1992 marks the return of Gong after several obscure years during which nobody really knew if the band still existed. After the departure of Daevid Allen, other albums were certainly released but many considered that only the name remained of Gong and that the original spirit had gone with the Australian. Therefore, the announcement of Daevid Allen's return to the band gave rise to the greatest hopes.
The result of this reformation is as much as the character: completely crazy and fabulously brilliant. Great first of all because we really find everything that makes Gong so special. This band is sometimes classified in jazz, sometimes in progressive rock, but it is clear that these musicians have an extremely wide musical culture, that they do not wish to confine themselves to a particular style of music and that, to understand and appreciate everything, you need to be curious and open-minded.
After an intro during which one almost wonders if the microphones were not left plugged in by mistake during the recording, the album starts very strongly with the eponymous track of the album which reassures us from the start on the good health of the formation. Pure Gong, jovial, even bouncy, technically mastered, without losing the musical aspect.
The rest of the album is an anthology of successful experimentations which will draw from almost all the known musical styles on the planet. Jazz, progressive, ethnic music, duet with Charlélie Couture on a background of Latin rhythms and speeches against nuclear power, and even... techno! Listen carefully to the technoid 'Dog-O-Matic' and you will see that these musicians know how to play everything.
Confusing album, even tiring at the first listening so much this one seems to leave in all the directions, "Shapeshifter" joins together quality, inventiveness and musicality, three essential ingredients for any self-respecting progressive rock band.