THE SENTINEL

I was drawn to this for the sole reason that I had recently acquired the latest 2011 Pallas "XXV" album which is the sequel to "The Sentinel" and, although the original was released on vinyl in 1984 it really stands the test of time. Song after song of absolute classic neo prog is the result on this debut. It is a stunning achievement for a debut album as everything seems to fit into place perfectly. Graeme Murray keeps perfect time on Rickenbacker bass, Niall Mathewson is an accomplished guitarist, and the percussion work of Derek Forman is appropriate for the marches and crescendos. The main drawcard for me though is Ronnie Brown who is a revelation on keyboard, one of the best I have heard. The massive wall of sound generated by multi layered keyboards and guitars is quite astounding. The high register vocals of Euan Lowson lifts the music to a majestic level, especially on the powerful brilliant EastWest".

The concept is heavy handed but is based around a search for Atlantis that will bring peace to the East and the West that are at war, the politicians are liars who can do nothing to quell the disputes. 1000 years of peace will be destroyed is something is not done, so the answer must be found by reaching a higher level of existence, a higher level of thinking. The joining together of one mind on the battlefield seems to be the answer for the nations to join hands as one and be at peace. Well, it worked for the 80s with the atomic scare of the bomb and other nuclear threats looming.

"Shock Treatment you won't feel the pain, shock treatment you'll cry out in vain, hold out your heart be ready to take all that's coming" "Shock Treatment"really grew on me over time and it is quite an infectious rocker.

"Nowhere to run, nowhere to hide, run from the gun, plead for your life" "Cut and Run" has a killer riff that drives it along, and the proggy time shifts are wonderful, especially that extra beat that doesn't belong. It is one of the best songs on the album, very heavy and ominous, especially the layered keyboards and atmospherics. The keyboard solo is effective, and I love the way the lead guitar chimes in with upsweeps and warm reverberation.

There are symphonic passages of music such as the intro to "Rise and fall 1", and there are heavier songs such as "Arrive Alive", the single on the album, and it sounds like it too; a retro 80s catchy track with an emphasis on harmonies and melodies with a sing-a-long chorus, "Arrive Alive, we're heading for home before the dawn comes, Arrive Alive, eyes in the night, keeping me right, and guiding me ". This song has a fantastic lead guitar solo and ELP like keyboards. It is very cliched with 80s sounds and is reminiscent of early Saga.

"A quest for knowledge, the people of the East grew tired of peace, the storm clouds gathered, confrontation one could forsee, a thousand years of peace destroyed, people of the West had nowhere to run so the killing begun." The tracks "Rise and Fall" part 1 and 2 are separated between a few others and it is difficult to understand as to what is the purpose of this separation, however Pallas are not afraid to create lengthy songs; the 3 last songs are over 7 minutes long. The first part of the epic has some great musical breaks, it sounds like 80s Rush; the bassline pulsates nicely like Geddy Lee and the guitars have that Alex Lifeson reverb sound. Underneath the music is a foundation of strong sustained keyboards, swathes of synths upon synths. The second part of the song has more wind howls that build a sense of dread with oriental piano chords and gongs resounding over whispered phrases. It builds to the spoken monologue about Atlantis that "sank slowly to the depths of the ocean".

"East West" alone is a masterpiece, uplifting, epic and unforgettable. It is perhaps the best track on the album, and I found myself listening to it more than any part of the album, it really stays in the conscious, and is so well sung and accompanied by keyboards that it would be difficult to emulate on the live stage one would imagine. It begins with howling wind and a very nice violined guitar sound. The lyrics are emotive and affecting; "the man in the street, there's fear on his face, takes what he wants, he doesn't lead from the other man's place, now the creed is consuming the whole human race, the politicians lie before my eyes." It continues to build tension and release till the epic uplifting instrumental finale.

"March On Atlantis" is melancholy and melodic, with huge keyboard washes cascading over a steady beat. There are some minimalist piano sections, and keyboard swells that are ethereal and foreboding. There is a genuine mystical quality to the sound that transports one to another place. There is a dark beauty, and It is even spacey and psychedelic in the last section of the song, the piano keeping a steady rhythm.

"Heart Attack" is a theatrical showpiece for Euan reminiscent of early Gabriel injected Genesis. It is a definitive highlight, that crawls along patiently but has some absolutely beautiful instrumentation lulling one into a dream. The guitar figure in the intro is gentle and the vocals are softer for a time; "in this manufactured heart attack they have done their politicians, 10, 000 years on they'll be lying still". The keyboard swells are excellent creating tension, and Euan sounds more like Fish in this song. When he sings "Beam me up" it is perhaps too cliched for its own good, but we have to remind ourselves that this was the 80s so it is going to date in some places. It is a great song by any standards with a complex structure and multi-faceted compositional directions.

"Atlantis" is worthy of mentioning too with all its subtle textures, monologues, and some really strange lyrics; "all the world have joined hands as one, the first time since the world has begun". It gets into some corny territory when Euan implores the nations to join hands and be at peace, but that is the thematic content of the album. The theme of peace is strong or the search for an ultimate answer to all the wars; a new age dawn of civilization. The music is reminiscent of 80s Rush in places and has a strong beat on drums and bass. The twin lead guitar break is terrific. It is one of the highlights on the album despite it's anthemic bombastic content, the ominous pounding keyboard motif is unforgettable. It is better than Donovan's quirky version that's for certain.

"Ark of Infinity" is driven by a strong melody and massive keyboards and guitar chords that build to a full crescendo. It begins with a flute sound, kind of oceanic, like a sea shanty, then it builds to the strong drum beat. The lyrics finish the strange tale with a wonderful melodic vocal; "all we leave behind is tainted by tears, our tomorrows lie ahead there in the stars, reaching for the stars in seven heavens, into the haven of the night, formations lying like peace, we are free." The guitars are spacey and trade off beautifully with keyboard washes. A Tarkus like keyboard sound follows with an undulating bassline, and it builds to a new time sig change, the mood is positive with bright rays of keyboard splashes and dynamic guitars. It settles into a chime rhythm and guitar swells, a gorgeous warmth in the lead playing, and the atmosphere is more a science fiction feel with Euan soft and reflective, "planet earth is shrinking, onwards through the night, our hearts beat as one, our journey's begun." The main theme returns delightfully carried by powerful vocals and the sensational guitar reverbs. The finale is a huge instrumental that is dynamic and powerful. It sounds like Pink Floyd in some ways. What a classic way to finish this innovative album.

So this album is well deserved of its classic status. I admire the way that the time signatures are varied and unexpectant in places, missing a beat or generating polyrhythms and atonal dissonance. Yet beyond the bombastic majesty of the music the album is accessible for sensitive ears. Indeed some songs sound quite commercial while retaining an edginess worthy of the neo prog genre. The music is reminiscent of Marilion or ELP for the most part with Saga, Pink Floyd and Rush musical moments. The melodies are so memorable and powerful, the singing is so amazing it is a real shame this was Euan's last album with Pallas. It is a classic and one of the shining lights during the dark mid 80s when prog struggled to retain any semblance of respect. You have to give credit to bands like Pallas who succeeded in keeping the dream alive.

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