liquidmonkey While I don’t wholly concur with the previous reviewer some of this is probably out of nostalgia rather than a purely musical perspective. I love this album but I love it because it reminds me of when I first heard it many years ago along with Leave it Open (which I regard as a companion piece). I love it because it reminds me of a more carefree time in my life and when I listen to it now it still brings me joy. Would I love it so much if I heard it for the first time now? Probably not and certainly some of the tracks would sound dated now. I have just listened to the later PMG albums out of curiosity and probably won’t again - they really haven’t aged well (Tribute being the exception). BUT, and trying to put my inherent bias aside, I believe there are some stand out aspects of this album that would still move me on a first listen. The ethereal mallet percussion provided by Pierre’s brother Benoit sets this apart from other fusion artists of the time and still sounds fresh. Alan Holdsworth’s sublime contribution is up there with some of his best work (listen to his solo on Arabesque) and Pierre's not bad on the tubs either. While I can’t be completely objective it is definitely worth a listen. Try and look past the 80’s production and I am sure you will find some gems on here. I am giving it a 5 because it is one of my go-to albums. You might want to adjust this to a 4 to take account of my partiality.

Rokukai Recorded in 2002, released (in Europe and Japan) in 2004, my favorite version of Gong (which includes other notable groups like Gongzilla, New York Gong, and Gong Global Family) doesn't feature stalwarts like Allan Holdsworth or Hansford Rowe, instead showcasing Moerlen with a number of Russian fusioneers.

I like this record. It's half parts jazz-rock mixed with new age electronic fusion lite. Some of the songs have neat and tidy grooves featuring an array of Moerlen percussion, while others sort of float along on a wave on synths. It's chill and it's great background music. Songs like "Classique" and "Airway to Heaven" melodicize the record and give it a bit of kick. "Lacheur" is my favorite song on the album, featuring a killer organ solo. The musicianship is very good, reminiscent of prior Moerlen's Gong releases "Time is the Key" and "Leave it Open". "Blue Nuit" is great and brings to mind classic Moerlen, showing off killer drum/vibe interplay, weaving distorted guitar through the roller coaster melody. Overall, it doesn't hold up to "Gazeuse" or "Expresso 2", two all time classic progfusion Gong releases, but it suits a leisurely cocktail party or Sunday morning listening.

Warthur The first album under the name of Pierre Moerlen's Gong takes the blueprint established by Espresso II and... kind of makes a hash of it.

As well as singing on two poppier tracks (Aeroplane and What You Know) - both of which are best skipped over - Moerlen splits his attentions between percussion and keyboards, disrupting the interesting percussion-focused approach of the group. In addition, the material here is just weaker and less interesting than that on Espresso II - not even a guest appearance by Mike Oldfield on the title track can disguise the fact that the band is repeating itself. Really, if you already have Gazeuse and Espresso II, there's absolutely no need to own this too.

Sean Trane To their credits, PM'sG never stopped recording during the low point in the history of music, the 80's decade, but they weren't exactly making outstanding albums either, and certainly not of the calibre of Downwind, Gazeuse or Expresso. Sooo Second Wind was recorded in late 88, and it's a little surprising that there was still a public for this kind of music. Personally I wasn't paying attention back then, and probably thankfully so, because chances are that I wouldn't be as objective than if I discovered it in the new millennium, which is the case.

Coming with an interesting semi-esoteric artwork, the double lp album Second Wind is not as bad as some of the fusion records of earlier-80's, and could fit easily on the ECM label catalogue. Hovering Gongzilla- type of fusion, and sometimes approaching dangerously muzak, SW has some moments, but completely lacks energy in favour of that typical way too slick sound (almost defining the decade musically) and even if the musicians are still impeccably virtuosic in their playing. Maybe Moerlen's 80's style drumming on some songs is the most irritating thing on this album, but it doesn't stop Pierre from impressive, no matter what.

However the second disc is just a gigantic drum solo, with one track divided into three sections and sprawled over both sides of the vinyl. Pierre is certainly one of the better drummer of his generation, but here filling an entire vinyl with his unaccompanied solo, is not exactly humble of his, neither is it rivetting, no matter how good a drummer he may be. But it's certainly one hell of a performance, no doubt about it.

Hardly essential an album, but better than the previous two efforts, SW could easily be confused with some of the era's ECM albums. But should you want to investing the Moerlen brothers' works, there are much suitable intros than this album to their percussive world.

Sean Trane Second album under Moerlen's name, Time Is The Key is a controversial album because it shows that the 80's are very much behind the corner. Indeed compared tp Downwind, PM's G certainly changed their sound and also their line-up; bro Benoit is gone (as is Gausse), but returning to the fold (from Expresso II) are Lozaga (guitars) and Lemer (keyboards) and the sound and songwriting on TITK don't have a 70's feel, but a much more synthesised 80's production. And those who read me regularly know that this is no good news. A bit like the 80's version of Mahavishnu, Gong uses too much of the day's latest technology, which causes TITK to sound much more dated than their previous albums. We're not on the brink of Abacab or 90125, but nevertheless the production is also the culprit, but it doesn't apply for all of the tracks evenly.

Actually the album starts pretty damn well with Ard Na Greine, a great tense track that leads naturally into the following Earthrise, which continues more gently the sublime and subtle climate. And Earthrise linking into the next Supermarket (a bit too slick, but agreeable) and so on to Faerie Steps (a bit cheesy but it has something). So the quartet of tracks make a small So after this linked series of tracks things gradually degenerate with American In England, where synths take over and we suddenly fall into a new decade. Worse yet, we go into Organ Grinder without any organs (unless the Yamaha CS80 is one, but it sure doesn't sound like one) and completely and utterly awful synth funky beats; I spoke purposely of Abacab, as there is some kind of sound parallel, even if Gong is still progressive here. The rest of the album glides on smoothly if you like this stuff and will increasingly grate your patience to irritating levels, despite the musician's undeniable qualities. In The Bender, you'd never guess there are two guitars as they are completely muffled into dumb effect like the Synclavier and other such atrocious devices. But if you can get past those awful 80's musical twists, you will find still some interesting stuff (songwriting and structures) that should content some JR/F fans. Of the second part of the album, only Esnuria is rising above the waterline, but it's directly followed by the atrocious title track (the lowest of lows in the album), which closes the album much worse than it had started.

I am always tempted to take away a full rating point for these 80's, and I will certainly again do so here, at the risk of burying the first third of the album that deserves a better fate. Collateral damages I guess, but this album is best avoided unless. well I warned you, anyway.