LA MOSAÏQUE DE LA RÊVERIE

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Another one of these neo japanese band that failed to captivate me along Gerard , Teru , Outer Limits etc... Note that some Japanese band did enthuse me a little more such as By Kyo Ran, Happy Family, Wappa Gappa, Kenso and a few other, but their style/genre of rock was other than neo.

The first album "La Mosaïque de la Rêverie" is one of the most acclaimed Japanese albums. The seven compositions contain twanging guitars, delicate flute, lush keyboards and sensitive electric guitar. It's beautiful symphonic rock, very melodic and harmonic with strong hints from GENESIS, CAMEL and RENAISSANCE. The Japanese vocals (not always a strong point in the Japanese prog rock) sound convincing: powerful and high pitched. The climates changes from dreamy to bombastic with splendid build-ups and exciting 'grand finales'. If you want to float on symphonic waves, let you take away by this CD from PAGEANT, later albums sound also good but were less symphonic.

Fairly typical-and yet, exemplary-take on the Japanese mega-symphonic sound of the 1980's. Front and center of the band is singing keyboardist Hiroko Nagai, who in tried and true Japanese style fills every corner with lush symphonic layers of synthesizer. She's better known, however, for her powerful yet often delicate singing voice. She's certainly superb!

The fullness of sound is quite astounding. Oft-compared to Renaissance, and that's somewhat true over the softer passages. But they alternate between harder, more fire-tipped sections of the sort you would never find on a Renaissance album. Guitarist Ikkou Nakajima certainly comes into his own here, adding an aggressive and authoritative stance to the music. They're never as hard-edged as, say, Providence, but neither are they as mellow and airy as Mugen. Nowhere near as derivative, either. They have absorbed their influences well.

Another ´lost´ gem of the progressive scene in Japan of the 80´s. I was always amazed of how many good groups japan had at the time. I found out about this group only recently and what a nice surprise it was! Their sound is quite unique being a mix of symphonic prog with some japanese folk mix in (specially the vocal parts). I liked those bombastic keyboards put together with acoustic guitars a la Renaissance and some fine flute. Vocals are a bit acquiring the taste: not bad but also not great either. In fact, Hiroko Nagai, who also handles the keyboards, sings with passion and convinction, even if I didn´t like her timbre too much.

Production is quite good and their songwriting is excellent. Every track is a mini epic with many shifting moods and fine arrangements. They sure had a style of their own by the time they recorded La Mosaique De La Rêveie. they sound like no one in particular, and yet the overall sound is quite familiar and pleasant. There are no highlights nor fillers, all the album flows quite evenly. If you don´t mind those typical japanese vocals and lyrics, I recommended it highly.

Pageant was one of those interesting progressive rock items that emerged in the Japanese 80s scene while the big giants of the genre had declined for good. Pageant refused to be pigeonholed within the neo-prog territory (unlike their comaptriot act Outer Limits) and chose to calibrate the influences of classic Genesis, classic Renaissance and classic Camel, instead. Also, Pageant is very keen on instilling Far Eastern airs into its compositions to a somewhat large degree, not unlike other brilliant compatriot acts named Ain Soph and Bellaphon. This band can also be appreciated as the threshold to another one, Mr. Sirius, soon to be formed and led by flutist-guitarist Kazuhiro Mitayake. His intervention in teh Pegant line-up was actually an eleventh hour addition, which possibily indicates that his entry was the factor that allowed this band to ultimately create such a solid sonic scheme for a debut album. The album is full of recognizable melodic hooks, delivered with grandiose energy in the rockier parts. Well, now let's go for the album's repertoire itself. The namesake track kicks off the album with musical box noises and then develops a very rich framework of melody and harmony that bears a typical symphonic feel. 'Vexation' also has much of it, but the emphasis is more focused on the bucolic factor. This opening duo are perfect examples of the way that the band fluidly combines the extroverted and introverted passages, with enough room for specific flute solos and a sense of stamina provided by the powerful keyboard orchestrations. 'Echo' and 'L'Enfer des Poupées' are effective rockers that rely on the straightforward catchiness of the main motifs; comapring both, the former feels more cohesive and bears a tighter compositional structure, even becoming an undisputed highlight of the whole album. 'Rires dans la Nuit' sets another highlight by enhancing the symphonic-meets-pastoral framework of track 2 through an increased dose of symphonic bombast. Less majestic but equally accomplished in terms of melodic development, 'Un Ciel de Celluloid' displays a well- ordained architecture of acoustic guitars, lush keyboards and a loveliest flute solo. 'Epilogue' is the symphonic power ballad that closes down the album with full splendor: the keyboards' input is especially featured here without getting particularly overwhelming, and even the melodic density is toned down a bit when the flute solo emerges. Such an efficient ending is the one required for this lovely progressive rock album from the 80s: Pageant is a mandatory name in the symphonic prog collector's agenda.

Among the hottest names of the 80's Japanese Symph Prog movement, Pageant were found in 1981 by ex-Fromage guitarist Ikkou Nakajima along with keyboardist Ieteru Monno and joined soon by female singer Hiroko Naga, bassist Nobuyuki Nagashima and drummer Shirokatsu Sato.In 1982 Sato and Monno were replaced by ex-Scheherezade Hideaki Indou on drums, while Naga took on the keyboard duties.During the spring of 85' a Pageant track appeared on the ''Progressive battle'' sampler, leading to a contract with Made in Japan Records.The recordings of the band's debut took place between December 85' and January 86' at the Jam Studios in Osaka, featuring also bassist Kazuhiko Yamada and guitarist/flute player Kazuhiro ''Mr.Sirius'' Miyatake, who also spent time with Mugen around the period.

Pageant were among the few bands trying to avoid the cheesiness of many Japanese prog acts of the time, leaning towards the Classical education of Naga on vocals and keyboards and leaving aside the bombastic synthesizer stylings.So the music of the band relied heavily on Nakajima's guitar work, offering some splendid breaks and evident Classical influences, but there was also plenty of space left to Miyatake for a strong amount of acoustic guitars and delightful flute passages.The keyboards are distinct with alternating grandiose synthesizers and nice organ throughout.The arrangements of the band are mostly interesting, following the symphonic fundamentals with light interplays and plenty of good melodies.The two shorter tracks however still contain the familiar flaws of the Japanese scene: Groovy cinematic prog with a rather plastic sound and average vocals by an otherwise quite decent vocalist like Naga.From the (good) rest of the album ''Un Giel De Celluloide'' shines through: Excellent Symphonic Rock with dramatic moments, surprisingly the only one where Nakajima himself handles the vocals.

The decent fame that followed the band throughout their short career finds some good reasons in ''La Mosaïque de la Reverie'', with most of its part being well-played and often romantic Symphonic Rock with Retro influences and a good effort next to the files of MUGEN and SHINGETSU.Strongly recommended...3.5 stars.