The 2005 album, “Present,” released on April 25th, via Charisma Records, marked the first studio album for the British prog elders, VAN DER GRAAF GENERATOR, since 1977 and the first with the classic line-up since 1976. This ninth installment in the band’s catalog consisted of two discs – one filled with actual compositions and one filled with studio improvisations, which might have struck the longtime fans as a rather odd move; the band’s signature songwriting standard had stood quite stringently for tightly arranged and intricate stuff up to this point (with only one oddball release breaking this house rule). In fairness, a full disc of free-form jamming, almost bordering on avant-garde jazz, is essentially something that will only appeal to the band’s die-hard fans. However, with the composed tracks coming off as songs rooted in the same rebellious spirit that birthed those epochal prog albums, such as “Godbluff” (1975) and “Still Life” (1976), disc one is well worth checking out, if the fine art of spontaneous creation is not exactly your five-o’clock cup of tea.
While the mellow and atmospheric opener might traverse a tad too close to the brink of absolute cocktail-jazz chaos for some, the lyrical polemics in ”Every Bloody Emperor” showcase why VDGG was one of those rare prog acts that got an absolution from the budding new-wavey punk movement in the UK, back in the day. Listening to some of those classics by THE CLASH or THE STRANGLERS, it is easy to hear the subtle influence of these artsy proggers. The song is not that great as an opener compared to the next couple of tracks.
The band’s old signature quirks, those visceral and jazzy prog riffs layered with psychedelic adornments, shine through much more brilliantly in “Boleas Panic” and “Nutter Alert.” The latter could just as well be from THE STRANGLERS songbook – it even boasts harpsichord, recalling that 1982 art-punk hit, “Golden Brown,” which boasted nothing short of a proggy time signature of 13/8 as its iconic hook. Okay, VDGG would not perhaps opt for writing an ode to heroin and girls, but the vibe is quite similar as far as the music goes. These two bangers are the stand-out tracks in this selection, the absolute best two calling cards for this come-back effort. The following live rendition of the latter also shows that these elderly statesmen of progressive rock haven’t lost their spunk.
Next, the abrasive, free-form jazz plot thickens in the song, “Abandon Ship!” and even more in “In Babelsberg.” The naval-themed prog excursion is constructed around a rather funky bassline and organ stabs; with a little more upbeat tempo and hysterical vocal delivery, this banger could almost be mistaken for a PRIMUS endeavor – minus the bass gimmicks, of course. The latter gears up that artsy new-wave aesthetic of the early 1980s, triggering subtle flashbacks of TALKING HEADS and the like. The song sounds as though balancing on the fine line between order and chaos, here and there, which either puts you off entirely or makes you prick your ears. I guess there really is no in-between.
Then, it seems that not only did these old prog gents have no clue how to open this album with a bang but they also had no idea how to bring it to a proper close. “On the Beach” is a bit too much elevator music to create a good sense of closure – especially after such upbeat, free-jazz mayhem. Then again, considering this band is from the UK, this weird choice of a closer could be a punchline of that dry, British variety.
That said, while some of the jams on Disc Two sound like old hippies improvising around half-baked ideas (with every meaning of the term), some of the songs include pretty funky sections. Perhaps VDGG should have refined those ideas into proper songs and used them for the opening and closing of the album. Songs such as “Vulcan Meld” and ”Double Bass” have some kick-ass passages, in particular. Then, even the mystic flutes in “Slo Moves” come off a good deal more spirited than those elevator-music pieces on the ”compositional” disc. I guess it tells a lot about the band’s prog prowess that they can create such a magical aura even through casual improvisation. I mean, I like that improvised disc maybe even more than those ”compositions” but I am quite notorious for liking the most random and obscure stuff. Yeah, some of the jams are pretty free-form but even at their wildest, these improvisations are a far cry from the rawness of, say, the late John Coltrane. So, all things considered, “Present” is a mighty good come-back effort by these gray British prog-panthers.
Written by Jani Lehtinen
Tracklist Disc One
- Every Bloody Emperor
- Boleas Panic
- Nutter Alert
- Abandon Ship!
- In Babelsberg
- On the Beach
Tracklist Disc Two
- Vulcan Meld
- Double Bass
- Slo Moves
- Architectural Hair
- Spanner
- Crux
- Manuelle
- Eavy Mate
- Homage to Teo
- The Price of Admission
Lineup
Peter Hammill – vocals, guitars, electric piano
David Jackson – saxophone, flute, Soundbeam
Hugh Banton – organ, bass
Guy Evans – drums, percussion
Label
Charisma Records
Links
http://www.vandergraafgenerator.co.uk/
