Nick Southgate Wire Magazine June 2004 review of "The Well of Memory"
Although PG Six's name suggests a generously populated artistic endeavour, The Well Of Memory is predominantly the work of one man, Pat Gubler. This auteurship is typical of the free folk company Gubler keeps as one spur of the founding triumvirate oftower Recordings along with Matt Valentine and Helen Rush. Unsurprisingly Gubler's polymath working methods adopted here make this collection of songs and instrumental fragments symptomatically solitary. Opening hanging chords of wire strung harp set the austere atmosphere in the title track's first instalment, "Well Of Memory Part I", before cold breezes of synth blow through the brittle lingering dissonances. Gubler sinks deep into the pan-American collective myth to create new and timeless folk songs of love and loss, particularly "Come In/The Winter It Is Past", "The Weeping Willow" and the starkly affecting a cappelia essay "Evening Comes". The instrumentals range from the angelic porchside paean "A Little Harp Tune", a tune one imagines spilling with unexpected romance from the fieldworn hands of a steely-eyed puritan patriarch, to the splintering energy of the rambling "Three Stages Of A Band", with its engagingly incongruous blend of electric guitar and massed tin whistles. Although PG Six echo the Americana romance propelled into the popular canon by the likes of The Band or mid 70s Neil Young, there is a purity and depth to these recordings that surpasses such forebears. A clue may lie in Gubler's affection for Incredible String Band founder and occasional co-conspirator Robin Williamson. This is not the affectation of a style, or even plundering for inspiration, but a true incarnation of a musical archetype, something that can only be born of wisdom and love. The Well Of Memory comes from the wilder side of the alt Country tracks, but its broken heart is unquestionably very much in the right place.