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C'EST ÇA

Fly Pan Am

Post Rock/Math rock


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Fly Pan Am C'Est Ça album cover
3.94 | 28 ratings | 2 reviews | 7% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 2019

Songs / Tracks Listing

1. Avant-gardez Vous (1:19)
2. Distance Dealer (4:10)
3. Bleeding Decay (5:37)
4. Dizzy Delusions (1:51)
5. Each Ether (5:07)
6. Alienage Syntropy (1:59)
7. One Hit Wonder (6:57)
8. Discreet Channeling (6:26)
9. Interface Your Shattered Dreams (5:37)

Total Time: 39:08

Line-up / Musicians

- Roger Tellier-Craig / guitar, electronics, vocals
- Jonathan Parant / guitar, computer, vocals
- Jean-Sébastien Truchy / bass, electronics, synth, Mellotron, computer
- Felix Morel / drums, cymbal

Releases information

Artwork: Jonathan Parant

CD Constellation ‎- cst147 (2019, Canada)

LP Constellation ‎- cst147 (2019, Canada)

FLAC download - bandcamp.com

Thanks to TCat for the addition
and to Quinino for the last updates
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FLY PAN AM C'Est Ça ratings distribution


3.94
(28 ratings)
Essential: a masterpiece of progressive rock music(7%)
7%
Excellent addition to any prog rock music collection(11%)
11%
Good, but non-essential (26%)
26%
Collectors/fans only (37%)
37%
Poor. Only for completionists (19%)
19%

FLY PAN AM C'Est Ça reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by TCat
SPECIAL COLLABORATOR Eclectic / Prog Metal / Heavy Prog Team
5 stars Fly Pan Am is one of the influential bands in the post rock/math rock genre and also one of the bands that stem from Godspeed You! Black Emperor (GY!BE) which includes A Silver Mt. Zion among others. As with these other bands, Fly Pan Am is from Montreal, Canada and also records on the Constellation Records label. The band was founded in 1996 by Roger Tellier- Craig who was also one of the guitarists for GY!BE from 1999 - 2003 when that band went on hiatus.

Fly Pan Am was formed in order for Roger to explore livelier music in experimental post rock sounds. Since their formation, they have collaborated with various other artists and have added electronic experimentation into their sound. The line-up has remained the same through the years, though the band did go on hiatus from 2005 to 2018. The quartet consists of Roger (vocals, guitars, electronics) along with Jonathan Parant (vocals, guitar computer), Jen Sebastien Truchy (bass, electronics, synthesizer, mellotron, computer), and Felix Morel (drums). The band reunited and played for the first time 14 years in 2018, and then released their first album since the hiatus in September of 2019 called "C'est ça" which consists of nine tracks and has a total duration of about 40 minutes.

"Avant-gardez vous" (1:19) starts things off with a noisy, introductory piece that uses electronically enhanced instrumentals in a noisy layered track. "Distance Dealer" (4:09) brings in a more traditional sound, at first anyway, with a upbeat sound and clean sound. Noises soon come in to surround the traditional sound along with subdued vocals. This all creates a unique, noisy yet lush and somewhat lounge-jazz sound, but there is nothing typical about the entire mix, its original, strange and cool. There is a heavy use of both traditional instrumentation and electronics that might make one think of "65daysofstatic", however, this is still much different than that, making it a type of post/math rock that you haven't heard anything like. "Bleeding Decay" (5:36) begins with layered effects and noise which soon gets a more organized sound when synths and drums come in. The beat is more moderate here, and there is a strange vocalized effect along with a nice echoing guitar melody that appears through the hazy layers. The electronic effects that manipulate instrumental sounds gives it a industrial sound that supplement the traditional playing of the instruments. Sudden screaming vocals come in at 3 minutes, which is a bit of a surprise, but only last about a minute as the music becomes tenser with repeated bass and ticking drums. Then it takes the melody and transforms it into a metallic sound. Again, there is nothing like this out there.

"Dizzy Delusions" (1:50) is short, but it has some really neat effects that really mess around with your senses. In it's short duration, it travels through lushness to outbursts of dark noise. "Each Ether" (5:06) begins right away with hazy, shoegaze style vocals on top of a buzzsaw guitar enhanced by electronic manipulation while maintaining an upbeat rhythm. As it continues, there is some screaming going on deep in the mix while the music plays a hazy, yet rhythmic sound, thick and layered, yet not at all like a drone. As the title suggests, it is "off in the ether", yet it is strangely listenable. I would say the music takes some familiar sub-genres of music and makes them new and different, even giving an avant-garde approach to the music.

"Alienage Syntropy" (1:59) is another short noise composition, again manipulating sounds in interesting ways to create unique soundscapes. Through this one, the drums attempt to make some kind of sense out of these metallic drones and noises, and end up getting manipulated while they are at it. "One Hit Wonder" (6:57) starts with pulsating synth sounds while rolling and ticking cymbals create waves of sound urging the pulsating music to ebb and flow along like waves. This all increases in sound as layers come in building on the drone which continues to pulsate, but at a slower pace, and spacey effects start to surround it all. That surprising screaming comes in again, while the electronic effects go a bit crazy, things really start to get chaotic and noisy. Then a bass pattern starts to organize the chaos a bit, things take a sudden short pause, and then it all returns as a chaotic noise fest again. Things go from lush layers to heavy noise, alternating back and forth until the noisy ending.

"Discreet Channeling" (6:25) begins with the shoegaze sound again, with layered droning and soft, yet rapid drum patterns. The deep, whispering, yet evil sounding vocals are electronically enhanced and kept deep in the manipulated layers. The drums start to drive the music as it gets really fuzzy, for a while, then it returns to the original sound again with the whispered, subdued vocals. Just before the 3rd minute, it sounds like a manipulated children's chorus is singing deep in the layers, then the dark, muddy sounds begin again, the drums beat a strange march as feet slog through the mire. The music takes a sudden turn as the guitar starts to sound like a bagpipe and heavy, thick layers play something that might just resemble a riff, while the screaming continues, this time barely discernable.

"Interface Your Shattered Dreams" (5:37) sounds more like a goth experiment with deep, dark vocals buried under a shoegaze style guitar and fast rolling drums. The "chorus" becomes a bit melodic in the instruments, yet there is that screaming vocal buried in the layers again. This stops to be replaced by slow heavy drum and bass beats while sound effects give one an illusion of a monster rising from the deep. Then there is a long pause. Then the ominous drum and bass bring back in more eerie effects. At this point the track is quite scary sounding, but then it is suddenly replaced by the goth-shoegaze layers again. The so called "chorus" returns with more screaming buring under the layers, then the goth-style comes back. All of this creates something very new, unusual and unpredictable, just like this entire album.

This album is so unlike anything else, taking familiar, current styles and manipulating them, experimenting with their structure and sound, and stretching them beyond their boundaries. What you get as a result is a hazy, lush, noisy, dark, chaotic and yet sublime mix of sounds that create something very unique. The band has always been one to experiment with music, but they remained somewhat loyal to their roots. Now, they take those sounds to the next layer, creating post rock that is highly experimental and move it into one of the most logical places it could possilbe go, into avant-garde territory, until it hardly even sounds like anything else out there. This is very daring music, definitely not accessible, but there are passages where they fool you into thinking it might be, only to destroy any preconceptions you might have. Be warned, this music can get quite loud and noisy as sounds clash with one another, yet there are segments of sublime sounds that will take you in other directions completely. I know there are a lot of people that may not like this music, but I think it is genius. The band really hits on some great sound on this album, and it is well produced. It definitely makes the list as one of the best albums of the year, especially in its own classification as post/math rock. 5 stars.

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
5 stars Listening to this album, these amazing blends of electrostatic sounds with happy-go-lucky Indie-pop make me think that I'm listening to the next generation of where bands like MY BLOODY VALENTINE, FUNIN, STEREOLAB, MEW, KITCHENS OF DISTINCTION, or even DAVID SYLVIAN might have evolved.

1. "Avant-gardez Vous" (1:19) electrostatic weirdness. (3/5)

2. "Distance Dealer" (4:10) What if MY BLOODY VALENTINE and STEREOLAB had merged around Y2K? This might be what you'd get. AWESOME! There's definitely a little debt owed to Mark Hollis on this one, as well. A top three song. (9.5/10)

3. "Bleeding Decay" (5:37) a modern day HOLGER CZUKAY opening, only the pulsing bass and kick drum lines serve notice to a house-dance intention. 90 seconds in the music congeals into some kind of blend of early U2, Art of Noise and KITCHENS OF DISTINCTION as heavily effected vocals sing. At 3:30 a spooky immature screeching voice breaks in, turns into a kind of horn-muzzled chant before screaming once more before the guitars unleash some high octave chord tremolo strumming. Nobody's doing music like this today as far as I know. (8.75/10)

4. "Dizzy Delusions" (1:51) gorgeous seascapes provided by heavily effected guitar. Adrian Belew and Kevin Shields would be proud! (or, at least, they should be.) (5/5)

5. "Each Ether (5:07) breaks into the race straight out of the blocks with lots of fast-pounding drum kit, machine gun bass lines, and layers of guitar and electronic sheaths. The screaming Mimi of "Bleeding Decay" returns after the 1:30 mark. 30 seconds later we're caught in some kind of David Sylvian-Robert Fripp-Brian Eno time warp as all instrumentalists repeat over and over their little four-beat riff for over a minute. Around the four minute mark a more "normal" ghost voice sings--and is backed! Quite lovely! Sounds a bit like MEW and TAME IMPALA. (9.25/10)

6. "Alienage Syntropy (1:59) industrial noises from the percussion and electronics while drums play along with intermittent syncopated cymbals and snare rudiments. Kind of cool in a "The Waiting Room" kind of way. (4/5)

7. "One Hit Wonder" (6:57) weirdly hypnotic combo of electrostatica with groovy bass and disco/house drum beat (creating an awesome Kevin Moore/CHROMA KEY/NO-MAN/ANATHEMA kind of feel) until the half way point at which time a strange human voice begins to "screowl" over the music in a voice that sounds like a scratchy-throated cat from OOIOO who is probably being strangulated. The music is so awesome that it makes the weird vocal seem like an anomaly and, therefore, tolerable, even amusing. A top three song for me. (14/15)

8. "Discreet Channeling" (6:26) OPUS III sounds, MY BLOODY VALENTINE guitars, COLIN EDWIN bass, militaristic drums, CYNIC or DEATH's death metal growls (in female form), TOBY DRIVER's emotional intelligence, PETER GABRIEL creative production genius. The band really amps it up a couple notches for the final two minutes. Awesome track! I'd go to a disco just to dance to this one! (9/10)

9. "Interface Your Shattered Dreams" (5:37) opens as a KTICHENSCOCTEAUSLOWSTEREODIVELABLUSHTWINSOF DISTINCTION song with a COWBOY JUNKIES BRIAN FERRY singing lead vocals...until the death metal screams at the one minute mark force everything to fall apart into a cacophonous section of sound being sucked into a black hole, riding through the eye of the needle (the Taint), and then coming back out the other end reformed, reversed, rewinded, and reborn. With more shoegaze! Wow! Brilliant! Extraordinary! Definitely a piece of prog rock genius--on par with something from prog chameleons ULVER--and my final top three song from the album. (9.5/10)

Total Time: 39:08

Five stars; a minor masterpiece of refreshing electro-retro-shoegaze prog rock.

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