EXPRESSO II

Gong's third studio album since the departures of Daevid Allen and Steve Hillage, first since the loss of Mike Howlett and Didier Malherbe. The band's full commitment to Jazz-Rock Fusion is a sign of (and tribute to) the firm leadership of Pierre Moerlen. And, for all you percussion lovers, Mireille is back! And Curved Air's Darryl Way and the ghost-like presence of Allan Holdsworth are in.

1. "Heavy Tune" (6:22) a dull and plodding song that seems to exhibit an over-arching malaise or fatigue from the band (though more from the guitarists (including Allan Holdsworth) and bass guitarist Hansford Rowe, but even Pierre's drum playing seems lackluster and uninspired--leaving all his energy for his vibraphone play. Stupid KISS-like rock chord progression propelled by the rhythm guitarists' "power" chords. What a sad opening. (8.66667/10) 2. "Golden Dilemma" (4:51) maybe now they've awakened! But the main rhythm track/motif is still so bland/quitidian and rock-like--with a "Take Five"/"Living in the Past" sound and feel to it. Nice play from the tuned percussionists. (8.875/10)

3. "Sleepy" (7:17) opening with a peaceful yet mesmerizing arpeggio pattern on the vibraphone, Benoît Moerlen is soon joined by Mireille Bauer, also on vibes, then brother Pierre on the drum kit and Hansford Rowe's bass to create a very engaging weave. Allan Holdsworth and then Darryl Way take the first two solo spots on the electric guitar and electic violin, respectively. At 3:30 their is a switch in the baseline vibraphone weave over which Hansford's wah-wah- ed bass solos for nearly a minute. The drums rejoin at 4:45, cushioning the entrance of Darryl Way for a searing albeit brief solo before the rhythmatists again take control, amping up the tuned percussion weave before Hansford's bass redirects once again into a funkier, more straightforward repeating pattern--which serves the song until it's long fadeout end. Decent! (13.5/15)

4. "Soli" (7:37) another pleasant and engaging JEAN-LUC PONTY-like melodic weave opens this one over which Allan Holdsworth solos briefly as if from behind the stage. The two-person vibraphone rhythm section shifts to a quicker, faster-paced weave while Hansford Rowe provides a rather beautiful bass solo. In the third minute the music straightens out again so that both Benoît Moerlen and Mireille Bauer can solo on their vibes. The fifth minute is Holdsworth's. Over the same high-energy fast-paced motif he seems uninspired, unenthusiastic, or lost for the first 30 seconds, then he finally gets it: that it's his turn. His soloing finally begins to live up to the reputation he's been building for the past ten years: unusual melodies, furious runs, angular note choices. The whole band seem to get involved in carrying the melody forward during the last 50 seconds. Really nice finish. (13.375/15)

5. "Boring" (6:23) a simple, almost Orffian percussion weave is presented by the marimba and vibes while bass, violin, and tubular bells take turns rising into the spotlight. The most interesting thing on this song is the wonderful interplay between Hansford Rowe's chunky-fuzzy fretless bass and Darryl Way's violin. I also like the prominent role that François Causse's congas play in the mix. A top three song for me. (9/10)

6. "Three Blind Mice" (4:47) two vibe arpeggi repeated a few times opens this one before the rest of the band kicks in with a nicely energetic motif. The entrance of Allan Holdsworth distinctive guitar seems to signal a slow down and slight simplification for the rest of the band as Benoît and Mireille settle into a fairly simple four-chord pattern. Once Allan has finished (and left the building) the percussionists carry the song, kind of a weird song for the sudden disappearance of Mr. Holdsworth ("Allan has left the building"!). The two thirds of the song that was left to the rhythm section might be a sign of things to come. Not a bad song, just . . . pointless . . . like a practice jam. (8.875/10)

Total Time 37:17

A far-inferior album to their previous effort, Gazeuse!, the band seems to have lost their way--or at least band leader Pierre Moerlen. Yes, I have to say it: I find Pierre's performances throughout this album to be quite lackluster and unimpressive. On Gazeuse! I felt that his playing suddenly vaulted him into the conversation of greatest J-R Fuse drummers of the 1970s. Not anymore. I probably doesn't help that his drums were recorded the most poorly of any of the instruments: muddied and buried in the mix. Bad engineering! All of these disappointing elements lead me to wonder: Could it be that the loss of bass player Mike Howlett was more devastating to the band's core spirit than those of Daevid Allen, Gilli Smyth, and Steve Hillage? Not that Mike's replacement, Hansford Rowe is bad--he's not--it's just that the Moerlen brothers seem less inspired. Or, maybe it's the absence/loss of Didier Malherbe? Such a fun yet- calming presence. (Perhaps it's actually the dynamic between they and former-lover Mireille Bauer; we all know from the past two albums what a high her presence infused into the band.)

B/four stars; a very nice if somewhat disjointed representation of the more-mature form of GONG yet somehow disappointing when coming off of the highs of their previous album. Still, highly recommended.