and more epic-like compositions, inspired by the late 70s Genesis records and certainly the early Rush ones from the 80s. The opener 'Eyes in the Night (Arrive Alive)' is a song of the first kind, a very memorable and upbeat 'banger' that presents Pallas as a powerful and energetic band, setting a dynamic pace for the rest of the album. This is followed by another more mainstream-oriented song, 'Cut and Run', and then the 10-minute epic 'Rise and Fall' - almost like something that has come out of 'Wind and Wuthering', this song is a good sign that this band is capable of writing longer songs that are also captivating. Opening side two is the fantastic 'Shock Treatment' that leads to 'Ark of Infinity', a guitar-oriented piece that could be classified as an exemplary neo-prog. Finally, the album is closed by the 8-minute 'Atlantis' - part of a larger suite that has been played live at the band's early shows - an epic album closer that sounds like a healthy blend of all the rest that came before it.

Something interesting about this record is the fact that there are arguably three versions of it - the first one which was essentially what the band wanted to release, featuring the songs 'Eastwest', 'March on Atlantis' and 'Heart Attack' that obviously didn't make it; the second one, which is the 39-minute LP featuring the six songs already mentioned; and the third one being the almost one-hour version on the 1992 re-issue, that features all the songs from the previous two versions. 'The Sentinel' is also a concept album about the Cold War, with the themes presented through the prism of the tale of Atlantis - an interesting way to present such a serious theme.

The whole band is really performing very well on this album - Euan Lowson on vocals, Niall Mathewson on lead guitars, Ronnie Brown on synths, Graeme Murray on bass, and Derek Forman on drums - memorable riffs and good control of each one's instrument, 'The Sentinel' is equally epic and balanced, and above all, one of the really excellent albums of the 80s neo-prog scene.

 The Cross & the Crucible by PALLAS album cover Studio Album, 2001
3.57 | 208 ratings

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The Cross & the Crucible
Pallas Neo-Prog

Review by friso
Prog Reviewer

5 stars How bright the future of neo-progressive rock looked at the turn of the century with a a string of great heavy symphonic albums by IQ, Arena, Galahad, Knight Area (in a minor way) and of course Pallas. Listening to 'The Cross and the Crucible' in 2021 I can't help but thinking how rare albums of this quality have become with only IQ still releasing classics and furthering the genre. Had Marillion redefined symphonic prog as personal and political in the eighties, during the nineties the genre became heavier, more gothic and for some perhaps slightly less relatable.

Pallas return in 1998 with 'Beat the Drum' was slightly plagued by an overdose of AOR songs, but it also showed great promise with songs like great title track of that album. On this 2001 release the band returns to full-blown progressive rock with a concept album, a new symphonic pallet and a very sophisticated production. Alan Reed is the type of singer who can deliver emotional, intimate performances and the lead guitars by Niall Mathewson are as fierce as Steve Rothery's on Marillion's 'Clutching At Straws' album. The band uses atmospherical interludes in most tracks and the addition of choral sections give the album a gothic touch fitting the album's theme. Somehow the overall sound is a bit dense and doesn't allow for easy listening, but that might just be Pallas's most defining trait in the neo- progressive genre. They are quite serious. Either you submit yourself to its mystique or are repelled by it; which I think explains the variety in ratings of this album.

For me this album is perfect example of neo-prog at its finest. To be named alongside Arena's 'Contagion' and Galahad's 'Empires Never Last'. To bad the enthusiasm around Pallas declined over the years with 'Dreams of Men' being the last on the InsideOut label. After that the band released the underrated XXV and found itself without a label altogether with the mighty 'Wearewhowheare' album in 2014. Alan Reed has released two crossover prog albums that are also worth giving a try. Currently the band is working on a new record and I do hope the band will get the recognition it deserves.

 Wearewhoweare by PALLAS album cover Studio Album, 2014
3.94 | 131 ratings

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Wearewhoweare
Pallas Neo-Prog

Review by friso
Prog Reviewer

5 stars Pallas released a neo-prog debut in 1984 and released some noted albums within the sub-genre after the turn of the century. This self-released studio album of 2014 didn't get a lot of buzz, maybe because of disappointment around its very heavy predecessor 'XXV' of 2011. On that album the band also introduced the singer Pauk Mackie, who replaced the much appreciated Alan Reed. 'We Are Who We Are' shows Pallas returning to the style of 'The Dreams of Man' with an up-dated sound. You'll hear that distinct neo-prog sound with emotive, theatrical vocals, the electronic synths and loops, the echoey hardrock lead-guitars and some thick Rickenbacker bass. Without introducing a single innovation when it comes to the song-writing, the band does further the genre here by great craftsmanship when it comes to arranging and producing. Seldom have I heard a collection of eight songs that have gotten such a detailed treatment. Pallas has a gift for making simple melodic ideas turn out sophisticated. Moreover, I don't know of any band in this genre that gets a fat symphonic sound like Pallas. This album can get almost too exciting. That refrain of 'Shadow of the Sun' almost makes me jump up. Like on 'The Cross & The Crucible' and 'Dreams of Man' the band knows how to get that distinct neo-prog mystique just right. Niall Mathewson had always been an amazing guitarist, but on this album he has some experimental solo's that really stand out. Paul Mackie is a great theatrical and subtle singer for the band and he makes every song shine here. The way his personality leads on a quiet song like 'In Cold Blood' is simply amazing. A band like Arena would wish they had found such a great replacement after Rob Sowden left. This album is a rare example of perfectly written, executed and recorded neo-prog and if you are like you are - a fan of of this genre - you are probably missing out (looking at the number of reviews here).
 The Blinding Darkness by PALLAS album cover Live, 2003
4.30 | 61 ratings

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The Blinding Darkness
Pallas Neo-Prog

Review by friso
Prog Reviewer

5 stars Well, consider me a fan. I had owned their debut on a vinyl for years, but it never really clicked with me. This live from 2003 album does. Pallas hadn't even released its highest rated record 'Dreams of Men' yet. Along with Arena's brilliant 'Live & Life' and Kayak's 'Live 2019' this live album by Pallas must be one of my favorite neo-prog live albums. The band sounds thick, magical - almost otherworldly on this impressive double cd. Furthermore, the band has its own place in the neo-progressive genre. Whereas Marillion is more sentimental and lyrical and IQ more sci-fi and abstract, Pallas sounds a bit more gothic and mysterious. The Rickenbacker bass is punchy, the drums are energetic - almost fierce - and the twin guitars create thick staccato riffs that remind a bit of Arena's style on the 'Contagion' album. The lead guitar remind me of Steve Rothery on the 'Clutching at Straws' album, with those wild vibrato's and intense fast runs. The symphonic sounds by keyboardist Ronnie Brown are the most thick I've ever heard on a live album. The vocals of guitarist Alan Reed are emotive and a bit fragile, but his choice of melodies is very strong throughout. He has that ability to instantly grab the listener (not unlike Fish), like he does on the intimate verses of 'For The Greater Glory'. I never heard any of these songs on the first cd before and I'm surprised by how spot on they all are. Perhaps they aren't that much more sophisticated than songs of other bands of the genre, but they just work and sound so amazing. In the end it all comes down to effective songwriting, dosing and the effective use of dynamics. For instance; you'll hear the band getting the most out of a relatively simple folk-infused song like 'Who's to Blame?'. The crowd is obviously enjoying this concert a lot as well and their enthusiastic reaction adds to the festive feel of this great live album. On the second cd the band returns to some of its earliest work with the Atlantis suite, and I don't think those pieces will ever become a favorite of mine. Which leaves me with still more than 100 minutes of progressive bliss - more than enough to warrant a five star rating and the warmest of recommendations.
 The Cross & the Crucible by PALLAS album cover Studio Album, 2001
3.57 | 208 ratings

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The Cross & the Crucible
Pallas Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars A band that I've not familiarized myself with much but here impresses.

1. "The Big Bang" (3:07) cinematic instrumental (orchestral) intro. (4.25/5)

2. "The Cross & The Crucible" (9:05) a challenging song to define and describe: not fast paced but driven; not boring but not really engaging; not dissonant but not really melodic. The most interesting parts of the song are the church- like choir chanting in the seventh minute and the distant church bells. Strong rhythm track from the bass and drums. (17.25/20)

3. "For The Greater Glory" (7:38) opens and sustains a kind of LED ZEPPELIN "Immigrant Song" feel. Lots of theatric vocalizations and nice background synth work. For a time it almost feels as if it comes right out of Peter Gabriel's Passion soundtrack music for The Last Temptation of Christ. Gotta admit: it's pretty powerful and effective! A top three song, to be sure. (13.5/15)

4. "Who's To Blame" (4:43) acoustic guitar, joined by fretless bass, and then whispery vocal of Alan Reed. In the second minute joined by drums, more movement from the bass, and more keys--but basically it's the same song. The chorus is jarringly horrible! Too bad! This had promise. Nice vocal work in the delicate lull of the fourth minute by Laura Harrow--but then, yech! back to that chorus! (8/10)

5. "The Blinding Darkness Of Science" (6:46) atmospheric synth and vocalise gently fill the sonic space until the second minute when the fullness of a heavy prog band enters with all the delicacy of a bull in a china shop. Another horrible chorus. Nice instrumental passage in the fifth minute with great electric guitar solo. Too bad about that chorus! (12.75/15)

6. "Towers Of Babble" (8:09) picked oddly-tuned 12-string opens this in a "Turn of the Century" kind of way before big shock wave of full band entry occurs in the second minute. Church organ enters in the fourth minute and eventually takes over for an awesome solo. At 4:25 new motif begins with guitar and bass harmonics and Rumpelstiltskin-like vocal performance before unleashing a searing guitar solo. Good vocal chorus before great synth solo. Complex band manoeuvers before chorus and choral input and mandolin. Very interesting song--worth many more listens. Another top three song. (13.25/15)

7. "Generations" (6:05) slow-strummed guitars joined by tin flute and Robert Plant-like vocal. I like that it stays acoustic through the second verse. Even with the unleashing of full force at the 4-minute mark it's still great--still restrained (not over-the-top heavy prog). A top three song for me. (8.75/10)

8. "Midas Touch" (11:11) narrated in a Orson Wells Edgar Allan Poe-like fashion. At 1:15 the band kicks in with a very basic, almost spacious soundscape over which Alan Reed sings in a forced delicate voice. The chorus allows Alan to reach for his usual near-metal power. The guitar is soloing a lot between and behind the vocals. (Reminds me of some 1980s hair band.) Interlude in the fifth minute in which vocalise of Laura Harrow plays before Peter Gabriel- like theatric voice of Alan Reed takes over. At 6:15 bass and drums burst back in prepping the listener for synth washes and a soaring lead guitar solo. Nice multi-synth work by Ronnie Brown follows. Recreation of penultimate section of YES' "Awaken" follows in the ninth minute before giving way to sensitive electric piano solo for the final 90 seconds. Great performances, just not the most attractive or engaging song. (17/20)

9. "Celebration!" (7:22) arpeggiated electric 12-string guitar is joined by bombastic PRINCE "1999"-like full-band motif. At 1:10 it takes a turn into a busy weave of several rather discordant threads. It's like RUSH and EDDIE MONEY. At 2:50 there is a left turn into MARILLION territory. Even when Alan begins singing again, it feels like Rothery and Fish are trying something new. At 4:05 it turns anthemic with big voices and big choral shouts of things likte "one day," "one world," "one dream" and the like before sliding into a kind of finish to "Feed the World (Do They Know It's Christmas?)" and then "1999" again. Interesting smorgasborg. All in all, it kind of works! (13/15)

Total Time: 63:40

B/four stars; a very nice addition to any prog lover's music collection--highly recommended. I look forward to my journey of getting to know Pallas better.

 An Alternative Arrive Alive by PALLAS album cover Boxset/Compilation, 2020
3.88 | 6 ratings

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An Alternative Arrive Alive
Pallas Neo-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Okay, so let's put this into some sort of historical context. Pallas were formed back in 1976, and in 1981 they self- released a cassette album containing six songs called 'Arrive Alive'. This release got them noticed by EMI, which led to 'The Sentinel'. But what would 'Arrive Alive' have sounded like if they had used different recordings? Recently the band have been digitally releasing a series of albums aimed at the fans, and here they present us with different versions of the six songs plus four more (including some covers). As the band themselves say, 'Compiled directly from the band's own private collection of live cassettes and never heard before, this selection from the early 80's takes us back to the gigs in Scotland where every weekend Pallas perfected their craft at venues such as the Dial Inn, Cuinzie Neuk, Bungalow Bar, Ochil Hills, Rothes Arms ABC Bowl etc.'

This is not an album for anyone wondering who Pallas are, and feel they should finally get around to discovering one of the finest progressive bands ever to hail from Scotland, but instead is aimed at the die-hards like me who get all excited about discovering old tapes from bands now lost to time such as Appletwig Cutter, or early live recordings from bands who are still with us, such as Marillion, Twelfth Night and of course Pallas (oh how I wish I had been at the Hammy O when they all appeared) . The quality of some of the recordings are bootleg quality at best, audience recordings where it is possible to hear the chatter of the crowd and the glasses clinking, but for fans like me, who cares? We get a great version of 'Echoes' for well over 20 minutes, as well as 'The Ripper', the song which nearly got them banned from The Marquee. Ten songs, only one of which is less than 7 minutes long, showing a band who at the time were trawling the circuit of pubs and clubs, playing anywhere and everywhere, and had already been plying their craft for a number of years. Although the recording quality is never what one would expect from an album, this is all about history and about capturing the band before they released two of the most important albums within the UK progressive scene, namely 'The Sentinel' and 'The Wedge'. Euan Lowson is dramatic and passionate, a great singer and frontman, while drummer Derek Forman is driving along from the back. As for guitarist Graeme Murray, bassist Niall Matthewson and keyboard player Ronnie Brown, what is there left to say? They are still there today, continuing to push the band along and create great music in the way we all expect from Pallas.

The guys have made this available on Bandcamp for just '5, and for any fans of the band this is simply invaluable. So what if the recordings are ropey at times? For people like me this is simply invaluable, and all power to the band for making this available. I love it, and many more will feel exactly the same.

 The Sentinel by PALLAS album cover Studio Album, 1984
3.50 | 254 ratings

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The Sentinel
Pallas Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars An album of pleasant if mostly simple songs that are in obvious disorder (due to record company decision-making) and which have suffered lackluster production (Eddie Offord got tired/bored) and, if truth be known, was performed by musicians whose instrumental and compositional skills were both on the immature side.

The album I had the privilege of listening to:

1. "Rise and Fall, Part 1" (6:07) (8.5/10)

2. "Eastwest" (5:01) Pink Floyd-ish--especially the electric guitar solo. (8/10)

3. "March on Atlantis" (5:19) Duke "Duchess"-like opening with heavy middle section with great Mellotron. Nice buildup and guitar in the second half. (9/10)

4. "Rise and Fall, Part 2" (4:05) ELOY-esque. (8.8/10)

5. "Heart Attack" (8:18) YES-lite for the first 3:30 with some nice drumming; all instrumental after that. (16/20)

6. "Atlantis" (8:03) a GENEIS (music)-YES (vocals and Rickenbacker bass) meld. (13/15)

7. "Ark of Infinity" (7:07) like Firth of Fifth and other Selling England by the Pound themes. Instrumental until 4:25. (13/15)

8. "Arrive Alive" (4:08) New Wave RE-FLEX/THE FIXX/Trevor Horn YES. It's obvious that this song represents material that pre-dated this album. (8.25/10)

9. "Shock Treatment" (4:20) hardriving rock la LOVERBOY, 707 and YES's Drama. (8/10)

10. "Cut and Run" (5:02) with vocals that sound like OMD and music that sounds like it came from YES's Drama we get a sound that's like . . . THE FIXX? (8/10)

The album data as it is entered on Prog Archives (which is not the album the band wanted): 1. "Eyes In The Night (Arrive Alive)" (4:08) sounding more techno pop than Neo Prog. (Bands like THE FIXX, THE RE- FLEX, ICEHOUSE, and LOVERBOY come to mind as I listen to this.) Production is only fair. (7.75/10) 2. Cut And Run (5:02) 3. Rise And Fall (10:16) 4. Shock Treatment (4:29) 5. Ark Of Infinity (7:05) 6. Atlantis (8:00)

Total time 39:00

B-/four stars; a respectable entry into the neo-progressive aspect of Prog World.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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