Van der Graaf Generator
A Grounding In Numbers

I remember that during the house-store journey before buying the latest Van Der Graaf work, my iPod on random played Pilgrims. And it was welcomed because yes, for me it truly was a pilgrimage.

 

But let's start with the cover. The lucky owner will admire the Manchester band's name on a blue background composed of binary code. The theme that will accompany us during the listening experience immediately jumps out: numbers. In fact, it seems that the official release date, March 16th, is a reference to the first digits of pi. There it is: a foundation in numbers. The booklet is beautiful, very colorful. The symbol composed of the earth is the same used when warning that the power must be earthed.

Let's move on to the purchase. It must be said immediately that unlike "Trisector," here the group does not only rely on organ, drums, and a bit of bass but decides to also include Hammill's guitar (the old Meurglys for the nostalgic). We haven't seen such a relevant role for the guitar since the first and perhaps second album, as well as in the previous one. However, it's true that it is only present in some tracks and always electrically. But it's not the only novelty of this release: perhaps the biggest surprise is that all the tracks on the album are signed Banton/Evans/Hammill (although judging by the lyrics, I believe they are still the singer's forte); this leads to a partial yet healthy change of atmosphere. The mixing of "A Grounding In Numbers" is entrusted to Hugh Padgham, the true gray eminence of Progressive (who doesn't remember his superb work with Genesis?), who makes the trio balanced during the listening and makes all the (few) instruments stand out well. As usual, the piano is played by Hammill, and Banton weaves his immortal organ phrases. Banton is also responsible for the bass, and I was pleasantly surprised when I read that he can play a 10-string bass (!)... but then again, they are not just any group.

This is the band's first album where no track exceeds eight minutes, but this should not be alarming as there can be more pathos and progression in a two-minute instrumental than in a long suite. The first three tracks constitute the most modern offering from VdGG. Your Time Starts Now is characterized by a rather linear progression which may seem strange to fans at first listen, but it's a very fresh piece, among the best. The mood of the track is strangely almost sunny and calm, but don't be too alarmed. It serves as an introduction. It's still a side of the generator that's little explored, right? Mathematics is an indescribable track: you have to listen to it. It offers a refrain that I'm not even able to transcribe on a computer... For the theme, it might almost be considered the title track. Banton's performance is commendable, reproducing something similar to the sounds of an electronic calculator. Highly Strung will bewilder old fans, I think. Here the keyboards are little highlighted, and a distorted and nervous guitar guides the song to a refrain that is unusually (for the group) classic rock. While being one of the tracks I like the most, it is perhaps the one I approve of the least. It's not their style, but it's not a problem. I just wouldn't want them to go in that direction. It must be said that in the first three tracks, we find, beyond the omnipresent changes in tempo, a generator that certainly doesn't go to the maximum of its executive possibilities, especially as far as drumming is concerned, although it is at a good point on the compositional level. But don't think the trio is made up of tired old men! We are witnessing a "wake-up" of Evans who, in the brief Red Baron, an atmospheric pseudo-solo of percussion, proves not to be a wreck at all. Red Baron introduces the unusual Bunsho, where we find the electric guitar reinforcing the rest of the components. In the first part, it is a kind of ballad for guitar, but it soon transforms into a strong piece that makes use of Evans' whims in some truly irresistible points. But despite the positive aspects, it also disintegrates when compared to pieces like Not Here from "Trisector." Much better then Snake Oil, compelling and well-sung. In my opinion, if Jackson were still in the group, this track with some solos could have been transformed into a long and beautiful piece, instead here it settles for the "rank" of a mini suite; I say this mainly because of the text. We are once again faced with a tough piece, which puts the guitar very much in the background in favor of the revitalized organ, very heavy here. Track seven is Splink, which has an atmosphere first almost warm that transforms into something frightening. The presence of instrumentals in this album is commendable. In fact, excluding Theme One, the last real instrumentals date back even to the first album. Splink foreshadows the definitive return of the sound to that claustrophobic progressive rock which made Van Der Graaf Generator famous (!?).

So it starts with Embarrassing Kid, very violent and dark, peculiar in its contorted unfolding, and in the text as usual, incredibly alienating. The generator is running at full throttle, and what emerges is a wavering piece in its entirety and perfect consequentiality. The changes of tempo and the sudden stops are something Evans has accustomed us to, and we welcome it with immense pleasure (I speak for the enthusiasts, I think). It continues with Medusa, the shortest and probably the most successful creation of VdGG on this album, simple but frighteningly expressive and complex at the same time. The tormenting organ à la Godbluff is wonderful, making everything more dramatic. In two minutes, an extract of the feelings that Hammill can unleash. Medusa gives way to the "classic" Mr. Sands, a typical composition of the first reunion, with a very evocative text and an irresistible trend for those who love "Still Life" or "World Record." The group again proves to be among the most skilled in the world with their terrible and ever-changing riffs, a songwriting that is hardly original, and the unique feeling of closure and oppression that welcomes the listener in their best pieces. Then we have a pair of very particular tracks. The first, Smoke, is almost psychedelic, with its multiple instruments (only Banton here is dealing with Harpsichord, piano, glockenspiel, bass, and even guitar) and its terribly bold macabre march that behind a facade of gaiety conceals an unmistakably hidden shadow of madness. It continues with 5533, which is so twisted upon itself that not even Hammill manages to sing over it and is forced to find his own vocal line. This makes everything even more alien, not least the fact that the "numerical" theme mentioned in other songs reappears... Hammill here has the courage (and ambition) to sing algebraic schemes... very progressive. The last track of the batch is the splendid All Over The Place, which brings Hammill's band to another level. An excellent text gives the song, the longest of all, an elegiac atmosphere. All Over The Place is a must for Van Der fans, as it revisits the old stylistic features of masterpieces with the framework of the new style.

In conclusion, "A Grounding In Numbers" is a remarkable album, which shows how Hammill and company do not rest on their laurels but constantly improve and how their musical abilities remain intact even after decades of touring. In particular, the prodigious preservation of Hammill's voice is somewhat miraculous. Its range seems untouched by time: his voice reaffirms itself as the one with the most amplitude the world knows. Regarding Jackson's absence, it has been simply demonstrated here, as in the first album, how he is not compositionally necessary for the completeness of the setlist. And indeed, there are many points of contact for me between AGIN and The Aerosol Grey Machine, not least the return of psychedelic sounds. Furthermore, the presence of non-"dark" tracks is another shared aspect. Perhaps not a masterpiece of the band, but certainly some of the songs have the characteristics of a masterpiece, for me Mathematics, Medusa, and All Over The Place (and perhaps Snake Oil), which are added to other post-reunion beauties like Every Bloody Emperor or Over The Hill. All this shows how the Van Der Graaf Generator did not reunite for financial reasons, quite the opposite.

A decent Progressive album and very discreet for our guys. Recommended listening for genre fans, almost obligatory for the group's fans. For them, I foresee almost 50 minutes of paradise!

Ok, I'll end it here. In case it wasn't clear, it's my first review, so you can be quite harsh...