Pan

Surrounded by balloons; ecstatic guys in party hats and masks, having a circa-elementary school birthday party: That’s the cover pic that made me want to know Pan. The album, which could masquerade as a Mardi Gras souvenir, doesn’t hurt, either. And what eternally youthful birthday party crasher wouldn’t love the story behind the band’s name? It was inspired by the idea that “happy thoughts make you fly” – apparently Ian Flegas, Nate Stewart, Ryan Hutchens and Dylan Dickerson share a liking for Hook.

But the thing that interested me most is that in 2010 this quartet of then-unknowns started off with a goal of creating almost completely instrumental music – kind of like, “I think I’ll do some rock climbing with a couple of toothpicks.”

Those toothpicks are sturdier than they look – industrial strength. And there’s no hiding the fact I’m pretty taken by Pan. Even with its ???? genre classification stab (“post-rock”). And titles like “Leave Your Body,” “The Rhode Island Lucky Few,” and “Mom and Me Versus You and Dad” (my only quibble: an entire album could probably be devoured by that last subject). - My Old Kentucky Blog

I don’t know if I’ve ever seen cover artwork so aptly suited for an album’s vibe than that of Pan‘s new album These Are the Things I Love and I Want to Share Them With You. These South Carolina dudes have made it known that the one goal that they have for their music is to uplift. After listening to the album several times over the past two weeks I can honestly say that, for me, they’ve succeeded.

Formed in 2010, the band has built a post-rock foundation for themselves drawing on bands like Russian Circles and Pelican, but they amp up the good-time vibes by also looking to Fang Island for inspiration. Even though it is easy to spot what’s being worn on their collective sleeve, it should be noted that Pan is more than just a collection of influences. Sure there are dense walls of noise and crushing guitars with soaring melodies, but the band’s most identifiable attribute remains the utter joy that radiates off of their music. It might seem bit trite or corny to say so, but once you listen to tracks like “Joe Frazier” or “John from New York” you’ll realize just what these guys are going for.

- Portals

This is how it should always be.

On their debut fell-length, South Carolina post-rockers Pan deliver an album that is equal parts arresting, intoxicating and transcendent. Though comparing a post-rock band to Explosions in the Sky is a bit redundant, that is honestly the musical direction these Palmetto boys achieve on this cohesive and air-tight collection. While the sound is not exactly a carbon copy of Explosions, the music definitely takes that buoyant and lifting concept and expands on it, resulting in an album that is arguably one of the year's greatest surprises.

The disc's lead single "John from New York," is actually an anomaly: that is, there are actual vocals being sung by guitarist Ian Flegas. The vocals are low and muted and never take center stage, but they can be heard and they do add a layer of sonic delight to an already engaging and arresting composition. But "John from New York," is not the album's best track by any stretch. That actually belongs to penultimate cut "Leave Your Body," a 6-minute epic that crackles and blisters, never once relenting.

The song begins tame and innocent, with just a rambling guitar that swims its way through a barren and ordinary landscape. The song is pleasant, amiable and undeniably warm. But then things really take off. At the 2:30 mark, the song gradually starts lifting skyward, and second by second, it goes further and further upward. And as the song lifts, the guitars sear, grasping and clawing, until rather suddenly it stops and ends. The proverbial balloon has been deflated.

One of the true charms of Pan is that unlike many post-rock outfits the group doesn't employ songs that linger long past the 4-minute mark. In fact, with the exception of "Leave Your Body," much of These are Things is brief and concise. Album closer "Arkansas," another Explosions in the Sky-esque cut closes out just shy of 4-minute mark, as does standout track "The Rhode Island Lucky Few," itself a more concussive and harder-hitting effort than anything else on the disc. But even "Rhode Island," employs a pensive and cerebral middle half that attempts to scale back on the clattering of guitars. But then just as easily as they were taken away, they re-emerge, skittering towards the final seconds.

Other memorable cuts include the acoustic "The Things They Can't Take Away," an autumnal cut that demonstrates the band's affinity and penchant for diversity and minimalism. In many ways, "These Things," is one of the album's apex moments, as it does so much by doing so little. Theres an army of emotions and sensory details that can be gleaned from the song's simple movement and that it is as memorable and tremendous as it is, is only a testament to just how talented Pan truly is.

In many ways, These Are Things is a bellwether.

Post-rock nee instrumental music is best for its ability to soar to histrionic heights and leave the listener inspired, encouraged and assuaged. These Are Things I Love and I Want to Share Them With You does exactly that and then some. On their 2011 debut EP, the quartet jokingly titled the album Post Rock is Not Dead, and that's a statement that can emphatically be uttered when listening to this album. While it may be presumptuous to suggest, there's a pretty good chance that Pan are on the precipice of something truly extraordinary. These Are Things I Love is proof of that. Just give it a listen. You'll see.
- Absolute Punk

It’s hard to pull off post-rock, post-Explosions In The Sky. The crescendo-to-nowhere builds and stunted cinematics of lesser acts so dilute the pack, it’s hard to get excited about a new band. But Pan set out to upend that expectation from the beginning. Its first EP was called, adamantly, Post-Rock Is Not Dead. The band’s first full-length makes a strong effort to prove it, too. With most songs capped under the four-minute mark, TATTILAIWTSTWY (unwieldy, even as an acronym) injects some much needed vitality into the instro-rock field. Sharp riffs informed by indie rock, post-hardcore and classic metal counter the big, foggy builds to make something much more lively than incidental volume ever could. - Paste Magazine