LA MOSAÏQUE DE LA RÊVERIE

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.