World Record [Remastered] - Van Der Graaf Generator > Reviews > The End Of Everything You Have Known

Author's product rating:   

Originality	Groundbreaking
Lyrics	Thought-provoking
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Good
Value for Money	Excellent

Advantages:	VDGG in their full Glory
Disadvantages:	It Is Prog Rock but that is not always bad

Recommend to potential buyers:

yes

Full review

Van Der Graff Generator were sonic visionaries of the late 60's and 70's who treaded grounds that no other prog rock band dared. This was the last album to be recorded by the classic 4 piece of Peter Hammill (Vocals, Guitar, Piano), David Jackson (Flutes and Saxes), Hugh Banton (Organ, Bass pedals) and Guy Evans (Drums) before it all went financially pear shaped, until their triumphant re-union in 2005. The album is notable as it is the first where Peter's electric guitar work came to the fore front of the music, rather than hiding behind the other musicians. This was done whilst keeping all the components of shifting melodies and harmonies, and interactions between sax, organ, drums and possessed vocals in place i.e. the sound remained consistent with their past work, and like all VDGG records it is not for mass consumption. That of course does make it better, in my book.

The album starts off with "When She Comes" Starting off with jazzy drumming with flute and organ accompaniment, Hammill's vocal adds tension to the affair as it gradually builds with some trademark rudimentary rhythm guitar; the song gradually builds in complexity whilst retaining simplicity. Peter Hammill's guitar is more to the fore than it has ever been before as the chorus almost but not quite builds into an anthem, the interaction between the sax and organ remains one of VDGG's trademarks. Unlike most other Prog rock bands VDGG's music was simple but sounded complex due to gratuitous dropping of beats and improvising, and this track is no exception as it weaves through shifting musical themes. This is a strong way to open the album by a band that obviously know how to play with each other, and despite virtually no financial gain for themselves still do it cause they were having tons of fun doing it. Peters layer vocal harmonies another VDGG trademark come into their own here. Despite this being a less cluttered affair than previous stuff it is still a wondrous cacophony.

"A Place To Survive" continues on somewhat similar musical themes to its predecessor with a bit of funkiness slipping in there, with Hugh Banton's Organ weaving it's way round a stocky sax riff by David Jackson. Whilst Peter Hammill sounds positively possessed as he sings and growls his way round the song. Tension within the song is built by the players especially when we hit the sax solos, and Guy Evans Drumming is a constantly changing thing of wonder, especially in headphones. My girlfriend refuses to join in my prog rock indulgences but this means that Mr. Hammill is shouting straight into my psyche taking me to a disturbing place, thanks big man.

"Masks" is a more mellow and melodic affair with a sax melody that would have happily graced an Aker Bilk record apart from when Mr. Jackson drops a register. The melody of the song is held together by the guitar work of Mr. Hammill, whilst rudimentary matches his relaxed vocal perfectly. This was one of the first times that the guitar was responsible for the harmonic structure of a VDGG song with the Organ and sax counter pointing it. However this was a natural progression as Peters confidence in playing electric guitar grew.

"Meurglys III (The Songwriters Guild)" is named after Peter Hammill's guitar which was a guild, which during the song he refers to as his only friend and the line "Where I trade cigarettes, in return for songs" is quite biting. Very few songwriters could write about isolation as well as Peter Hammill. The song kicks off with some jazzy drumming and odd sax and organ melodies, sounding like a depressed carrousel, as it drops into a slow waltz. Peter's vocal soars above this sounding detached from the proceedings, and the main motif dominated by his guitar heightens this sense of dislocation. The song switches between rabid cacophony and standard structure before rather bizarrely changing into an extended reggae jam. Absolutely wonderful stuff,

"Wondering" Completes the original album in rather softly with fine flute and organ work, taking you out of the tumultuous journey you have been on for the rest of the record.

Ofcourse with this being a fine digitally remastered edition you have all sorts of bonus treats the first two being different versions of "When She Comes" and "Masks" from sessions recorded for John Peel, which is gold dust for us fans. The second being a rather lovely 16 page booklet with photos and anecdotes.

It is doubtful if anyone other than folk who already know the band will buy this. However for those of you that don't then it is one of their most melodic and dare I say it commercial albums, and it has aged quite well, so go on give it a try.