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██▌ Artist...: Gong ░▐██▌
░▐██ Album....: Bright Spirit ░██▌░
▓▐██ Year.....: 2026 ▓▐██▓
▓▐██ Rel. Date: 2026-05-11 ░▐██▓
▐██ Genre....: Progressive Rock ██▌░
░ ██▌ Label....: Kscope ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Dream of Mine 10:32
2. Mantivule 6:22
3. The Wonderment 5:11
4. Stars in Heaven 4:01
5. Fragrance of Paradise 7:39
6. Relish the Possibility 3:09
7. Eternal Hand 6:48
43:42
The spirit of past GONG masters burns bright as the legendary 70s
Canterbury band sallies forth well into the 21st century courtesy of the
newest team of jazzy psych stalwarts keeping the dream alive. It's been
over a decade since founder Daevid Allen has crossed over to the big
fractal in the sky and even longer since other significant GONG
participants like Steve Hillage have retired from the band but this
newest team in the GONG family does its best to rekindle those warm
fauzzies of yesteryear on this 18th installment that features the fully
sanctioned GONG brand name. The third release in the trilogy that
started with "The Universe Also Collapses" and "Unending Ascending,"
features the team of guitarist Fabio Golfetti, vocalist / synth player /
guitarist Kavus Torabi, bassist Dave Sturt, saxophonist Ian East and
percussionist Cheb Nettles. Together they perform a veritable feat of
retro revival on BRIGHT SPIRIT which is the closest thing we've gotten
so far from this lineup that comes close to the classic "Radio Gnome
Invisible Trilogy" albums that remain the band's heyday.
On the band's last two efforts the new GONG was struggling to find its
own voice in the saturated and convoluted world of psychedelic prog
which seemingly cranks out a dozen new artists every day and while the
team deserves an A for effort fell just short of cranking out something
compelling enough to sit in the same room as the classic GONG gems but
BRIGHT SPIRIT boldly tackles all those classic tricks of the trade and
creates a veritable slice of classic 70s GONG in the modern era. With
the opening "Dream Of Mine" ushering in the album's psychedelic flow of
pixie-like glee in the vein of classic Allen mischief making through
music, the album immediately establishes itself as paying tribute to the
world of Steve Hillage by replicating those classic hypnotic guitar
grooves that have been fully restored with all the proper tones, echo
effects and other Hill-isms that made the albums "Angel Egg" and "You"
so amazingly compelling. While not quite up to those standards as a
whole, the band does a triumphant rekindling of those past glories.
Much improvement has been made over the last two albums with the
compositions more pleasing and evoking the true spirit of what classic
GONG was about rather than trying to steer the brand name into a
different galaxy. After all these guys are carrying the torch, not
trying to extinguish it and usurp the GONG throne (i should hope). A
wise choice IMHO that more attention is paid to what made GONG a
legendary act in the first place. This album does an excellent job at
paying tribute to those GONG highlights with musical motifs and catchy
cadences decorating the album's seven track run which wisely is trimmed
down to a classic album's run of just under 44 minutes. Hints of Pink
Floyd can be heard from time to time particularly on the closing
"Eternal Hand" which evokes something from the "Meddle" album but for
the most part the band successful channels Daevid Allen's spirit who is
conducting from above and cranks out my personal favorite of this
post-Allen trilogy.
While i was somewhat underwhelmed by the vocalizations presented on the
previous two albums, somehow this one works more gracefully. Make no
mistake about it, this is not what i would call an original album in any
particular way but rather a reinterpreted tribute to what GONG has done
best in its past and in that regard this quintet has done an excellent
job. There are really no tracks on here that. Make me want to skip to
the next and although this won't replace the golden years of GONG in
terms of innovation, it's a very pleasant trip down memory lane int he
context of newly constructed compositions graced with all the benefits
of modern production without sounding like anything is forced for its
own sake. While no flautist is listed there are flute sounds fluttering
around which provide that perfect pixie parade into the psychedelic
universe that Allen explored decades ago. For my liking this is the best
post-Allen GONG album yet. Let's hope they stick to this style because
it suits them well.
--
It is strange to realise that it is now more than ten years since the
death of Daevid Allen, yet the group he formed all the way back in 1967
is still going, with Allen giving his blessing to this line-up, asking
they continue without him and suggesting that Torabi be the new leader.
Lead guitarist Fabio Golfetti (since 2012), bassist Dave Sturt (since
2009), saxophonist/flautist Ian East (since 2010), drummer Cheb Nettles
(since 2014) and vocalist/guitarist Kavus Torabi (also since 2014) have
somehow maintained the longest (by far) running line-up of the band,
during which time they have released four albums, with this being the
third in the trilogy which started with 'The Universe Also Collapses'
(2019) and continued with 'Unending Ascending' (2023).
Like anyone who is interested in this band I have albums and DVDs by
multiple different entities of the Gong family, including Acid Mothers
Gong, Pierre Moerlen's Gong and others, and like many feel the climax of
their work are the three incredible albums which make up the Radio Gnome
Invisible trilogy, namely 'Flying Teapot', 'Angel's Egg' and 'You", yet
this release takes us back to those heady days as here the current
line-up have decided to move forward by heading backwards, with the
result being the most solidly enjoyable Gong album for many years. Here
we have an album which hardcore fans will play time and again, not just
purchase and leave on the shelf, as it feels as the last 50 years have
not happened and they are truly challenging Daevid Allen and what Gong
were all about, psychedelic, swirling, enthralling, bringing in Eastern
influences and always refusing to conform to anyone's expectations. I
have long followed Torabi's career in multiple bands and projects, but
it is here that he truly appears to be at home, and there is no doubt
the legacy of Gong is in very safe hands indeed.
While any newcomer to the band will always be pointed to the classic
early era of the band, this one sits quite happily alongside those
seminal releases, and is one I have enjoyed immensely.
--
What a delight of an album!
When it comes to Gong, we can always expect something truly fascinating.
A multicolored universe that continues the legacy of Daevid Allen,
blending mystical, hippie, and refined sounds where progressive rock,
jazz, psychedelia, and, of course, experimentation reign supreme.
Now led by Kavus Torabi, the band presents 'Bright Spirit', an album
that completes a trilogy of outstanding releases that began in 2019.
Across seven tracks and forty-three minutes, it offers a paradisiacal
journey that perfectly reflects what its title suggests.
Everything begins with 'Dream of Mine', an epic ten-minute piece with a
strong Middle Eastern essence, where psychedelic and gypsy sounds evoke
a multicultural, spiritual, and mystical atmosphere. There is a constant
dialogue between saxophone and guitar, creating a hypnotic sound that is
easy to get lost in. Around the third minute, the vocals appear,
reinforcing that mystical aura while introducing subtle touches of folk
and pop. Midway through, there is an instrumental passage I absolutely
love, filled with a sense of controlled madness, highlighted by the
outstanding drumming of Cheb Nettles. The atmosphere builds, energy
rises, and the intensity returns, now featuring a sax solo by Ian East.
Before you know it, the piece reaches its end.
'Mantivule' is an exquisite track that brings back the space rock
essence found in some of Gong's most celebrated works. The guitar work
is wonderful, but what truly stands out is how each musician carves out
their own path, eventually converging into a musical amalgam that
invites you to close your eyes and drift away. There is something
reminiscent of Ozric Tentacles here, along with a touch of avant-garde
that adds even more depth.
If we continue along this dreamy and spacey path, Gong offers a gem
titled 'The Wonderment', where synthesizers guide the atmospheric and
spiritual journey ahead. The invitation to close your eyes and surrender
to the experience becomes even stronger here.
A hint of psychedelic pop with a distinctly modern feel arrives with
'Stars in Heaven', a soft, delicate, and accessible piece that gradually
evolves, adding layers and musical figures as it progresses, until
reaching a satisfying instrumental climax. The blend of strings, winds,
and vocals works beautifully.
With 'Fragrance of Paradise', the band revisits that Middle Eastern
sound that has defined much of their recent work and was already present
in the opening track. There is a strong balance between instrumental
passages and vocal sections. While I must admit that Kavus Torabi's
vocal tone is not entirely my personal favorite, it has undeniably
become a defining element of modern Gong, part of their renewed
identity. Psychedelic touches, jazzy nuances, and subtle folk elements
make this a compelling piece.
'Relish the Possibility' is a short track that feels like a moment to
pause, lie down, light some incense, and simply breathe. It acts as a
gentle embrace for the spirit, enriched by Eastern flavored synthesizers
and guitars, along with subtle percussion and flute.
Finally, the album closes with 'Eternal Hand', a piece rooted in the
calmer side of space rock. Peace prevails here, along with a sense of
spiritual search and quiet illumination. It is an album with a strong
aura and, musically speaking, a very solid work.
The legacy of Gong continues in remarkable fashion, evolving while
consistently delivering moments of genuine quality.
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