DO NOT DISTURB

A good album, but nothing spectacular. There are beautiful melodies and great moments here and there, but the album, as a whole, lacks force. The good old VDGG still this note here, with the creativity of harmonies, melodies, rhythmic session, complex times, elegant arrangements, beautiful lyrics. Also it is a very well recorded album. What makes me give only 3 stars, as I said before, is the lack of strength, lack of vitality of the musicians in the performance of these good compositions (which is forgivable given the age of the guys). Listen to this album gives a certain sense of want to hear it live, with more energy, more powerfull. But still it's an album that's worth for every lover of VDGG / Peter Hammill. In short: another decent album from a band who almost makes no mistakes.

Ps: Sorry friends. I was wrong about the bonus track. As I downloaded the album on the Internet, it came with the title of Special Edition, with the bonus track. I did not mean to spread rumors, I just believed in what I downloaded. I retreat the wrong information, I apologize to the band and the fans, I should have researched on the internet about this issue before publishing the review. No more, I keep my review.

I have been a VDGG fan for nearly a decade now and each time they do a release I wonder if it will be their last.

My wife hates them, which has given me pause, mostly about my wife's taste and the either direct or indirect reflection of said taste in relation to my personal characteristics. There can be nothing about me that is any better than this, VDGG's most recent cd, so I am in no way able to really assert as to the sanity of my wife. Therefore, I cannot fairly consider her judgement of Do Not Disturb as being of any significance. I do hope that she does not leave me over this.

Anyway, this is an incredibly well conceived and recorded group of songs. No, there is no modern version of Plague, but why should there be? We already have that. No, this time, we have medium length, but very dense songs. Incredible melodies, odd singing, crazy rhythms, wonderful textures, and a sense of uncertainty and confidence that only seems to come with age.

I generally prefer the non-guitar tracks as that "who needs guitars as a main instrument" vibe without the silly keyboard antics of other acts (they know who they are) is what initially drove me to love their early 70s work.

I truly hope this is not their last. But if it is, I wish I could live forever so I could listen to it more.

P.S. In-case this helps give you context of my opinions expressed somewhat unclearly above, the only work of theirs that I consider less than at least 4 stars is, well, there are two; Present and Alt.

Have a nice day (if you want to; I certainly have no authority over you; it is only a suggestion).

Is this VDGG's final act? I would be very surprised if this isn't their last studio album, especially with how reflective this album is and the lyrics seem to point to this. I think for me that's part of my faults with this record as it comes across almost like a dirge overall with the vocals being the focus much of the time. Some have said this is more like a Peter Hammill solo album which I can appreciate. On the final track "Go" Peter sings "Time to leave, close the door" and it ends with these final words "It's time to let go" and I have to say this is a sad record, it really is. Of course even the album's title and cover indicate retirement.

David Jackson is not here so they're a trio like on the last album. They have added a lot of complex passages despite how reflective this often is which is why I picked this up in the first place, I was curious. "Present" was their first comeback album and by far my favourite of this last period of the band. I also have to say that there's a line in the song "Alfa Berlina" that for me sums up why so many bands from the golden era fail to make anything close to what they did when they were young and those words are "But when I think about the way it was we were recklessly alive." That fire and passion of youth and just starting out can't be bottled or bought and it's rare, really rare to see in an older band.

"Aloft" and the next track are my two favourites. This starts out as one of those reflective songs as fragile vocals join the relaxed guitar and cymbal melody a minute in. A change though after 2 1/2 minutes as it picks up with organ, accordion, drums and vocals. A third theme arrives that's nastier and more passionate. That second theme is back at 4 1/2 minutes before the opening theme returns to end it at 6 1/2 minutes. An inventive tune. "Alfa Berlina" is experimental to start with lots of samples. Spoken vocals in atmosphere will take over before we get the main melody before 1 1/2 minutes. The lyrics are so meaningful. A change 4 minutes in as it turns experimental and sparse again and the spoken vocals return like earlier. Back to the main melody a minute later. "Room 1210" is mellow with piano, cymbals and reserved vocals. Accordion and drums join in as well. It kicks in before 1 1/2 minutes with a brighter mood. It continues to change though as it calms down after 3 1/2 minutes.

"Forever Falling" is one I can't get into. A catchy beat to start as the vocals join in. The vocals are faster paced 2 minutes in as is the punchy instrumental work. Back to that opening theme before 4 minutes to the end. "Shikata Ga Nai" is almost haunting, kind of exotic too while a chamber music vibe is felt in this dark piece. "(Oh No! I Must Have Said)Yes" is one I can't get into with that abrasive sound with heavy drums. It changes though to a surprising jazzy motif before 3 minutes but then this abrasive guitar starts to come and go over top that I don't like. "Brought To Book" is mellow with a beat, piano and reserved vocals. Organ and drums arrive as it picks up around 2 minutes, vocals too. Back to the opening theme a minute later then it kicks in to a higher gear but the tempo will continue to shift.

"Almost The Words" is a sad dirge-like tune with sad vocals, piano, percussion and atmosphere. A change at 4 1/2 minutes as fast paced keys and drums take over as multi-vocals come in over top. The organ kicks in before 6 1/2 minutes with prominent bass and drums. I want more of this last part because I feel that's what's missing here and these guys can deliver but I think it's more about the farewell. And speaking of farewell the final song is "Go" which opens with spacey organ and sounds before these fragile vocals join in around a minute.

A sad and reflective album that doesn't scratch that itch for me but it comes across as being a must-have considering the circumstances. For the music 3 stars for lyrics 4 stars.

Van der Graaf Generator returned in 2016 with Do Not Disturb. I've read some mixed messages online about whether or not this is officially the band's last album or not, but it has a sense of finality to it. The band is still together, and they're still touring, but they may not be recording anything new anymore. (Hammill, though, is still pumping out solo records.)

Do Not Disturb opens on the gentle, nearly-Floydian guitar of "Aloft". This calls to mind some of Pink Floyd's more pastoral moments, like "Fat Old Sun" or "Fearless". But Hammill's voice is unmistakable. When Banton's organ comes in, it's a classic Van der Graaf line. The melody is dark and distinctive, though I'm not crazy about the inclusion of the melodica(?). This track runs a bit long, but the underlying composition is strong enough to forgive the extended runtime.

"Alfa Berlina" starts with some strange vocal effects and ambient traffic noises. As the verse gets going, it's a simple arrangement of Hammill's voice over a basic backing of organ and drums. It's a bit bland, but not bad. "Room 1210" is piano-based and keeps a similar, slow pace to start. It eventually shifts to a more distinctively-Van der Graaf riff, and continues to move back and forth between this section and the prior piano passage for the rest of its runtime.

"Forever Falling" sounds almost like a Dire Straits song at first. The particular guitar and organ tones are quite Knopflerian. Harsh, dissonant passages cast that comparison aside quickly enough though, and jittering instrumental antics make the track feel much more distinct. 

Following the brief, airy instrumental "Shikata Na Gai", "(Oh No I Must Have Said) Yes" kicks off with a tumbling distorted guitar riff. Hammill's guitar suffers from its usual lackluster tone, but the underlying passage is decent. There's a quirky, early-Devo-like quality to parts of this track, balanced against the more trudging main theme. The song's midsection is much quieter and features some drawn-out guitar noodling before closing out on a reprise of the main riff.

The first half of "Brought to Book" is a somewhat dull, jazzy piano piece. As organ and guitar enter in the second half, it improves somewhat, but it remains generally unimpressive. "Almost the Words" is almost the same as the preceding cut, though I like it more.

Do Not Disturb ends with "Go". A somber organ is the main focus of this piece. There's a sense of gravity here, and though it doesn't stand out in isolation, it's a fitting way to end their career, if indeed that was their intention.

Review originally posted here: theeliteextremophile.com/2023/07/10/deep-dive-van-der-graaf-generator/

Do Not Disturb finds the trio lineup of Van Der Graaf Generator (Hammill, Banton, and Evans) in a sombre, reflective mood. Whilst "gentler, mellower VdGG" has been the focus of the band's post-reunion studio albums ever since Present, this takes the idea further than ever before, with a jazzy, melancholic approach which suggests sunsets, reflection, and perhaps an end to the band altogether.

Certainly, as of the time of writing we've hit the longest gap between studio albums since the gap from The Quiet Zone/The Pleasure Dome to Present, even if you set Alt aside, and whilst the gang still are active from time to time for gigging purposes, Peter Hammill seems to be more engaged with solo projects and other collaborations than with VdGG these days. If this is their swansong, it's far from embarrassing - it's perhaps the best studio release of the reunion age - but it's no classic, and as with all the reunion albums it lacks the fire of the group's 1970s prime.