Review Summary: dance-gavin-dance-s11-e01.mp4
I used to be 'with it.' But then they changed what 'it' was. Now what I'm with isn't 'it,' and what's 'it' seems weird and scary to me. It'll happen to you.
In the Simpsons episode Homerpalooza, Grandpa is quoted as above whilst giving sage advice out to Homer who feels old and out of touch when it comes to music and popular culture. His old man overhears his woes and plants the seed - it happens to everyone.
As
Pantheon started playing, Grandpa's quote was ringing in my ears.
Dance Gavin Dance appealed to me at 15, they appealed to me at 25 - but 2022 brought
Jackpot Juicer and the appeal faded. Bloated, repetitive and overstaying its welcome,
JJ just didn't quite have what I was looking for anymore. Much like The Simpsons, this band has waned over time - constant character development and rotation has only served to highlight cracks rather than deliver a consistently polished and varied product.
However, as
Pantheon continued, it dawned on me that even in 2025, The Simpsons is still capable of providing entertaining episodes in amongst all the guff - in tandem, this episode of
DGD is also certainly entertaining. Tightly played grooves, unbelievably frenetic drumming from a once beleaguered Matt Mingus, stellar vocals from Andrew Wells, and Mess is quite simply on fire throughout. Against all odds,
Pantheon is fantastic.
I'll address some bugbears first, with the biggest sore thumb being sporadic moments of poorly utilized auto-tune. While I commend the band for embracing the goof, these passages have never worked for any iteration of
DGD and they certainly don't work here. The worst offender here is
The Conqueror Worm - an otherwise decent moment on the album - but the auto-tune moments here are unlistenable. We also get the same treatment on
Space Cow Initiation Ritual, a track I will revisit a little later.
Additionally, there are moments of lyrical misfire. While my general thoughts regarding
Pantheon and it's lyricism are mainly positive, there are a handful of dime-a-dozen eye rollers scattered throughout. I've always berated the notion of "save you from yourself / save me from myself" in any bands work, and unfortunately we aren't safe from it here.
Third single
Trap Door is in part catchy as all hell, but is marred by supposed stabs towards previous vocalist Tilian Pearson. For a band that not only has succeeded in its constant evolution, but also sought it, this doesn't seem like the classy move to make when you take into account the success and numbers that Pearson brought to the band. In a more positive light, we are subject to a handful of references to previous works, namely
It's Safe To Say You Dig The Backseat &
Doom & Gloom. It's a nice touch to keep nodding to your history and remind the listener of the outfits longevity.
Despite these issues, it's important to address this project for what it is. Forget all of the drama and Swanposting that has happened before. This album is a reset for a band that has become all too accustomed to change, and Andrew Wells is as talented as anybody before him. Opening track
Animal Surgery is the bands best album opener since
Spooks - a crushing opening from Jon Mess immediately throws the blanket of familiarity at you, and Wells' performance on one of the most memorable choruses you're likely to hear this year is certainly a highlight. Another highlight, the aforementioned
Space Cow Initiation Ritual, is a huge funky number featuring musician George Clinton and is another prime example of an earworm as a chorus. If you can muster the strength to get beyond the auto-tuned passages, the chorus here more than makes up for it.
A more trimmed down tracklisting compared to recent releases means that
Pantheon feels a lot less bloated. Cliche I know, but it's hard to really identify any full track filler on the record - each track has its own unique fingerprint. Be it the frantic spacey riffing and powerful soaring vocals of
Midnight at McGuffys, the addictive and dreamy "oooooo" vocalizations in
All The Way Down, the Jon Mess-heavy and excellent
The Stickler - there is clear attention to detail woven throughout the duration of this album. It goes without saying, but instrumental performances throughout are what you would expect, especially the guitar work of Will Swan - an ever present positive influence throughout the bands existance.
Towards the back end of the record lies
The Peak of Superstition - a change in pace maybe, but this could be one of the bands greatest songs in years. A great vocal performance all the way through layered over twinkly guitar work, and a chorus you can really hang your hat on. Album closer
Descend To Chaos is also a strong highlight, with some of the strongest drumming work and hardcore inspired heavy passages saved for the finale.
Rebirth &
Strawberry also both feel like flagship moments here with classic DGD tropes, earworm choruses and tight, punchy instrumentals. In theory,
Pantheon could be one of
Dance Gavin Dance's best records. It certainly feels like the best body of work for a long time - no shade to Tillians reign, as that era of the band will forever be remembered as the bands most successful time - but sometimes the water gets stagnant.
Pantheon is a reset - enjoy it.
