VAN DER GRAAF GENERATOR

The last time D. Jackson left the band in early 1977 was almost simultaneosly with H. Banton, forcing P. Hammill and G. Evans to reinvent the group, adding new musicians and coming up with a sound quite different from all previous VdGG incarnations. This time, however, following the Present Tour of 2007, Banton remained in the band so they continued as a trio. And quite unusual trio at that, consisting of drums, organ and piano (with occassional guitar). Although Banton's organ was always a "trademark" of the VdGG sound, Jackson's reeds were equally important, so the question many fans (including myself) asked was how this new trio configuration would cope with this deficiency. The first time I heard "Trisector" I did not like it. I badly missed Jackson's mad saxophones and gentle flutes, while somewhat modernized sound did not draw my particular attention. So, I shelved this CD for many years.

Recently I decided to revisit some old VdGG albums and especially those I have not reviewed so far. For this purpose I listened again to this album three times in a row (a pun not intended) to see what I might have missed earlier. Quite a lot, I can say now!

As if to prove their coherence following the loss of a key member and to address the problem signified by the album title, all songs but one are credited to the whole trio. First, there is an odd couple of songs that invoke "punkish" attitude in using heavy and dirty riffs of electric guitar and standard rock beat. The opener instrumental "Hurlyburly" is kind of passable track with its guitar tremoloes, sounding like the Stranglers of the mid-1980s attempting to play early 1960s surf. Would probably fit better somewhere else on the album and not as the opening one. "Drop Dead" is much better and is perhaps the first VdGG pop song so far, the one to which you could easily dance to and singalong, thanks to its hard down to earth 4/4 beat. With punklike angst Hammill, who is no stranger to this kind of style, yells "drop dead" while elaborating on the retreat of masculinity and its obsolecence in face of the coming feminine power.

Then, there is a killer duo of songs that are in a way connected with the album title and artwork and that tackle another band's favourite topic - science. Both "Interference Patterns" and "(We Are) Not Here" contain some typical VdGG musical madness of complex and loud interplay between organ, piano and guitar, and these are probably the moments when absence of Jackson's saxes is felt most strongly. From "wantonly quantum" musings about the nature of reality that is illusory and made of particles and waves to the disturbing thought that we as beings are not really here, these two songs epitomize the "progressiveness" of this band to tackle unusual, disturbing and difficult topics. Still, "Interference Patterns" is somehow deluded by the preceding surf-like instrumental and would better sound as a strong opener, but retaining the introductory machinery noise that also conclude the album after the final track.

On the more slow tempo front there is excellent "The Final Reel" with irresistable melody and beautiful organ providing dark mood for the story about a doomed couple "facing their decline". Then follows a slightly less convincing but nonetheless fine tune "Lifetime" (the one penned by Hammill only) whose more personal and emotional lyrics are nicely backed with yet another tremolo-like effect on electric guitar.

Excellent quality of compositions continue with "Only In A Whisper", a jazzy number featuring only drums, piano and bass guitar (played by Banton). Yet, I don't like Hammill's vocals when he seems to struggle with getting some higher notes. "All That Before" returns with more dynamical and aggressive sound telling, in a slightly humoristic way, about an elderly man suffering from memory loss in everyday living while surrounded with modern mobile communication technology.

And finally, the epic-long 12 minute "Over the Hill" does not impress me much. It is too long and boring at times. As if trying to reconnect with their past, this track contains elements that sound similarly to some parts of "Childlike Faith in Childhood's End" or "Pawn Hearts", but I could easily skip it because it brings nothing new to the album. No, it is not bad song by any means, it just isn't my cup of tea in this context.

So, in retrospect this was surprisingly good album given that it was the first one recorded by the trio line-up. And that trio was to continue performing and recording more wonderful and enjoyable music on the albums to come.

The classic VdGG quartet line-up (Banton-Evans-Hammill-Jackson) never got to release a live album during their peak in the 1970s. Instead, we got "Vital", which represented a quite different group (VdG) with different sound (exit organ and saxes, enter violin and electric guitars, especially bass). So, almost 30 years after their break-up, the quartet finally releases a live recording of their entire opening night of the tour promoting their comeback studio effort "Present". An exciting and nostalgic event for sure, the one their fans were impatiently waiting for all these years, and in the hindsight, given that the band would soon to be truncated to a trio, this was probably "the moment" in history to be preserved and cherished, perhaps never to be repeated again.

Performance is excellent, no doubt, despite the fact that they probably sounded much better later on as the tour rolled on. Yet, there is a noticeable weakness in Hammill's voice, due to recent surgery, particularly on older material such as "Refugees" and "Killer" where he struggles unsuccessfully to reach higher notes. Also, Jaxon's sax sounds as if loosing compass on the latter song and seems to improvise too much throughout the album. But, these are minor complaints. The album as a whole shows the band in a strong instrumental mood while Hammill often engaged in a emotions-filled dialogue with the audience during breaks.

The setlist includes well-known songs from their best studio albums (the focus seems to be on "Godbluff" and "Pawn Hearts") from the past, as well as two highlights taken off "Present" album - "Every Bloody Emperor" and "Nutter Alert", the former already being established as a Graaf classic song, in par with their best moments from the past. And "In the Black Room" finally gets to be recorded and released on a VdGG album, having appeared only on the 1973 Hammill's solo record "Chameleon in the Shadow of Night", but being recorded by full band (including Nic Potter on bass!) for a post-Pawn Hearts VdGG album that never was. In short, a historic recording of the "classic quartet" line-up, responsible for creating some of the best, the darkest, the wildest and the most daring music of the entire "prog" scene and beyond!

"Vital" is indeed a strange beast within the Van der Graaf Generator canon. Very much a love it/hate it effort, it marked the end of the band in their classic 1970s period. But, what everyone seems to agree about is that this double vinyl live record presents the band in their most aggressive, brutal and extreme offering.

Long time ago I had an oppportunity to borrow this LP and listen to it a few times but was not much impressed. I even thought at times that it was absolutely horrible sound-wise, except for wonderful "Mirror Images", which was far superior as performed here than in the studio version on Peter Hammill's "Ph7" solo album, not least due to fantastic Nick Potter's bass playing. Perhaps it was the murky production, bad mixing or whatever, but the sound was pretty irritating. And although I had already been acquainted with many punk rock classics, this VdG version of it did not make much sense to me.

Fast forward to the digital millenial era when VdGG not only re-formed in their classic line-up, but when their back catalogue saw digital remastering courtesy of Virgin Records, who had acquired the rights to old Charisma label. This 2005 double-disc release of "Vital" sounds far more superior and cleaner than the original 1978 vinyl record, thanks to Peter Hammil and the band who supervised digital remastering of the old tapes produced by drummer Guy Evans. Unfortunately, sax wizard Dave Jackson (who was briefly back to the foil following his departure in early 1977) is still barely audible on several tracks, but as he explains in the liner notes, this was due to technical problem during original live recording process when Jackson's entire audio track was deleted, so Evans tried to pick up the traces of saxophone from other available tracks. Nonetheless, the sound is amazingly heavy, with Potter's fuzzy bass up front in the mix (which I like), often at the expense of other players (which is not very good). Besides him, Hammill shouts and screams and slashes electric guitar with his imperfect playing in a way "MC5 meets Sex Pistols", while violin virtuoso Graham Smith often provides lead melodic lines instead of absent keyboards and buried saxes, particularly in older songs. Newcomer Charles Dickie's cello provides some nice backing to several tracks but his credited keyboards are very hard to detect.

Actually, when considered in a broader respect of Peter Hammill's entire career, "Vital" now seems much more consistent with his experiment-minded spirit and his urge to make "pop music" in rather unconventional ways. At the time when this album was recorded (January 1978) many other prog rock bands (with which VdGG were often lumped together rather supeficially) became caricatures of themselves, either losing ideas entirely or going pop-mainstream-arena. Hammill and VdG embraced punk and new wave instead, using these trends to facilitate their own expressions and ideas and to offer them to new and diverse audiences. In a way, Hammill was even considered an early progenitor of British punk with his "Nadir's Big Chance" solo LP of 1975, and according to some sources he even coined the term "punk rock", at least in UK, two years before rock journalists adopted it during the 1977 Pistols craze. In the early 1980s Hammill formed the K-Group with VdG rhythm section Evans/Potter and John Ellis, ex-guitarist of the British punk rock band the Vibrators, whose 1977 album "Pure Mania" should have been considered one of the classics of the genre. This excellent line-up backed Hammill on his several solo LPs and live gigs providing an uptempo post-punk new wave sound. Shortly before that in the early 1980, Hammill appeared as a guest (along with Robert Fripp!) on the Stranglers concert dedicated to their imprisoned vocalist Hugh Cornwell, singing "Tank" from their acclaimed (and probably most downright punkish) "Black and White" album. Taking all this into account, "Vital" seems more natural product of the late 1970s when genres and styles blended and influenced each other back and forth.

Now, back to the CD. Practically all songs, apart from some older material, are killer versions of their studio counterparts (either VdG or Hammill solo albums). Medley of "Lighthouse Keepers/Sleepwalkers" and "Urban/Killer" does not work well, but "Pioneers Over C" instead is excellent even if prolonged to 17 minutes. Roughly half of the album ("Ship of Fools", "Mirror Images", "Sci-Finance", "Door", "Urban" and "Nadir's Big Chance") consists of tracks that are premiered on a VdGG album, so for this reason only every VdGG collector should own it. And since these are performed in a "most extreme" way, "Vital" is also an album that every punk rocker should have in his/her prog collection!

It was nice to hear VdGG reforming in 2005 and giving us a new 2-CD set, Present, with the classic lineup, Peter Hammill, Guy Evans, Hugh Banton and David Jackson. Unfortunately this album really left me cold. Now I don't expect it to be on the level of H to He Who Am the Only One or Pawn Hearts, even Godbluff, besides how can you? Those were very difficult to top by any standard. But at least still make the music well worth hearing. I realize this was 2005, not 1971, so I expect a bit of an updated approach, which I do get here. Except for "Every Bloody Emperor", with some really scathing lyrics on politics (recording during the middle of the George W. Bush administration in the States), the rest of the album really felt like they simply didn't have it in them. The second disc seems to get the most maligned as apparently VdGG doesn't do to well as an instrumental outfit (although they were responsible for a killer rendition of George Martin's "Theme One", which appeared as a single, but this was back in their early '70s glory days). That same reaction gets applied to ALT, the instrumental companion to A Grounding in Numbers. Nothing on that second disc to Present leaves an impression on me so I can see why reactions to their instrumental stuff isn't so hot. But to me I didn't find them any worse than the vocal numbers on the first disc.

To me, I really think Van der Graaf Generator could have done better, given their track record. I know they didn't have to be just like Pawn Hearts, nor do I expect anyone else to think that, but they could do better than what they did on Present (I hadn't hear the others they released since, though).

A Grounding in Numbers marks a slight change of direction for VDGG and this change of direction is evident in both the lyrical content and the musical changes occuring throughout. It is their second album as a trio after saxophonist David Jackson left the group and the absence of saxophone on this album was a very important change of direction for the group. Guitar parts are more prominent than ever here and the production is far less bulky due to no brass instruments clogging up the mix.

'Your Time Starts Now' is an archetypal Hammill ballad full of Hugh Banton's droning organs, Guy Evans' tranquil dirge-esque drum fills and wistful displays of lyricism. For a progressive rock group to start their brand new album with a ballad is, generally speaking; a bold move, - nonetheless it works well here. 'Mathematics' is a short song where Banton's organ swirls are the dominating factor, much like the 'Still Life' VDGG-period. 'Highly Strung' is a fast-paced bolshy rocker which wouldn't be totally out of place on a Hammill solo album ala Nadir's Big Chance, - the lyrics deal with the stream of consciousness one undergoes whilst experiencing a panic attack and the accompanying music is also very busy and cluttered. 'Red Baron' is a nice little ambient piece which allows Banton and Evans to take centre-stage for a little while. Temporary relief from the harshness of VDGG rockers is, however, very short-lived, as it is followed by 'Buncho' which is probably my least favourite on the album due to it sounding awfully cluttered and directionless. 'Snake Oil' is a massive improvement, clocking in at around six-minutes. The second half of this track is among some of the finest moments in VDGG history, showcasing dynamic syncopated rhythms in multiple odd-time signature and tempo- changes, - not totally disimmilar to that of 'Man-Erg' from Pawn Hearts. 'Splink' is another ambient instrumental piece with a fairly strong opening melody; however quickly it vanishes into nothingness. 'Embarassing Kid' is another bolshy Hammill-led rocker with tons of aggression and focus. 'Medusa' is a nice ballad which feels underworked as the opening three minutes have a lot of potential and could have easily been developed into a longer piece. 'Mr Sands' is my personal favourite on the album, - for it never becomes stale and oozes with strong riffs and syncopated rhythms throughout. 'Smoke' and '5533' seem to submerge into one another, - the former being a three-minute quasi-80s disco track with odd vocal melodies and whispered lyrics whereas the latter is perhaps slightly more futuristic, fitting with the esoteric space-age theme of the lyrics. 'All over the Place' finishes the album off and it's one of the longest tracks on the record. It starts nicely with gentle harpsichord layering before dwindling away into a fairly mediocre mid-section. Thankfully the track redeems itself with a fairly stonking organ riff which closes the album nicely with a punch.

Overall, a varied and eclectic mix of VDGG's talents, - however none of them are truly embraced to the fullest leaving the listener perhaps a tad disatisfied. One of their most jumbled releases to date which is full of great ideas but seldom do they truly come into fruition. An album that VDGG purists will very much enjoy but newcomers will more than likely be uninterested.

Review Nº 108

After Genesis, Yes and Pink Floyd, in my humble opinion, Van Der Graaf Generator is with Camel, Jethro Tull, Emerson, Lake & Palmer, Gentle Giant, King Crimson and Rush, one of the best 70's progressive groups and is also one of the bands that most influenced the movement of the progressive rock music. Van Der Graaf Generator was formed in 1967 at Manchester University, but soon they were settled in London. They quickly become a celebrated progressive rock band with a very dedicated cult following. However, they never achieved the fame of many of their compatriot bands.

'The Quiet Zone/The Pleasure Dome' is the eighth studio album of Van Der Graaf Generator and was released in 1977. It's an album that marks several, severe and profound changes into the group and into their music too. In the first place, the band shortened their name to Van Der Graaf, which wasn't a usual thing. In the second place, at the end of 1976, following their previous studio album 'World Record' released in 1976, first Hugh Banton and later David Jackson departed from the band. In the third place, the previous bass player of the group Nic Potter returned to the band, supposedly to replace Banton. In the fourth place, the violinist Graham Smith formerly member of the progressive folk band String Driven Thing was called to replace Jackson. Finally, the last but not the least change, 'The Quiet Zone/The Pleasure Dome' was Van Der Graaf Generator's last studio album before their 2005 reunion. Thanks God it happened.

'The Quiet Zone/The Pleasure Dome' has nine tracks. All tracks were written by Peter Hammill except the sixth track 'Cat's Eye/Yellow Fever (Running)' which was written by Hammill and Smith. The album is clearly divided into two distinct parts, 'The Quiet Zone' and 'The Pleasure Dome'. The first part, 'The Quiet Zone' has four tracks. The first track 'Lizard Play' is a song with some very peculiar rhythm and with a very interesting violin work. This is a good song to open the album and telling us that the band's sound has changed. The second track 'The Habit Of The Broken Heart' is also a good track and is essentially an acoustic song commanded by acoustic guitar. The sound of the organ is very subtle, quiet and nice. The third track 'The Siren Song' is a song very calm and beautiful conducted by piano and violin. It's a very melancholic and acoustic song with deep vocals and a nice violin work. This is a song where the sound came direct from the past keeping the same dark musical atmosphere from their previous albums. Somehow, it seems to me a kind of a reminiscent of 'Pilgrims'. The fourth track 'Last Frame' is another song, and like the previous track, also makes a return to the past. It's my favourite track on 'The Quiet Zone' side of the album. It has a great Smith's violin work with some acoustic parts, and is also a song with a very dark musical atmosphere which makes of it a truly fantastic track to close the first part of the album. The second part, 'The Pleasure Dome' has five tracks. The first track 'The Wave' which opens the second part of the album is a very calm, melancholic and a beautiful song in the same vein of Van Der Graaf Generator's songs with good lyrics. It's very well sung by Hammill, and it's also conducted by piano and violin. This is the shortest track on the album, very melodious and tranquil. The second track 'Cat's Eye/Yellow Fever (Running)' is my favourite song on the album. It has a fantastic violin work which fully demonstrates the technical virtuosity of Smith with his violin, which raises this song to the perfection of a masterpiece. This is a very frantic song very heavy on violin and bass and with a kind of an excessive vocal approach by Hammill. By itself, this track deserves the purchase of the album. The third track 'The Sphinx In The Face' is the dynamic rocker song on the album representing in a way the Van Der Graaf Generator's heaviest moment on it. The fourth track 'Chemical World' is another good song on the album, with good working on violin by Smith and it has also a good classic guitar melody. This is a very dark song with a moody sound that helps to give to the album a very unique feel. The fifth track 'The Sphinx Returns' is a reprise of 'The Sphinx In The Face' and concludes and closes the album in a very interesting way.

Conclusion: After take a look at various reviews of the album, it's interesting to note that there are different points of views. Not so much about the quality of the album, in general they're favourable, but about the favourite side of the album and their best songs. For me, 'The Quiet Zone/The Pleasure Dome' is a very good album of Van Der Graaf Generator but it's also a strange and an exotic album. It's musically divided into two parts and has a different sound mainly due to the changes into their line up. Despite 'The Quiet Zone' and 'The Pleasure Dome' be two distinct parts, the album is very balanced in its quality level. My favourite tracks on the album are 'The Siren Song', 'Last Frame', 'The Wave' and especially 'Cat's Eye/Yellow Fever (Running)'. In relation to the changes into their line up, it's clearly evident the lack of the keyboards of Banton and the saxophones and flute of Jackson. However, both Smith and Potter made a terrific job. So, for me, it remains a great work of the group, especially in that historical and critical context.

Prog is my Ferrari. Jem Godfrey (Frost*)

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.

As the second album and the first proper [or progressive] work by an extraordinary band on the way of finding its real outstanding essence, this is to VDGG's discography what Trespass is to Genesis, VDGG's labelmates in the newly found Charisma. I have given the latter a full rate here (which I maybe shouldn't have done, on second thought), but to me personally The Least We Can Do doesn't quite have the same aura of a classic criminally overshadowed by the albums that followed it. Nor is the artistic progress from the debut quite as impressive as in the case of Genesis, even if Aerosol Grey Machine was originally intended to be Peter Hammill's solo album. Further similarities with Trespass: both contain six tracks (3+3) and are produced by John Anthony. The Least... was recorded in December 1969 and was released in February 1970, whereas Trespass was recorded in the following summer and released in October.

The long title is adapted from the words "We're all awash in a sea of blood, and the least we can do is wave to each other" by John Minton, a British painter. The apocalyptic theme -- captured also in the cover art -- refers mostly to the final track 'After the Flood', in which Hammill cites Albert Einstein, who was worried about the arms race of Americans and Russians. Quietly starting 'Darkness (11/11)' opens the album effectively. I've always wondered about the '11/11'; Wikipedia says it comes from being written on 11 November 1968. 'Refugees' stands out in the VDGG output as a romantic ballad that Hammill wrote for his ex-flatmates Mike and Susie. It's very accessible also for the vocals, and its slightly sentimental passion is impressive. The mysterious 'White Hammer' was inspired by Medieval witchcraft; genuine VDGG all the way! The whole A side is excellent, but the B side is more uneven.

The title 'Whatever Would Robert Have Said?' refers to Robert J. Van de Graaff, the inventor of the Van de Graaff generator that the group took their name from. This is the least succesful track on this album, I think. 'Out of My Book' is even more tender and "pretty" song than 'Refugees', perhaps a bit lame but beautiful nevertheless, especially for the flute of David Jackson. 'After the Flood' is doubtlessly the most progressive and strongest composition of the six. However, it's not among my favourite epics from VDGG. All in all, what was to follow is SO much more impressive that this deserves "only" four stars.

Would Give a 4.5 But Can't. Hot off the trail of their second album "The Least We Can Do...", Van Der Graaf Generator comes at the listener with full force in this epic 45 minute album. Although it is still a little rough around the edges, this album can be considered as one of VDGG's best. Song topics include feelings of depression and loneliness (aka an everyday walk in the park for Hammill).

Killer starts off the album, and it does so flawlessly. This track, about a shark who kills everything and then gets lonely, is considered a staple of the band's live set, and a staple of their discography in general. Its a jarring, proggy mini-epic that deserves all the recognition it gets.

The House With No Door slows things down a bit, though still discusses the same depressing topic as Killer. I personally prefer this track over the former, but both are amazing. This track is piano and vocal-led, and features some of Hammills best vocal performances to date.

The Emperor in His War Room is the next track, and an epic one at that. Fun Fact: This track features King Crimsons Robert Fripp on guitar, and boy does he play his guitar. The inclusion of Fripps searing, epic solo was a smart choice on the bands part to evolve the sound of the song that much further. The song itself has an interesting topic matter: It is about an emperor who tortures people and starts wars, but the ghosts of those he killed come back to haunt him. Amazing track.

Lost is another great track, if not a little too long. It may drag at times, but man, this track is amazing, Featuring some of Hammills most straightforward songwriting, the band had to go back and add instrumental passages to add to the song length and depth. An amzing and strange track, but like I mentioned, they could have cut the song length by 2 minutes and still gotten the point and effect of the song across.

Pioneers Over c is a nice epic and a great way to end an amazing album. I have the same problem with this track as I do with Lost, though, I feel it can drag a bit at times. Nevertheless, it is a great track and a great addition to the album.

I hope you enjoyed my review of H to He, Who Am the Only One! - Scorpius

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).