GODS OF PANGAEA (AS TIKTAALIKA)

Don't be fooled, this is actually the second studio album from Haken guitarist Charlie Griffiths, just under a different name. I really liked his debut record of Tiktaalika, though I did feel like it drew a bit heavily from the original Haken sound. Though, I was quite optimistic going into this record, especially when I heard it focused more on the thrash metal elements that sometimes sprung up from the previous album.

This is a pretty good improvement from the debut I'd say. Gods of Pangaea really showcases Charlie's dynamic metal knowledge to new heights, with a bigger focus on old school thrash metal, mixed with an iconic progressive metal sound. The album has a very Voivod-like aura to me, which I quite enjoy, creating a sound that has a mix between the surreal and goofy nature of prog, with more serious aspects to tighten things together. Crack treated seriously, if you will.

Also, like the former album, Gods of Pangaea is a concept album, exploring the supercontinent of Pangaea, as well as the life that lived there. It's noticeably a tiny bit looser than the prior album, as the songs aren't quite linked up to form one big movement, which I do think was quite a missed opportunity. Imagine listening to the title track and through its segway you hear the foreboding bassline from The Forbidden Zone. I think that'd be pretty awesome. Shame that didn't work out in the end.

I also noticed some groove metal elements sometimes, which I think makes the sound more original. Again, my problem with Tiktaalika was that it felt like it drew too heavily from the Haken sound, and while the album does sometimes still carry that band's progressive metalisms, the added elements makes the proggy sound much more dynamic and interesting. I haven't really delved into the groove metal genre outside of Gojira and a Disembodied EP, but the groove elements here are really well done, especially in the bass work. Charlie and Conner Green are both really good at the bass, and they work well with each other, especially on The Forbidden Zone and Lost Continent, my personal favorite tracks on this album.

Though, perhaps it could benefit with some more technical and wackier elements than it already has. I think its big downside is that God of Pangaea sometimes can feel like a pretty straight laced heavy metal album. Obviously not on some of the longer tracks, but it does get kind of 'textbook definition' in terms of metal on here. Obviously, I am not expecting Charlie to reinvent the wheel here, but I do wish some of the tracks stood out a bit more, like Tyrannicide and Give Up the Ghost. Essentially while the prog is more dynamic, the metal has become a bit stagnant.

I think Gods of Pangaea is an overall improvement from Tiktaalika, with its more original sound that Charlie is more thoroughly playing around with, though it does still have some issues. All that aside, I am pretty optimistic for whatever Charlie has in store next, because I bet it'll be pretty good, if not better than this new album.

Best tracks: The Forbidden Zone, Lost Continent

Worst tracks: Tyrannicide, Give Up The Ghost

Thrashed-up prog metal and Jurassic theology prevail on Charlie Griffiths' second solo release 'Gods of Pangaea', as the Haken guitar player adopts the name of his debut album as his artistic moniker for this 2025 project. This is a direct and really fine follow-up to the 2022 'Tiktaalika' album, with many of the fabulous vocalists making their returning appearances on 'Gods of Pangaea', delivering an even more unbridled, cathartic performance as this gorgeous album marks a greater influence from 80s thrash metal, with Megadeth being one of the ostensible references. The eight tracks making up the album vary from standard-length pieces to lengthier epics that explore different movements, riffs and chord progressions, on an album that definitely not only preserves but expands the prog-metal pedigree of its creator and aims to act as a bridging entity between the seemingly incompatible worlds of thrash and prog.

Opener 'Tyrannicide' is a fast-paced, riff-heavy rocker that introduces a more classic metal feel, definitely one of the more aggressive numbers on here. This is followed by the 9-minute-long title track, a quirkier and more technically adept piece with memorable hooks and a great chorus, leading the listener to the gnarly 'The Forbidden Zone', with the album once again returning to a more riff-driven thrash sound with some harsh vocals swiveling around the heavy guitars. 'Mesozoic Mantras' is one of the highlights of the album, a more technical number that exhibits a dense, layered and intricate sound, very prominent in today's progressive metal. Then comes the Anthrax-ish 'Fault Lines' and the catchy 'Give Up the Ghost', both of which are more straightforward. The eighth track is a gorgeous and heavy ride, with the instantly recognizable vocals of Tommy Rogers from BTBAM. The final track is a fun instrumental, a very labyrinthian riff rampage. The entire record is very consistent and perhaps even more illustrative of Griffiths' songwriting skills than its predecessor, a welcome and well-executed blend of prog metal with thrash and groove metal influences.