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Rating:
Third (and last, I promise) analysis of another phase in the forty-year career of Peter Hammill, which began with the "unusual" debut of Fool's Mate (comprised of songs never used for Van Der Graaf Generator) and has reached, for now, the current Thin Air (2009). Similarly to what the other genius of English prog, Robert Fripp, did with his "A Scarcity Of Miracles," it seems that finally, after dozens of works, ups and downs, restless moments, and dark inner reflections, Hammill has found his peace of mind: a corner of his creativity that is always shadowy and reflective, but also relaxed and cathartic.
Starting from the refined tones of the cover, the music is a quiet blend of keyboards, piano, and vague electric sounds that envelop the compositions, never daring to rise above the delicate overall balance: this aspect proves to be both a merit and a flaw of the work. The compositions are not fully characterized, resulting in quite similar pieces as if it were a suite divided into multiple movements, yielding a consistent result overall but lacking emotional peaks. Everything is well "polished" by a crystalline production and elegant execution. Slow songs, again played upon Hammill's flair, this time, however, less restless and theatrical than what the audience was used to. It's all far from any rock impulse, except in a few moments ("Wrong Way Round") which remain a sporadic cry but not "noisy."
It is reasonable to expect some bitter aftertaste if, with Thin Air in hand, the mind still remembers the anarchic poetry of the early days, but the era is completely different, and such a pleasantly clear work manages to keep afloat a name that is undeniably "old."
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