Giona

This is an album that, in more than one aspect, I would define as ambiguous. The avant-garde risks, especially in relation to formations rooted in progressive territories, are limited and never extreme or overly ambitious; however, the listening experience is still demanding due to the oppressive rhythms and that atmosphere soaked in alienation that permeates all the tracks, reaching authentic peaks of estrangement in "Warehouse." A captivating proposition.

Unexpected resurrection of an eclectic record, perhaps not aged in the best way (thanks to that "massive use of strings typical of symphonic pop"), but rich in interesting nuances. The cover, I would dare say, is naturalistic. Hetzer, from my point of view, the so-called hidden gems should be an incentive to discover others, even those closer in time, because if the jewels of the past, known or unknown, become a hindrance rather than a stimulus for further exploration, then it seems to me that they rebel against their very nature, which should be precisely "progressive." I cannot deny that older works, as witnesses of lost times, possess their own peculiar and inimitable charm, but I have come to believe that the search and experimentation of value have never stopped and probably never will.

It's truly difficult to explain the genesis of this album as well as to frame its characteristics and role within the history of VDGG, without at least referencing Peter's solo career, which echoes here on more than one occasion. Nonetheless, releasing an album like this in 2011, after recently putting out works such as "Present" and "Trisector," demonstrates a genius, an awareness of the current times, and an artistic coherence that are truly rare and shared only by the most eminent figures in the entire music landscape. @Superboia: The name "Trisector" should give you a hint regarding the consecration of the three-part formula.

With this ninth stage, we have reached three-quarters of the journey through Scandinavia. Initially, I had planned to send each chapter weekly, but then I realized how that could become tiresome, so I doubled the timing, greatly extending the duration of this Nordic series, which now prevents me from paying tribute to Van der Graaf and their latest work. Fortunately, DeB allowed me to distract myself from this long path, and so, last week, I found it curiously constructive to revise my questionable de-reviewing efforts on what can no longer even be defined as a simple personal sheet, as its length has reached nothing short of embarrassing proportions when compared to the site’s average.

Thank you, Jargon. From my point of view, the spontaneity and the rather unique formula manage to give a certain aura of charm to this album, which, far from making grand claims, presents itself as an honest piece of work and quite pleasant to listen to. I am, however, concerned about the future of the band, which I see heading towards well-trodden paths with a lack of surprises (thanks to the introduction of vocals and the massive changes in lineup), although I hope to be wrong.

Thank you for the clarification, ProgRock. I admit that I wasn't able to take advantage of the links you posted, but that's alright. If I had to point out a meeting point between Simon Says and Spock’s Beard, I wouldn't seek it in the music but in the underlying method, as they both belong to that group of performers who attempt to translate, in an accessible and rather polished way, the austere language of the great progressive realities of the past.

What a pleasure to see the Maestro on the homepage. The eclecticism so celebrated in the review I believe is often a double-edged sword, quite difficult to manage. Steve handles it excellently, but from here to voting this album as one of his most successful works, in my opinion, there’s a long way to go. That said, it doesn’t take away from the fact that we are talking about very fine merchandise.

On YouTube, there are several episodes of the album "Live" by the 801, which was also excellently reviewed by Jargon back in November 2007. Live - 801 - Recensione di TheJargonKing

Great album, not exactly groundbreaking, but certainly worthy of consideration. My favorite tracks are those that make up the famous "Echoes of the poor", although perhaps the version I appreciate the most of “Tomorrow Never Knows” (besides the original, of course) is the live one by 801.

My good Macaco, you can relax; before "Vehicle," MiRthkon only gave glimpses of their avant-eclectic language through a few singles. This is their first "complete" album, and what an album it is! If this is what they call "progressive metal," I would generously reassess the entire scene on the spot.