The height given by sorcerers from Focus, the Dutch Panthéon never yielded. Although the circumstances for the group were very successful. Originating as a typical school band, the tadpoles began to methodically punch the way up. In 1971, young talents won at the annual festival Rekreade (The Hague), where as a prize they seized the opportunity of a free recording session based on the company Phonogram. The first studio experience turned into a two-song single. And from censorship the name of the track "Masturbation" was changed into a senseless "Master Basion". Absurd, of course, well, the children at that time did not care about such trifles. They enjoyed the acquired status. After all, Panthéon was waiting for performances in Pop Temple Paradiso and other concert halls. And not just that, but on the rights of the warm-up team at Focus and Solution. The minion album "Daybreak / Anais" has strengthened the popularity of the quartet. Panthéon became welcome guests on the radio and TV. Soon they were noticed by the producer Tony Vos, who helped to arrange a contract with the progressive label Vertigo. And in 1972 saw the light of the only ensemble's LP.
Opening track "Daybreak" - the embodiment of the best features of Flemish art. A pronounced melodic basis; Unobtrusive, but totally present rhythm (for percussion - Rob Verhoeven); an elegant roll call of Hans Boer's flute with "Hammond" Ryud Vautherson; Almost akkermanovskaya guitar feed Albert Veldkampa + background chorale, containing a clear optimistic message. The basic compositional components of the waltz fantasy "Anaïs" differ in an openly imitative character: there is a feeling that this is a thing from the lord's shoulder of Tiys van Lier. However, the author of all the works is the organist Vauterson. So, there is a conscious inspiration classics of the Netherlands prog-stage. However, I do not want to blame Panthéon: the skillful works of the Quartet are painfully pleasant to listen to. In the 11-minute "Apocalyps" theme, our characters demonstrate the ability to playfully deal with fusion elements: the powerful monograms of Bore's alto and tenor saxophones, abundant flute accompaniment, Veldkamp's booming bass, Ryud's polyphonic riches of mastermind, polyphony and acceleration / deceleration. .. Looked at the analogy with the creativity Solution. But it is executed - you will not reproach. And there is no need. The short sketch "The Madman" dilutes the picture with a note of comic welter. Maneuver is quite literate, given the close proximity of the miniature with the title epic. It is "Orion" that serves as a means of satisfying the collective ambitions of the participants in the action. The immeasurably large form (the timing of this opus is 19.28) is poured from the elegiac choral-brass intro, the eccentric instrumental prog-balancing, romantic vocalization in the middle section, incendiary jazz-rock pirouettes and other fascinating episodes of a very intricate mosaic. The bonuses include: "I Want to Know" (a small sample of the pen, here Panthéon only grope for his own behavior), the above-mentioned sketch "Masturbation" (tricketer balancing on the verge of a flashy retreat and written lyricism) and a single version of the hit "Anaïs".
I sum up: a very nice release, marked by the exceptional professionalism of its creators. I recommend.~sagael (google)

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