THE QUIET ZONE / THE PLEASURE DOME

Though they do so without relinquishing too much of their eccentric style, Van der Graaf Generator became a fair bit more accessible on this album, which contains shorter songs and catchier bits. I would compare it to Yes's Tormato in that respect, also in that it marked some major shifts in direction (in Van der Graaf Generator's case, they quit recording albums altogether). Here this formerly experimental giant of progressive rock dabbles in new wave music in a big way.

"Lizard Play" Upbeat drums are the underpinning of a downbeat song. Peter Hammill sings bass underneath himself, matching each dramatic nuance of his higher voice more or less accurately.

"The Habit of the Broken Heart" Primarily an acoustic song, the organ offers a subtle but pleasing backing. The middle of the song consists of a fast tempo, book-ended by slower, gentler passages.

"The Siren Song" Light piano and Hammill's soft vocals eventually give way to some lively fiddling and flanged bass in the background.

"Last Frame" Violin accompanied only by an occasional chord introduce Hammill's semi-spoken vocal. The piece builds and becomes something more akin to middle-period Jethro Tull, but naturally the signature sound of the lead singer releases it from any semblance to pretty much anything else.

"The Wave" A droning vocal over a tender piano and violin makes for some easy listening. As is his fashion, Hammill still manages to find ways to squeeze as many syllables as possible in occasional places.

"Cat's Eye / Yellow Fever (Running)" Shifting to a more classical approach, this piece relies heavily on violin and bass. Hammill's vocals on this one are excessive, even to the point of being superfluous and distracting.

"The Sphinx in the Face" Was it even possible that disco was an influence on Van der Graaf Generator? Perhaps- this song reeks of funkiness, colorful floor lights, and people pointing their fingers up and down alternatively. Even that tale-tell falsetto chorus is so damned catchy. I feel like I am listening to the Scissor Sisters or something. I didn't say I didn't like it.

"Chemical World" Once again carried by acoustic guitar and Hammill's wailing vocals, this piece contains a violin solo and percussion that sound exotic in their own way, but the singing is almost extraterrestrial in places. Utilizing a variety of effects, this outlandish track should have been pared back in order to make it at least palatable. Despite playing well, even the violin sounds thin and dull.

"The Sphinx Returns" The falsetto a cappella ending of the piece before last fades back in, soon accompanied by the band, thus concluding the album.