MAGICK BROTHER

Let's not forget that Gong were one of the earliest, with the band's debut album recorded in late 1969 and released in March of 1970 - following Daevid Allen's short tenure with Soft Machine, the artist established himself in Paris (being unable to remain in the UK), living with his girlfriend Gilli Smyth, and this is precisely where 'Magick Brother' was conceived and constructed. Written by Allen who also performs the vocals, guitars and bass on the album, this is a tantalizing LP rooted in the psychedelic tradition and presenting the first glimpse of the Gong mythology, with several references made to the trippy universe of the peaceful planet Gong. And while all that made-up folklore might seem a bit over the top, I believe that one goes to Gong mainly for the music and the band does present plenty of impressive avant-garde pieces.

Now, this very first album from Allen, Smyth and Co. is a somewhat rough and ingenious creation, with quite a dilettante approach, yet there are some really good moments that indicate what future direction the band may take. Of course, there is a mesmerizing element to the spacey music as the album is divided into two thematic sides - "Early Morning" and "Late Night", indicating not only a recommendation on the listening hours and the textural differences of the two sides of the album, but also a conceptual side and a desire to present a piece of art that does not follow a standardized formula and dares to offer something with a twist. There are ostensible differences in the music on the two thematic sides but common to both of them are the hissing, jangling guitars through which Allen's old man voice makes his way, delivering some of the goofiest but most socially conscious lyrics. Didier Malherbe plays some flutes and sax as well, forming a nucleus of the band that would go on to break musical boundaries and experiment with genres and techniques. Some really fine, experimental entries on here include 'Glad to Say to Say', 'Chainstore Chant', 'Fable of a Fredfish' and 'Gong Song' as the prevailing element of absurdism captivates the listener.