VAN DER GRAAF GENERATOR

This expansive new boxed set collects more or less everything Van Der Graaf Generator did during their stint at Charisma. First up you get copies of their albums from The Least We Can Do Is Wave To Each Other through to Vital - an absolutely incredible run by any standards. These are present in new remasters which, to my ears, are somewhat superior to the mid-2000s remasters from Virgin, which leaned a little hard into the "loudness war". The improvements are particularly notable on the earliest albums; for example, on the previous remaster of The Least We Can Do I can hear some notable audio wobbling on Hammill's vocals at around 3 minutes into Darkness 11/11, which has been cleared up here.

The cream of the crop of the Charisma era - H to He Who Am the Only One, Pawn Hearts, Godbluff and Still Life - are present both in their original mixes and brand-new stereo mixes, as well as being provided on Blu-Rays offering both old and new stereo mixes and the by now obligatory surround sound mix. A more interesting Blu-Ray is The Video Vaults, compiling a true treasury of VdGG footage from the era. The Belgian TV appearance playing Theme One and A Plague of Lighthouse Keepers is well-known, and the rather shaky audio and video of them playing Godbluff in full in 1975 has also made the rounds a lot, but there's a brace of TV appearances here which have simply never seen the light of day previously.

The various bonus tracks scattered through the box include most of the After the Flood collection of BBC tracks. It's missing the Aerosol Grey Machine era Peel session from 1968, but if you're eyeballing this box and salivating then you're probably also the sort of big VdGG fan who'd be interested in the recent Esoteric rerelease of The Aerosol Grey Machine, which includes a more complete version of that Peel session on its bonus disc. There's also a hitherto-unreleased Top Gear session from 1970 giving nice versions of Killer and Lost.

(Some confusion may arise from the Peel Concert performance of Man-Erg/W/Killer from 23rd September 1971 being tagged as "previously unreleased", when that Peel Concert is actually on After the Flood; the book in the box clarifies that it's "previously unreleased" in the sense that the version presented here is taken from newly discovered stereo masters, so that's not 100% new material, but it is a nice upgrade.)

The first of the live shows is well-known to collectors - it's from August 1975 in Rimini, sourced from an audience bootleg of varying quality (the early sections of A Louse Is Not a Home are quite shaky, In the Black Room/The Tower is captured surprisingly well for an audience tape).

Tracks from this have filtered out on compilations or as album bonus tracks in the past, but it's still nice to get the set brought together as a whole and given about as good a tidy-up as it can feasibly get given the source; it's sounding about as good hear as I can ever remember this material sounding. There's an extent to which the dark, murky sound quality is actually kind of appropriate to the dark and claustrophobic tone of much of the material, which certainly helps. Still, don't go into this one expecting miracles: this will never sound as good as an official soundboard tape, and while a hero's job has been done to try and tune it up, heroes can only do so much.

The real jewel in the crown of this box is the live show from the Maison de la Mutualité in Paris on the 6th December - a mere 3 days before the last gig that the Banton-Jackson-Evans-Hammill lineup would play in the 1970s (remember, The Quiet Zone/The Pleasure Dome and Vital were played by a somewhat reconfigured group). Highlights of the show had been played on French radio, but the rest was believed lost - but wonderfully, a full set of the tapes from the concert were recently unearthed, allowing the box to present a two-disc presentation of the whole concert.

Here, at last, is the full-fledged high-quality VdGG live album from the glory years of the 1970s and the classic lineup which we fans have pined for so long, and were so convinced we'd never see, and they absolutely kill it, playing like a band possessed. The sound quality isn't perfect - Hammill's microphone disappears into the mix in part of Masks, for instance - but it's as good as we're ever going to get. The version of Meurglys III (The Songwriter's Guild) is a particular highlight, since the long instrumental break in the song is spiced up by a more lively rendition.

Between the audio improvements on the previously-released material and some cracking live rarities, this box is an absolutely incredible offering for fans of the band, a case study in how to do this stuff right. We might hope that the Maison de la Mutualité will see a separate release in some form for those who find the whole box a bit too dear, but for those able to spring for the box it's an absolute treat - and of course getting the most important works of one of the greatest prog bands of all time in the mix is certainly nothing to sneeze at.

Van Der Graaf Generator might be the most original progressive rock band from the 70s, along with King Crimson and Gentle Giant. Until this point, they were known for their depressive and deeply introspective music, a sound that either only could come out from lost seas or the emptiest places from outer space.

Pawn Hearts it's not only the band's peak, it's also one of the masterpieces of the prog genre. The album contains three long musical pieces (a style that Yes would use twice later on), and touches themes like loneliness, alienation and depression. Many point out the political aspect of the album, but it's a merely superficial factor compared with the psychosis and despair presented in the entirety of the record.

Lemmings starts the album in a breathtaking way, while Hammil shows us his vocal range in the lapse of 20 seconds. The suite develops into a dilema about the meaning of life and how others just don't question it until the moment they die. There's an interlude (Cog) for the taste of heavy ears, but the essence of the piece it's poetic and programmatic, culminating in the last few minutes with a combination of organ and drum sounds that create a scene that ends with the protagonist jumping from the cliff, finally hitting the ground. This sole moment surpass what King Crimson tried in Moonchild by any means.

Man-Erg seems like the typical ballade piece from the rest of VDGG discography (Refugees, House With No Door, The Undercover Man), with a moving piano section and Hammil's vocals sounding like a passionate Bowie. But after 3 minutes in, everything falls into chaos, with powerful drums and a majestic sax, like a mermaid in the middle of the ocean while the boat sinks. Finally the chaotic motive and the "commercial" one get mixed in the end, like a brilliant revelation at the end of the tunnel.

A Plague of Lighthouse Keepers it's the longest piece in the album (23 minutes long), but don't expect it to be like an epic and gorgeous piece like Close to the Edge or Supper's Ready, this one is raw, quiet, and yet beautiful. Just like the waves, the piece advance with softer and heavier passages as it goes on. Its structure and sound is clearly a love letter to german romanticism from the past centuries, representing the most precious thing of the human being, emotions, in this case, sadness. The ending is ambiguous on purpose, leaving the audience to interpretate it, does the protagonist finally find happiness? Or does he just kill himself and gets rid of his life?

What we have here it's a highly phylosophical record in all its rule, flirting with galactic aesthetic with the use of mellotron and the amazing (yet reserved) work of Fripp's guitar. But after all, what we're hearing is just a man drowning, that stops screaming for help to eventually accept his feat.

H To He, Who Am The Only One, in my opinion, is one of the most outstanding albums of the 70s. This record contains very interesting, captivating and truly glorious music full of brilliant ideas, with a lot of mood and tempo changes. It is organ/piano and saxophone oriented, which is quite unusual for the genre of rock. Peter Hammill's singing is very emotional and passionate, the musicianship is just top-notch throughout this whole album (with guest appearences of Nic Potter providing some bass on several compositions and Robert Fripp of King Crimson's fame appearing on track 3).

1. Killer (8:07) is just a powerful song with some very memorable melodies. The plot is telling a story about a killer-shark, which is seeking love. Power in Peter's voice, Hugh's organ work, David's sexophone solos and just brilliant drumming by Guy Evans make this, as frontman once said, 'marine bacteriology' tune, an instant prog classic.

2. House With No Door (6:03) is a wonderful piano ballad, very emotional, as is the delivery on Peter's singing. It is sad, depressing and incredibly beautiful at the same time. Unforgettable VdGG track and one of the best ballad's they've ever done, IMHO.

3. The Emperor In His War-Room (9:04) - a) The Emperor - b) The Room Is very atmospheric and structured. Great flute and organ sections. Robert's guitar solo here is very reminiscent of his works with KC, very angular melody, it is a great touch. Darkness, fear and aggression are all very prominent here, not only in music but also in the lyrics: this is a description of tyrant's life and death... I find it to be very close to the actual events in 2022

4. Lost (11:13) - a) The Dance In Sand And Sea - b) The Dance In The Frost The first epic on this album (though almost each song by VdGG sounds like an epic) is in fact my favourite composition here. Why? Well, it has everything that makes prog so special to me. This may be the best example of showcasing different moods, changes of tempo, smart writing with melodies and dissonance, poetic lyrics, dramatic vocal delivery and flowing themes, some crazy instrumental sections (especially, those saxophone lines). It has a personal feel to it, somewhat romantic.

5. Pioneers Over C. (12:05) is a very spacey epic composition that starts minimalistically, almost ambient-like, but then shifts into several groovy sections, which are used for exploration of different sounds... Eventually the sounds (produced mainly by organ) strip down to Peter's vocals which are followed by chaotic instrumental section, which ends this track and album.

2005 Virgin remaster includes 2 bonus tracks: 6. Squid 1 / Squid 2 / Octopus (15:24) makes this particular remaster worth owning. It is a part of Pawn Hearts recording session, after the release of H to He... . This is one of the greatest live performances of that era, very tight performance, sometimes even brutal. It's a crime this appeared only in 2005, but it's a pleasure we have it now! Quick note: the song Octopus is the final track on Aerosol Grey Machine (VdGG debut/PH solo). However, the remastered epic is quite different, mainly due to sax addition.

7. The Emperor In His War-Room (first version) (8:50) just as Squid/Octopus has the-live-in-studio feel to it. The main difference from the one on original album is the absence of any overdubbs and Fripp's guitar playing.

This is an essential record not only for proggers but also for listeners in search of something impressive, adventurous, dramatic and imaginative. A masterpiece!

3.5 stars. Yes, I've been thinking for a long time about what the final score of this album should be, going between a weak and nondescript three and a quite confident four, in favor of which I made my final choice, tilting my average score of 3.5 for the better and that's why...

Indeed, let's be conditioned and accept the fact that this album has significant drawbacks in the context of comparing it with the later works of the Generator, which makes it possible to talk about it as if twice - in retrospect - in comparison with the "future" of the band's work in relation to it and as a separate, important, independent, non- generational record., and, let's say, Hammill's solo album. And throughout my review, for further reasons, I will adhere to both positions in order to ultimately, in order to avoid any dissonances in my own point of view, give a complete picture of this very remarkable work.

In general, this album in comparison with others has always been somewhat underestimated, just paled against the background of its younger brethren. And there are several reasons for this. Firstly, of course, the sound, which here is devoid of that purely Generator gloom and depressiveness, and secondly, the composition, which is not yet classical here, and in general, you are guaranteed to forget some of the participants after listening to the record. I will try to link both of these factors, starting with a rather objective clarification (which actually says to some extent for all the long- term mistakes of the album) that this work was originally intended as a solo album by Hammill In some places, the rest of the album's participants (who, with the exception of Hammill himself and some mysterious flutist Jeff Pitch, were about four) simply do not have enough space to realize themselves and their instrumental skills. This is especially noticeable in the organist Hugh Benton, who, often preferring the piano to his organ here, sometimes wants to be heard as a soloist, but this does not happen, and, with the exception of the piano solo stylized by Viennese Classics from the introductory Afterwards - we will talk more about the compositions later - he does not receive due attention. And although Benton, I believe, is akin to Tony Banks from Genesis, was not a virtuoso-oriented and speed- generous keyboard player, here you want to hear him more often and precisely as a "foreground" musician The same applies to the other members of the band - Hammill overlaps them with its pronounced poetic and musical personality. And of course, one cannot but say that the composition itself, the main core of which has already been formed here, is not complete, because there is neither David Jackson nor Nick Potter yet. And this has a lot of influence, because no matter how hard, for example, the former bassist - Keith Ellis - his parts are in any case quite plain and average. Of course, the best thing on this album is Hammill in full - a poet, songwriter, vocalist, guitarist and leader, who forms the sound of the band in a key way. Sound... It is, as many have already noted regretfully, not a Generator, which I will still argue with. Despite the obvious composition problem, in connection with which we can no longer get what, for example, was on Pawn Hearts, the sound of bands in a purely Hammill image is still very atmosphere and sometimes able to catch up with horror, and there is a lot to say about it. And then we move on to the compositions

The album opens with the "Afterwards" already mentioned above - an almost five-minute near-psychedelic work that immediately sets the listener up for a completely positive calm mood. This is already a good start - beautiful vocals, unhurried tinkling accompaniment of acoustic guitar and very gentle, high-pitched vocals of Hamill - everything you need for happiness.

The two-part "Orthenthian St." continues the line of this psychedelia, marked by the annoying accompaniment of Benton's "D" note and rhythmically clear Evans percussion in the first movement and the Pentatonic piano at the beginning of the second movement, in accordance with the change of mood of which you can already hear the first echoes of the future sound of Generator - rebellious, disturbing. Hammill's vocals here reach those intonations that he will later achieve in his best compositions like "plague of the lighthouse keepers...", etc. Otherwise, Orthenthian St. this is quite a good six-minute rock number

"Running Back", apparently written under the influence of folk music, and containing some pastoral, mysterious motifs - in itself is a very minimalistic thing in its composition, the best part of which is beautiful harmonic developments accompanied by guitar and solo flute (which in themselves perfectly harmonize each other with a friend) with Hammill vocals. In some places, the composition can create a very unusual mood, and therefore it is strongly recommended to pay attention to it when listening.

"Into A Game" is interesting to me as an example of a heavier, but, by the way, almost devoid of the previous anxiety Generator - something gives "Cat's Eye". I will note Keith Ellis' good bass line, which, combined with Evans' powerful playing, makes the composition more rock-oriented. And add here Hammill's aspiring vocals, which by the end is replaced by less noticeable, already more howling - and it will be even better. I will also note Benton's inconspicuous piano, playing in small seconds and leading its melodic line in the background.

Although "Aerosol Grey Machine" and "Black Smoke Yen" are different numbers, due to their short duration and, equally, low content, I will consider them as one whole, although the latter of them tends to the first rock epic of the album, as if preluding it. The first track will be remembered by you as one of the most optimistic things of the whole band's creativity, no more. But "Black Smoke..." is a pretty interesting number on, suddenly, 13/8. Evans plays triols, and Ellis' minimal bass complements it, according to which Evans somehow improvises. In general, I consider it necessary to consider "Black Smoke..." as a preliminary track to the next thing.

One of the central things of the album is the eight-minute semi-psychedelic "Aquarian" - a vivid example of emancipation, even a certain lightness, which, if you think about it, is not quite characteristic of the band even on this album, not to mention others. In general, Aquarian is built in the form of a rondo on the interaction of a verse and a chorus, in which Hammill's epic lyrics are replaced by a laconic organ. And only at the end of the composition gets a certain development, passing through a gradual crescendo, asserting from the former psychedelic mood some kind of lost ecstasy - the organs flirt dissonantly - and Hammill stops singing fantastic journeys and starts talking to himself - a similar Generator technique has been used more than once in the future - this is clearly seen on "After The Flood" or "A Plague...". A good thing and very memorable.

The beginning of "Necromancer" with its incomprehensible electric whistles smacks of Pink Floyd's wounds, and the main organ riff generally resembles Soft Machine with their "Lullabye Letter". In this psychedelia, Evans' metronomic playing saves, which, at the same time, generally takes 5/4 at first, only with the introduction of vocals switching to the song "square" 4/4. In the middle, the sound changes, Hammill takes long notes, we begin to feel the magic sung in the text in our ears and head.

One of the reasons that keeps many people from forgetting "Aerosol..." is his latest composition - the eight-minute Octopus, which is the darkest and most memorable thing on the album. The composition begins with a "twitching" ostinate riff, built on an interval of a small second - an interval, frankly, gloomy and very narrow - Ellis was able to realize himself as a minimalist bassist throughout the album. Hammill's alienated vocals also come in here, which often breaks down into his characteristic scream. Well, a kind of cherry on the cake here are Glissando-Benton's passages, which, to match the name, water waves will tremble - the theme of water depths will then be revealed more than once at Generator - you know where. The composition itself is quite long - in places all the music is given only to Benton - he takes a moderate pace, creating colorful landscapes with his organ, and his long, sustained notes - like water jets - deprive the composition of a clear structure, turning it into a purely expressionist opus all the perception of which comes only from the emotional mood of the listener. And only the same rhythmic pattern of the eighth percussion still leaves a reminder of wholeness in it, but it also goes back to the end, when the group, as in Aquarian, takes a rapid crescendo, and the organ takes even darker chords - no, not chords, but just clusters. This thing will be remembered for a long time.

Well, I have to admit, while I was listening to this album again for my review, I began to like it even more, because no matter how far from any other album this record would be, there are still a lot of good things in it, which I think it makes no sense to talk about again - otherwise if necessary, you can go back and reread my opinion recorded at the moment. In any case, I think that some compositions from this album, such as Octopus, for example, were so successful that they may well fit into the later work of the band, perhaps only yielding to it from an instrumental point of view - not from an atmospheric or lyrical one - the band always had everything in order with it - Hammill solo album after all... In conclusion, I will try to tell you who and how to listen to this album. Well, first of all, I strongly do not recommend avoiding this thing, even if you are not a fan of the band or are biased specifically about this work - it is worth your attention, do not think otherwise, please. It will be useful to note the importance of this work for those who are just planning to get acquainted with the band, without imagining what it is worth starting their acquaintance with - or for those who are just afraid to go to later albums for fear of blowing their roof off with this apocalyptic rock. Yes, this is also worth considering - the album is suitable for beginners for obvious reasons.

4/5 is a great album, not without flaws, but important and irreplaceable.

Review Nº 528

Van Der Graaf Generator is an English progressive rock band, formed in 1967 in Manchester by singer-songwriters Peter Hammill and Chris Judge Smith. They didn't experience much commercial success in the UK, but became very popular especially in Italy during the 70's. They went through a number of incarnations in their early years, including a brief split in 1969. When they reformed, they found minor commercial success with "The Least We Can Do Is Wave To Each Other" and their follow-up album "H To He, Who Am The Only One", where they stabilised around a line up of Hammill, Banton, Evans and Jackson. The quartet subsequently achieved significant success in Italy with the release of "Pawn Hearts". After several tours in Italy, the band split in 1972. They reformed in 1975, releasing "Godbluff", "Still Life" and "World Record", and frequently touring Italy again, before a major line up change and a slight rename to Van Der Graaf and the release of "The Quiet Zone/The Pleasure Dome". The band split in 1978. After many years apart, the band finally united at a gig at the Royal Festival Hall and a short tour in 2005. Since then, the band has continued as a trio of Hammill, Banton, and Evans, who record and tour regularly in between Hammill's concurrent solo music career.

The band's albums have tended to be both lyrically and musically darker in atmosphere than many of their progressive rock peers, a trait they shared with King Crimson, whose guitarist Robert Fripp guested on two of their albums, and guitar solos were the exception rather than the rule, preferring to use Banton's classically influenced organ and Jackson's multiple saxophones. While Hammill is the primary songwriter for the band, and the other members have contributed to his solo albums, the band arranges all their material collectively. Hammill's lyrics covered themes of mortality, due to his love from science fiction writers such as Robert A. Heinlein and Philip K. Dick, along with his self-confessed warped and obsessive nature. His voice has been a distinctive component of the band throughout their career. While the band has been commercially unsuccessful, they have inspired several artists across various genres.

"Time Vaults" is an album of Van Der Graaf Generator. It was originally released in 1982 on cassette only, almost four years after the break-up of Van Der Graaf Generator in 1978. Later it was released as a vinyl LP, and in 1992 it was re-released on CD. The album contains out-takes and rehearsal recordings from the period between 1972 and 1975, when the band was on a hiatus. The recordings aren't studio quality recordings. Among others, it contains the first rehearsals by the reformed Van Der Graaf Generator from 1975, and some pieces originally intended for their next album in 1972.

In reality, this is a collection of demos and rough mixes recorded by the "classic" Van Der Graaf Generator's line up, Peter Hammill, Hugh Banton, David Jackson and Guy Evans, between 1971 and 1975 in the "lost" period of the band, post "Pawn Hearts" and pre "Godbluff". So, "Time Vaults" aren't studio quality recordings. It was stressed by Hammill that "Time Vaults" was intended to be only for those who are already Van Der Graff Generator's fans. So, these recordings were first released for their fans on cassette, before being reissued several times by several record labels.

About the tracks, the pieces here range from songs in the typical Van Der Graaf Generator's style like "Liquidator" and "Roncevaux", to session like instrumentals like "Tarzan" and "Coil Night", to completely free sound collages like "Drift". The recording quality is sometimes quite modest. It only sounds good just in some of the most interesting pieces, such as the orgiastic "Roncevaux", the surprisingly psychedelic "It All Went Up", or the very badly "Black Room", the original form of a later Hammill's solo piece, rather dull, and where are strong overdrives and distortions. "Coil Night" has Peter Hammill playing bass guitar and Jackson playing the piano. "Rift Valley" contains a passage from "Meurglys III, The Songwriter's Guild". "Faint And Forsaken" introduces various themes from "Godbluff". A different version of "Black Room" appeared on Hammill's solo album "Chameleon In The Shadow Of The Night". "Faint And Forsaken" is a combination of "Forsaken Gardens" and "Faint-Heart And The Sermon" that are different versions which appeared on Hammill's solo albums "The Silent Corner And The Empty Stage" and "In Camera", respectively.

Conclusion: Since bootleggers were fetching high prices for Van Der Graaf Generator rarities compilations from fans, band's leader Peter Hammill decided to compile ten of the best tracks and give them an official release. Since some of the tracks were never even completed, some present day overdubbing was required, but according to Hammill in the liner notes, all dubbing was completed in nine hours, in order to stay true to the spirit of the venture. And, although the listener is warned that these aren't studio quality recordings, the overall sound is good enough. Besides, most of the people who would buy this album, in the first place they're Van Der Graff Generator's fanatics, who will be happy just to acquire this material. So, this collection is clearly aimed only to die-hard fans, to which the band practically presents themselves in their "raw state". If you want to get to know the band as a beginner you must start by their studio albums.

Prog is my Ferrari. Jem Godfrey (Frost*)

After investing many many hours into Van Der Graaf Generator, notably Godbluff and Pawn Hearts, I have to conclude I'm not a fan. They are a great band, just not my taste.

I'm not the only one who likes acts like Genesis, Yes, King Crimson, Pink Floyd but not VDGG.

I don't have issues with the fact that these recordings are daunting or complex. I also don't have issues with compositions that go all over the place. This is what I like about Larks Tongue in Aspic. But VDGG is all over the place in a relentless way. It's difficult for me to get a hold onto something. So difficult that I gave up.

While I do like Godbluff more than this album, I don't think it is fair I'd give it 2 stars. It is good and it has its place in prog. 3 stars from me.

Van Der Graaf Generator's Godbluff isn't easy listening. Even for prog fans. It requires you to invest time in listening multiple times to get into it. The music is heavy, the themes are heavy.

VDGG isn't for everyone. I can imagine people would look for other directions of prog instead.

Having said all of this, Godbluff is an impressive record. Consisting of 4 tracks, there are no weak spots.

My favourite tracks are Scorched Earth and Arrow. Especially Scorched Earth has a gripping tale about the horrors of war.

This album isn't up there with the great classics for me. But it is excellent. I give it 3 stars. A great listen for prog fans.

Seeing the mixed reaction for a latter-day album by one of my favorite Prog bands is always [I know, very specifically] interesting. I really had nothing to expect here. But right off the bat, there's something kind of hokey and AOR about the opener "The Hurlyburly". The organ is the enemy and the friend (strange to have such a weak song in retrospect as the introduction to the album, but... whatever). It doesn't sound like the VdGG that I love quite yet. Part of this may turn out to be the fact that there is no David Jackson. He always felt like a key figure. And that's an understatement. A classic example of a band (at least in their heyday) where truly all of the cogs worked together to make them sound like said band. No need to say it, but an ideal situation actualized in Van Der Graaf.

"Interference Patterns" feels a helluva lot better. Rolling and dark, this is it. And yet it doesn't sound like old hat either. I'm just happy it doesn't sound utterly flat without sax. Would have been nice if they had had a feature, I'd say.

"The Final Reel", I suppose as the name implies, is a melancholic song. This, as most all tracks on the album are, is driven by keys. Do love Hugh's style. Overall, the majority of the song is pretty static and flat. "Lifetime" is another sad and softie, but ultimately feels a lot more confidently 'itself'.

Guitar leads off on "Drop Dead". Some Heavy Prog/Prog-adjacent Heavy Metal with the organ reminds of Deep Purple or Aunt Mary(?). At least we have Hammill. Guy Evans also has some highlights here as well, but at the end of the day, not super for the track. Where they succeed in this heavier mode is "All That Before". Though initially dominated by Banton's organ, it is quickly led by beefy, virile electric guitar (thank you very much, Pete). A serious highlight. His soloing, even, is fresh as hell. A song that is bright in timbre, but ultimately dark in VdGG-style. Also, satisfying in its very slight compositional changes.

"Only In A Whisper" feels like a return to form following "Drop Dead". Dark and brooding, yet minimal. The keys reminded me of Kerry Minnear. I do like the feeling here, but another track that is a tad stale and static. Continuing in the brood is "Over The Hill", which, as we say in this household, is 'spooky kabuki'. Upward climb, even to something instead triumphant, with gospel-readied organ and crisp, soaring guitar. Is good.

Lastly, "(We Are) Not Here" is another return to classic VdGG. I'll gladly take this to send off any release. The icing on the cake is definitely the nice harmonies at the end.

Ultimately, there was enough to keep this album afloat to make it "Good"; but there was enough to keep it from being "Excellent".

For me this is the ultimate VdGG album. It has it all, the drama, the awkwardness, the edge... Never heard such vocals, Peter Hammil is an absolute genius, the voice goes up and down like waves of energy traspassing your ears, every word is pronounced with the right entonation to that specific word. There's poetry and artistical value in every inch of this piece. The last song must be one of the most powerful songs i've heard.

This is a total must for every prog fan, let yourself rest above those vocals and let the record drive, you will thank me later...

All the greatness that inhabits this album has been described in a thousand ways... and I will try to contribute with my perception.

"Lemmings" is one of my favourite VDGG songs. The instrumentation is at all times clever and subtle, giving a very precise place to the existential lyrics of the song. I feel that in their subsequent album "Godbluff" they have tried to copy quite a lot of the sound of this album. This magnificent song climbs second by second. It's not one to listen to unfocused or doing anything else. VDGG's music has always been very special when it comes to subtlety and here it is more than demonstrated. The flute makes for some divine arrangements and the collaboration with Robert Fripp makes me like this album even more.

"Man-Erg"... Okay, this is really a song to listen to at full volume. The song starts with a piano that seems like it will introduce an Elton John song but then it starts to sound like one of the best works of this sub-genre. I love the part where the organ makes a small appearance to start (as if it were an introduction) the battle of the other instruments (saxophone, guitars and vocals). The lyrics are simply fantastic: a duel between good and evil set in the last instances of life, supported by an incredibly wise and defeatist instrumentation. The almost total loss of consciousness. This song really possesses an admirable degree of maturity.

"A Plague Of Lighthouse Keepers" is one of the greatest songs in music history. My favourite song of this band. It starts digestibly, with an interesting riff and a lyric that follows the concept of the album, but little by little it grows in atmosphere and grandeur, showing a "powerful" human being sheltered in an island illuminated by lighthouses in the middle of nowhere and protected by many keepers that little by little are falling (the grace of the song is to imagine what or who is what kills all of them and corners the protagonist to death). The fusion of the keyboards with the guitars, the subtle and correct interpretation of the drums, the creativity to use each part, the end of the song representing a part of the journey that awaits us after we die and other aspects make this song perhaps the best of all VDGG's discography, just as this song makes the album the best of the band.

45 minutes full of musical intelligence and compositions that will surely influence you for the rest of your life if you are destined to be a progressive music enthusiast.