Author: Peter Podbrežnik
Artist: Hammill, Peter
Label: EMI Records
Released: 1974
Running time: 49:45
Rating: 5/5
“The Silent Corner And The Empty Stage” is the third solo outing from the legendary English singer, composer and wordsmith Peter Hammill, who earned his place in the hearts of prog rock fans mainly as the chieftain of the unforgettable prog rock titans Van Der Graaf Generator, even though his solo career is stuffed with plenty of brilliant albums that deserve at least as much attention. This one is undoubtedly among Peter’s greatest achievements, and it came out while Van Der Graaf Generator were on temporary hiatus, which indirectly helped make it as great as it is, since all of Hammill’s bandmates from his main group took an active part in it once again.
Given all that, it’s no surprise that “Silent Corner” sits right at the top of those Hammill albums whose style and song structures are quite close to his VDGG creations, even though they steer clear of excessive ambient gloom and the more complex improvisations typical of the legendary “generators”. The latter even “adopted” a handful of the album’s songs for the live shows that followed their reunion in 1975.
The would-be doctor of (meta)physics once again dazzles with his deeply perceptive poetry, which, as usual, brims with post-apocalyptic themes and abstract scientific theories and fits the melancholic mood of most of the songs. Those sad lyrical images come alive above all through his unique vocal abilities, which have always been his key trademark. Peter’s swings between high and low registers, between “angelic” and “demonic” states, are at least as intense and effective as the rich instrumental backdrop.
But Hammill didn’t just shine as a singer, composer and poet; he also proved himself a versatile instrumentalist. Besides his usual instruments, namely piano and guitar, he contributed the lion’s share of the keyboards, led by the mellotron and harmonium, and he also played a few bass parts. In that department he could always count on the excellent VDGG organist Hugh Banton, while the generous rhythmic dynamics came courtesy of Hammill’s favorite collaborator, drummer Guy Evans, who, together with saxophonist and flutist David Jackson, added a whole range of classic jazzy touches. Above all, Peter and his companions once again confirmed their mastery of creating dramatic atmospheres that easily take the listener’s breath away.
The opening “Modern”, with its dramatic acoustic guitar passages around which Hammill and his crew gradually weave energetic arrangements of saxophone and keyboards, announces an exceptionally dynamic album full of unexpected surprises. In the tradition of VDGG masterpieces, the mood of the song, which became a Hammill solo classic over the years, shifts minute by minute from dark, chaotic realms to considerably more enlightened shades. On “Wilhelmina”, the wordsmith doctor once again proves himself a master of moving, piano-built ballads. With theatrical, highly dramatic singing he slowly builds a solemn yet melancholic mood and adds lavish symphonic arrangements around a subtle acoustic guitar melody.
“The Lie (Bernini’s Saint Theresa)” alludes to Bernini’s famous sculpture Ecstasy of Saint Teresa, which still stirs up debate today with its ambiguous expression, one that leaves you wondering whether it’s the result of spiritual enlightenment or a sexual orgasm. Hammill’s lyrics wonder about the latter too, touching on church hypocrisy and that institution’s habitual fear of sexuality. Banton’s organ accompaniment is key to the exceptional sacred atmosphere, while Peter’s singing is once again so effective in its theatricality that it’s easy to picture the intrigues and wild orgies going on behind the scenes of the church under the mask of piety.
The epic “Forsaken Gardens” is one of the most beautiful and best creations of Hammill’s career, and VDGG performed it live several times in the following years, because that incredible, ambivalent VDGG magic, which keeps the listener suspended between hell and heaven, doesn’t let up for a second. Peter’s singing, with its emotional intensity and theatricality, easily sends shivers down your spine, while the epic feel is lifted above all by mighty symphonic arrangements on organ and mellotron laid over complex rhythmic transitions. Without a doubt a work of art that could easily fit on any VDGG album. “Red Shift”, seasoned with plenty of avant-garde touches, features special guest Randy California, guitarist of the American psychedelic rock band Spirit, who contributed a frenetic electric guitar solo here. It’s another of those brilliant, highly complex Hammill creations that slowly grow and gain depth with every new listen, which means you can discover some new sonic detail in it every time.
The ballad “Rubicon”, with its gentle acoustic guitar melody and Peter’s angelic singing, nicely calms the album’s stormy mood and can also be seen as the calm before the closing feast. We’re talking about the album’s crown jewel, the always astonishing “A Louse Is Not a Home”, a genuine prog rock epic in the best VDGG tradition. It’s a piece of art that always thrills with its many dramatic twists in atmosphere and complex arrangements, ruled over by Peter’s highly theatrical and emotionally deep, expressive vocal performance. The melodramatic lyrics about alienation tie in with the creepy gothic tale The Fall of the House of Usher, written by the legendary American author E. A. Poe, which Hammill would use years later for the title and concept of his ambitious prog rock opera
“The Silent Corner And The Empty Stage” has all the key ingredients that still have prog rock connoisseurs bowing down to Hammill’s genius. With the help of a trio of loyal VDGG pals, he created one of the key works, if not the central masterpiece, of his fantastic solo career, one that stands comparison with the best VDGG albums. Anyone who treats it as a lost VDGG album won’t be far off. With an achievement like this, it’s hard to believe he put out another excellent album the same year, titled “In Camera”.
Lineup
Peter Hammill – vocals, guitar, piano, bass guitar (on 1, 2 and 6), harmonium, keyboards, mellotron and oscillator
Hugh Banton – organ, bass guitar (on 3, 4 and 7), keyboards, backing vocals
Guy Evans – drums, percussion
David Jackson – flute, alto, tenor and soprano saxophone
GUEST MUSICIAN:
Randy California – lead guitar on “Red Shift”
Production
Peter Hammill
Tracklist
1. Modern (7:28)
2. Wilhelmina (5:17)
3. The Lie (Bernini’s Saint Theresa) (5:40)
4. Forsaken Gardens (6:15)
5. Red Shift (8:11)
6. Rubicon (4:11)
7. A Louse Is Not A Home (12:13)
