PANGAEA

I was on FB one day and was reading a post by my good friend Olav Martin Bjørnsen and saw him mention something about the new album from Pangaea. The database in my head came to life so I dropped him a note, surely not the Pangaea I remembered reviewing more than 20 years earlier? Yes it was, so I was soon in contact with the band and was delighted to find that the line-up was still a quintet and the gang was all back together with Andi Schenck (drums, percussion), Corey Schenck (keyboards, guitars), Steven Osborn (vocals, guitars), Ron Poulsen (bass) and Darrell Masingale (guitar). It is strange to think that Andi, Corey, Ron and Darrell were all playing together in 1989, and that Steven joined in 1991, and here in 2024 they are back together with a new release.

As I said in my review of 'A Time and a Place', I thought it was a great album and was somewhat surprised for there not to be a follow-up but now there is, it just took a little longer than I expected, that's all. If one compares albums by bands with this length of time between them one will normally see a considerable shift, but given the band were not performing there is no surprise that in many ways this is a logical progression from what they had been doing before. If that was not enough, they once again worked with Robert Berry. This has less of a direct neo prog feel though, and if I was asked to compare with just one band then it would probably be with classic Saga, although still with something more of a melodic rock mix. I am sure there are plenty of prog purists who will decry music like this, saying it is not true to the form, but there is no reason to pigeonhole music as guess what? Music isn't a pigeon. I was having this discussion earlier with Jerry King, saying "we do what we do because we have a compelling need to do so - we cannot control what others think about it, nor should we, as if all we are trying to do is please others and fit into an expected norm how can we call ourselves artists?"

Pangaea have come back from the dead and produced an album which sounds as if they have never been away and I, for one, am absolutely delighted. Just one thing guys, don't wait so long for the next one! If you enjoy melodic prog then this is a delight from beginning to end.

By the time of the third album there had been some changes in the band. Ron Poulson had left, with Robert Berry taking his place on the album (although I note Maurice Bettaglio is also credited on Discogs ? he was certainly a member for a time but don't know how much he contributed to this), but the biggest change was the return of Steven Osborn on vocals and acoustic guitar. Osborne was a key member of the band when they were performing as Artica, recording all four albums with them, but had left to continue his studies before they became Pangaea. This allowed Darrell to move back to providing backing vocals as opposed to lead, with the rest of the line-up of course being Andi Schenck (drums & percussion) and Corey Schenck (keyboards & guitars).

By 2001 I was now in contact with the band who sent me a four-track sampler of material they had recorded for the new album, hoping to get a deal. I was sure they would get something, but I never heard from them again and had no idea this had been released by Musea, which is a real shame as there is something about this release which is a step up from the other two. Possibly it was the return of Osborne which had given them a lift, but all aspects of the band have improved as while Masingale is a fine singer, Osborne has an extra edge, and his presence allowed Darrell to concentrate on the guitar which is far more to the fore and Corey is tight in with him in classic neo, while Andi is being more adventurous around the kit, which may have had something to do with Berry being way more involved on this one.

There is some real bite here, an album which is a sheer delight to listen to even more than two decades on from when it was released. What I find difficult to understand is that it was not more widely heard at the time as there is a mix of commerciality which makes me a real delight, with the ten-minute plus "The Journey" a blast from beginning to end. This is undoubtedly their finest album to date, and with three as Pangaea and four as Artica surely the time was set for them to really make their mark. So what happened?

The quartet were back in the studio with Robert Berry to work on this album in August 1997, releasing it a few years later. Back then I was regularly being sent promos by Angular Records to review and this was the first time I came across the band. There were very few of us regularly writing about prog at the time, and I have not seen any other reviews of this album from that period, but I certainly liked it when I came across it in 1999, saying "while it may be a tad bland for some prog fans, if you like music like 80's Yes in some parts while more AOR in others then this is worth investigating."

Now, there has been a lot more prog through my ears since I wrote those words and don't think the Yes reference is accurate, as there is much more neo going on, but the mix with AOR is certainly accurate. This was a direct follow-on from the debut with the same line-up and producer working together in the same studio to continue where they left off from the previous one, although some of the guitar is a little fierier. It is obvious they were trying to expand, with some very different percussive elements in "The White Shaman", which was written by drummer Andi Schenk. Looking back at my original review I see I rave about that song, but "The Fall of Rome" has a lot to thank GTR for, and I can't help but think that Robert must have had a hand in the arrangement for this one and it makes me smile just playing it. Yet another solid neo-prog album from back in the day, with the same line-up producer and studio, what would the next one bring?

In 1995 the band Artica comprised Andi Schenck (drums & percussion), Corey Schenck (keyboards, guitars & backing vocals), Darrell Masingale (vocals & lead guitar) and Ron Poulsen (bass guitar & backing vocals). They worked with Robert Berry at his Soundtek Studios and released 'Liquid Placidity', which I must confess to having never come across. Undeterred by the success they changed their name to Pangaea, and over the next few years released three albums under that name, all recorded with Robert and then disappeared. Until now. Not only is there a new album but they have remastered the others and refreshed the artwork, which is why, only 27 years after its debut release, I am now playing 'The Rites of Passage'.

Back in the 90's the most popular (in a relative sense, prog wasn't really popular at all and the mass media were doing their best to keep it that way) form of progressive rock was neo prog, but the styles coming out from the two sides of the Atlantic were very different indeed with the Americans often coming to it from their style of melodic rock and such is the case here. While the likes of Ilúvatar and Timothy Pure managed to make their presence felt in Europe, I missed out on this album at the time and confess that from the beginning to the end I played this with a massive smile on my face. This is very much an album of its time with nice vocals, great hooks, and that neo-prog knack of having a strong rhythm section combining with a guitar and keyboard attack. That this sounds quite dated is of little surprise, given that this style of prog really only flourished for a certain period of time (and is often looked down on by many progheads even though many popular bands have released albums in this vein such as Pendragon, Galahad, IQ, Marillion and many more), but this takes me back to when the underground prog scene really was that and the only way to know what was going on was to read fanzines and go to gigs as the internet did not exist and glossy colour mainstream mags like 'Prog' were a fantasy.

Hearing this now I am somewhat surprised it did not have more impact at the time, especially with the involvement of Robert Berry who always gets the most out of bands and can provide whatever instrumental or production support is required. But they obviously made someone sit up and take notice as the next album would be released by Angular Records in Germany.

The third album of North-American band PANGAEA "Wellcome to the Theather", shows a strong influence of ASIA first albuns and by consequence of masters of prog rock like YES, E L & Palmer and KING CRIMSON (mainly this two first ) . However, "Wellcome to the Theather" is one album where in spite the quality of musicians, the final result don't express this quality nor in term of creativity and so minus in sounds like a re-creation of the above mentioned bands. In fact I consider a weak album, with a few good moments. The biggest sin of the band is a very repetitive rhythm in almost all tracks and the arrangements based in a trivial chords sequence... leaving aside the sophisticated melodies which is characteristic of a good prog rock music. I detach some few moments: track 4 'Ride It Easy " due the solo duet between guitar and keyboards, track 6 "The Fall Of Rome" ( the main theme reminds me "Cutting it Fine" by ASIA) with a interruption of the repetitive rhythm by a bluesy guitar solo and last track "Nightmare" only because is very different of majority of tracks and recalls KING CRIMSON. My rate is only 2 stars !!!

This second album by USA progrock band Pangaea was produced by Robert Berry, of GTR fame. His influence on the sound is quite obvious: modern, tight and a bit polished.

The first track Time Syndrome showcases the skills of Pangaea: beautiful, very sparkling piano play, strong and flowing guitar work and nice musical ideas. In the long trilogy The Traveller the 'neo-prog feel' is strong featuring a tight rhythmn section and slightly predictable soli. But this doesn't keep Pangaea from making interesting prog, they put a lot of variety in their compositions (strong guitar-synthesizer duet in Theme And Fuge) and great soli: a long and sensitive guitar solo in The Ship, sampled church organ in Declaration a biting guitar solo in Lonely Is A Place. After the sumptuous up-tempo song Beggar's Hand, there is a surprise: two tracks of half a minute, then nothing and finally the very alternating song Hidden Track delivering mandoline, acoustic guitar and a heavy closing section.

This is a pretty good album by a promising band, scouting the borders between early and new progrock. My rating: 3,5 stars.

www.progwalhalla.com

Again we have the same problem - not Prog, really. Maybe, Neo-Prog-related? OK, add some ARENA to the scheme of "Welcome to the Theatre" album ("SWEET/SMOKIE/ SLADE mixed with some Prog"), and you'll get this one. The same way derivative and usual, still it touches me with its melodies (opening song is a really good one despite its length). Also it contains a cover of PINK FLOYD's "Time" and that's not the best track here (just believe me!). Not recommended mostly, but a good background stuff.

P.S.: I ain't trying to abuse anybody, this is just my impression and my taste. If you're die-hard PANGAEA fan, please, don't kill me, I'm too young! :-)

Well, starting reviewing these unreviewed albums I realised why they're unreviewed (mostly). I have almost nothing to say about this one - just look at the rating. It has good but cheesy melodical side and mediocre musicianship. Don't know how it can be prog - it sounds like 70s pop-rock bands like SWEET, SLADE and SMOKIE are trying to play something ARTish (in their opinion). I must confess, PANGAEA conquered me with their melodies and that's why I gave them 2 stars instead of deserved 1 star. Neo- Prog? Nope. Prog-Related? Maybe...but even TEN has much more Prog to offer.

Wow, I have more than 50 words about this one! A personal record I guess ;-) .To finish with, I wouldn't recommend this one to you, but you can try if you're not the Hard- Rock/Pomp-Pop-Rock hater.

PANGAEA was formed in 1987 under the name ARTICA. Their music is heavy melodic neo-progressive / symphonic rock that sometimes is close to AOR. The songs are very beautiful, well arranged and easy-listened although they have some mood and time signature changes. The music is a mix between CAMEL, DREAM THEATER, KANSAS, MARILLION and YES. The musicians are good, and the guitarist Darrell Masingale and the keyboard player Corey Schenck are the true masters in the band. My favorite tracks are "Time Syndrome", "The Ship (That Must Come In), "The Winds (Behind The Door)", "September Park", "Beggar's Hand" and the main part of the 13-minute epic trilogy "Time Traveler", especially "Pt. II Hollow Dweller". This album is quite good although it lacks in originality and production. If you have a friend who don't like progressive rock, and you want to get him into it, this could be a good album to start with. A progressive album for the masses! PANGAEA's own company Hargadein Music Group independently distributes this album. They are nowadays signed to Angular Records where they have released their second album "Welcome To The Theatre..." (1998).