Author: Peter Podbrežnik
Artist: Van Der Graaf Generator
Label: Charisma Records
Release: 1977
Running time: 54:02
Rating: 4.5/5
In the late seventies, when access to information and the flow of it were far less intense than today, it wasn’t unusual for plenty of music fans to be genuinely stunned when their favorite act dropped a new record completely out of the blue, especially if it happened after everyone had already assumed the band was done. That’s exactly the kind of surprise that hit many followers of prog rock giants Van Der Graaf Generator. At the end of 1976, after the release of the brilliant »World Record« and the departure of organist Hugh Banton, which meant the (temporary) end of their classic lineup, plenty of people were convinced that the story of one of the most visionary rock groups of the last century was over for good.
But the members of Van Der Graaf Generator hadn’t ‘thrown in the towel’ in the meantime, and under the shortened name ‘Van Der Graaf’ they got down to writing new music. In Banton’s place came violinist Graham Smith (ex-String Driven Thing), whose fiery string arrangements brought yet another thoroughly fascinating sonic evolution to these eternal musical experimenters. At the same time, an ‘old acquaintance’ returned to the fold: bassist Nic Potter (sadly no longer with us), who had last left his mark as a VDGG member on the album »H To He, Who Am The Only One« (1970). With his temperamental bass guitar lines, he did a solid job of replacing the usual contribution of Banton’s bass pedals. Potter and Smith were invited into the band by the unofficial VDGG chieftain, cult singer/main songwriter/guitarist Peter Hammill, after both had shone on his solo album »Over« (1977).
The charismatic reed player David Jackson took part in the early stages of shaping the new material, which eventually took the form of the studio album »The Quiet Zone/The Pleasure Dome«, but he soon realized that without Banton there was no way for his saxophones and flute to fit into the changed sonic collage. Jackson’s unexpected exit was a hard blow for Hammill, Potter, Smith and drumming powerhouse Guy Evans, but it also let them steer Van Der Graaf into some previously unexplored sonic territory. »The Quiet Zone/The Pleasure Dome«, which also contains early new wave elements, was stylistically closer to some of Hammill’s solo output from this period, with more compact songs and a more direct edge than usual, while still dominated by the uncompromising punch VDGG had always been tied to.
You could say that compared with most of their earlier, far more unpredictable, chaotic, dark and improv-tinged achievements, »The Quiet Zone/The Pleasure Dome« is almost half a pop album, but that would be a bit unfair, because the recognizable, ‘post-apocalyptic’ VDGG essence is still right there. The vocal thunderer Hammill, while singing about his futuristic visions, was no less outraged at a humanity doomed to perish, and with his ever-lively electric guitar he made up for Jackson’s wind contributions reasonably well.
His three buddies held their own too, especially Smith’s violin, which did a great job standing in for Banton’s otherwise irreplaceable organ mastery. Hammill’s lyrics, as usual, are stuffed with futuristic visions of a ‘brave new world’ ruled by alienation, dehumanization, greed and apathy. It’s almost unbelievable how this visionary artist saw what our world would look like some thirty years down the line, and he delivered it in his singing in a pretty merciless way.
The album opens with the energetic »Lizard Play«, which packs plenty of acoustic guitar, a jazz-tinged stampede of drums and playful violin passages, while Peter wins you over with his trademark vocal chameleonism. »The Habit Of The Broken Heart« boasts some brusque improvisation between guitar and violin over a relatively subtle arrangement, making it just the right mix of unbridled experimentation and melodic accessibility. »The Siren Song« and »Last Frame«, where Peter’s melancholic vocals are accompanied by piercing piano and violin arrangements respectively, are fairly introspective but still thoroughly energetic songs, and they also slightly recall certain Hammill solo works from this period.
The gorgeous ballad »The Wave« rests on subtle, symphonic arrangements, while Mr. Hammill shows off an ‘angelic’ vocal approach that fills the mysterious atmosphere beautifully. The bombastic, epic mash-up »Cat’s Eye/Yellow Fever (Running)« is undoubtedly one of the album’s peaks, as the post-apocalyptic titans fire with every cannon they’ve got, especially Smith’s violin acrobatics, which pair wonderfully with the irritated guitar passages and combative drum crashes. The maestro Hammill, who here descends straight into the heart of hell, is once again ‘tearing himself apart with rage’, fed up to the back teeth with all manner of religious charlatans in the middle of a general apocalypse.
»The Sphinx in the Face«, a more compact piece, features an unusual, slightly funky rhythmic pulse, Jackson’s saxophone and commendable bass improvisations from Potter. The futuristic minestrone »Chemical World« is a far more chaotic and unpredictable creation with a string of improvisational flights, while maestro Hammill amuses himself with a vocoder amid the swirl of countless grotesque sounds. »The Sphinx Returns«, the album’s short closer, contains a somewhat rearranged, dramatic take on the »The Sphinx in the Face« motif.
All three bonus tracks on the 2005 reissue also deserve special attention. The first of them, »Door«, is a seriously punchy composition with plenty of irritated guitar passages and weird sound effects, over which the raging vocal thunderer triumphantly commands. The melancholic instrumental »Ship of Fools«, which came out as the B-side of the »Cat’s Eye« single, features a lovely symphonic arrangement, while the demo version of »The Wave« has a much dirtier, almost ‘punkish’ sound, which makes Hammill’s vocal fury come across as even more menacing.
Sure, in 1977 Van Der Graaf were running without two of their four key ‘generators’, but they were still conducting enough energy to make another excellent record in »The Quiet Zone/The Pleasure Dome«, one that set itself apart from their earlier masterpieces in a positive, innovative way. Van Der Graaf hit the road in 1977, and later cellist Charles Dickie joined them as a guest touring member. In 1978, to general surprise, David Jackson returned to the band and played with them at two (closing) shows at London’s prestigious Marquee club. Those two gigs were captured on the double live album »Vital« (1978), which was the swan song of the Van Der Graaf incarnation of this legendary group. After 1978 Hammill turned to a solo career, with his (former) VDGG buddies occasionally lending a hand, above all Evans, Jackson and Potter. VDGG fans had to wait until 2005, when the classic lineup finally came back with the new studio album »Present«.
Lineup
Peter Hammill – vocals, guitar and piano
Guy Evans – drums and percussion
Nic Potter – bass guitar
Graham Smith – violin
David Jackson – saxophone on “The Sphinx in the Face” and “The Sphinx Returns”
Production
Peter Hammill
Track list
1. Lizard Play (4:29)
2. The Habit of the Broken Heart (4:40)
3. The Siren Song (6:05)
4. Last Frame (6:15)
5. The Wave (3:15)
6. Cat’s Eye / Yellow Fever (Running) (5:21)
7. The Sphinx in the Face (5:59)
8. Chemical World (6:12)
9. The Sphinx Returns (1:18)
