OVER

The Quiet Zone" was not precisely my favorite VDG(G) album and I was a little afraid before listening to this "Hammill" album. But maybe that this fear was not justified.

And once again, the magic operates. In the old fashioned way for "Crying Wolf" and in a more modern way with "Autumn" which leaves the main role to the violin of play instead of the sax's one. But of course, Peter's role is also a major one.

He is such an artist who impregnates your senses to the bones, such a conviction, such a powerful seduction. At times, he might sound too desperate while vomiting his lyrics; but at times he is so emotional and subtle like during this great "Time Heals". A unique and grandiose song.

One already knows quiet well his tendency to darkness, so you can imagine how he could feel after the collapse of his marriage. A (too) late and vibrant homage to his (ex)wife in which he depicts himself maybe too much as a victim is of course the most personal song Peter has maybe ever written. Minimalist (him and the acoustic guitar), this style perfectly fits the story. Serious and solemn.

The melancholic violin sounds almost joyful during "Looking Glass", which is in perfect contradiction with the extremely sad lyrics. Of the darkest ones. A profound sadness and a perturbing feeling is palpable every second of this dramatic song. Peter is desperately lost.

This album seems to be one a dramatic, desperate novel during which the reader-listener is conveyed to watch-listen to the several episodes of this catastrophe. This album is really a lyrics affair. Music only seems to sustain these and in a certain way, is seriously over-shadowed. Under these circumstances, the violin use and its crying sound was probably more appropriate than a heavy sax. But maybe that Peter didn't think of the flute.

It is true that these combinations vocals/violin or vocals/acoustic guitar almost all the way through might be considered at times as monotonous. But again, the main factor here is the storyboard.

One of the few positive wordings appear as the last line of this album: "Everything's going to be alright?" but when one sees the question mark that is attached to it, one can get some doubt on Peter's "optimism.

It is not an easy album to rate. Between two and four stars, according the importance one leaves to the lyrics. These ones are always impregnated with some fever, distress, power and anger. "Lost And Found" is the final consideration of this drama.

Seven out of ten.

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