In Camera - Peter Hammill

In Camera was the third of a series of four solo albums recorded by Peter in the period between Van Der Graaf Generator's demise in 1972 and their return in 1975, and is fairly typical of his solo output at the time. It is an innovative release in terms of how far he pushed the recording technology available at the time, the result of which is a diverse selection of songs on the album, making it at times a difficult but mostly rewarding listen.
...include references to nautical terms in his song titles and is full of synth overdubs. Lyrically it is a reflection on youth made even more haunting by the use of synths and is still in somewhat of a mellow albeit rather weird vain.

"Tapeworm" features VDGG drummer Guy Evans and is the most standard "Rock and Roll" song on the album, with Peter's piano starting off the melody and a lead guitar laid on top of it. ... more

In Camera was the third of a series of four solo albums recorded by Peter in the period between Van Der Graaf Generator's demise in 1972 and their return in 1975, and is fairly typical of his solo output at the time. It is an innovative release in terms of how far he pushed the recording technology available at the time, the result of which is a diverse selection of songs on the album, making it at times a difficult but mostly rewarding listen.

Starting off with "Ferret And Featherbed" we are treated to some acoustic balladry type goings on with a tender arrangement and softly sung vocals and soft layered vocal harmonies, and was included by Peter as a "soft alternative to the other stuff"

"No More The Sub Mariner" continues a long tradition of Peters work to include references to nautical terms in his song titles and is full of synth overdubs. Lyrically it is a reflection on youth made even more haunting by the use of synths and is still in somewhat of a mellow albeit rather weird vain.

"Tapeworm" features VDGG drummer Guy Evans and is the most standard "Rock and Roll" song on the album, with Peter's piano starting off the melody and a lead guitar laid on top of it. Even though it is the most standard Rock and Roll Song on the album there is enough confusion within it for it to by fairly typical of Peter's unusual songwriting methods. They lyrics are introspective and typically obtuse and strange. The middle eight if it can be called that comprises of a strange vocal only section.

"Again" is another bit of fine acoustic balladry, and a fine example of how Peter deals with love songs, full of pathos and isolation yet tender and warm the final verse of "I am me, I was so before you, but afterwards I am not the same. You are gone and I am with you: this will never come again." sums it up quite nicely.

"Faint Heart And The Sermon" is another reflection on past, present, future and self identity, chocked full of synth overdubs, with a strangely medieval feel. The song is haunting both in its subject matter and instrumentation.

"Comet The Course The Tail" was according to Peter "conceived as something of a guitar quartet (all self-played of course): bass, acoustic, electric, 12-string." The song is another bit of great balladry, almost folky in parts, and features some fine layered vocals, and has a strange almost other-worldly feel to it

The album finishes off with a 17 minute long two part piece "Gog / Magog (In Bromine Chambers)" the first part featuring Guy Evans on Drums again, and features what Peter recalls as being his high point on recording with the harmonium. The organ sound at the start is indeed rather sinister as Peter ponders the identity of the almighty. Guy Evans cymbal work here adds tension and it is no surprise that this song found its way onto VDGG's live set, as a lot of the necessary VDGG components are here. As the piece progressed Guy's drumming becomes ridiculously syncopated and manic, adding to the overall feel of desolation. There is also some classic discordant organ sounds here highly reminiscent of VDGG in their prime. As the piece progresses onto "Magog (In Bromine Chambers)" it becomes more cluttered and noisy finishing off with the refrain "My soul is cast in crystal, yet unrevealed beneath the knife. All wells are dry, all bread is masked in fungus, and now disease is rife. Will you not run from this, and love me for one more life?" it transforms into what is joyously referred to as concrete music. In other words a collection of discordant sounds collected on tape such wonderful noodling.

To be honest this is a fine album apart from the last couple of numbers which seem to be noodling for its own sake, but then why should an artist not be allowed to push the creative envelope at a whim. People don't make em like this anymore and more is the pity, on the whole this is a great album and considering you can pick it up for less than 7 quid in HMV it is a pretty good place to start a collection of Peter's solo stuff.

After this album Peter was called to support Genesis in Canada for a couple of solo slots, and soon would find himself reunited with Van Der Graaf Generator for one of the most hectic and creative periods in their history. 

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