SR V: To boldly go where no room has gone before

James wrote: Oh I agree. VdGG's Still Life has a certain sound throughout the album and I think the album is stronger because of it.  However, the tracks on that album are not remotely same-y.  They just sound as if they were composed for the album. Godbluff is similar but it's an angrier version. Pawn Hearts is all over the place yet still a great album.  The album doesn't flow properly.  Lemmings is different to Man-Erg and both are different to A Plague of Lighthouse Keepers.  The are almost independent tracks stuck on an album. Still Life has a recurrent sound and an existential angst (yet often melancholic) throughout.

@Still Life. Yes, and that sound is from Banton and Evans. Probably the most underrated rhythm section of all time. La Rossa, great though it is, feels a bit out of place in the middle of that album to me. Important for the concept, I guess, but it's a Godbluff track toned back a bit.

@Godbluff. Well, Y&N. Clavinet + Evans make that one pretty individual, and Hammill's clearly at his wordiest.

@Pawn Hearts. It flows perfectly to me. Yes, it's three separate tracks... but it really has its own sound and vibe, more from the sound-effect-chaos of Banton with a four-million-keyboard-set and Evans/Jaxon being particularly chaotic, while Hammill's being particularly pretty lots of the time.

James wrote: Petrovsk Mizinski wrote: Is Kate Bush meant to be good? My sister told me to listen to Bush and I didn't like any of it. Heathen. Actually, I don't expect you to like her.  She's not an artist I expect you to appreciate. I, however, like a lot of her stuff. Which songs did you listen to?

I Kate Bush.

Running Up That Hill for the 80s win.

Petrovsk Mizinski wrote: Hounds of Love, which is the highest rating album at PA at least anyway. I don't agree with the general consensus of it though. Not that it was horrible music or anything, but for something I've read reviews about hyping it up as something exciting, it left a lot to be desired in the inspiring to listen to part.

Have you not learnt yet, Harry?

Never choose the highest rated album.

That is her poppiest album and I'm not surprised you didn't appreciate it.


Edited by James - May 11 2009 at 03:53

So on Law and Order this guy fakes a blood test to avoid testing positive for a paternity test, but then the blood he used was from a pedophile with an unsolved case. OWNED. But he had killed some girl so it was ok.

Edited by Henry Plainview - May 11 2009 at 04:01

TGM: Orb wrote: James wrote: Oh I agree. VdGG's Still Life has a certain sound throughout the album and I think the album is stronger because of it.  However, the tracks on that album are not remotely same-y.  They just sound as if they were composed for the album. Godbluff is similar but it's an angrier version. Pawn Hearts is all over the place yet still a great album.  The album doesn't flow properly.  Lemmings is different to Man-Erg and both are different to A Plague of Lighthouse Keepers.  The are almost independent tracks stuck on an album. Still Life has a recurrent sound and an existential angst (yet often melancholic) throughout. @Still Life. Yes, and that sound is from Banton and Evans. Probably the most underrated rhythm section of all time. La Rossa, great though it is, feels a bit out of place in the middle of that album to me. Important for the concept, I guess, but it's a Godbluff track toned back a bit. Yes, it took me a while to appreciate La Rossa.  I always thought it was ill-placed on the album too.  Now I think it's a vital cog in the Still Life motion.  In fact, what got me really liking La Rossa more was the BBC version on Maida Vale.  That version is actually better than the studio version. @Godbluff. Well, Y&N. Clavinet + Evans make that one pretty individual, and Hammill's clearly at his wordiest. Oh yes, I love Godbluff.  It's just behind Still Life for me.  The first two tracks cannot really be separated (even though I've heard live versions of them separated).  Hammill has realised this too.  The reformed VdGG gigs had those two tracks played together.  Arrow is amazing but for some reason I cannot remember as much of it as I would like. @Pawn Hearts. It flows perfectly to me. Yes, it's three separate tracks... but it really has its own sound and vibe, more from the sound-effect-chaos of Banton with a four-million-keyboard-set and Evans/Jaxon being particularly chaotic, while Hammill's being particularly pretty lots of the time.

Oh I do agree.

What I meant was: the tracks all have that Pawn Hearts style.  However, they're individual tracks and don't sound like they were meant to all be on the same album.  I believe some may have been left-overs from the H to He sessions.  All three of the tracks on Pawn Hearts have the same angst.  It's also the most experimental album with the most affects.  It's their most avant-garde effort.

Whilst you're here:

I wasn't expecting you to like Necromancer.


Edited by James - May 11 2009 at 04:00

Not The Aerosol Grey Machine, Harry.  Rob's only just heard it.

In fact, it's a much neglected album and I really enjoy it.  I'd give it a 3.5/5

So I heard Genesis is pretty good. I think they should be included in prog related.

Edited by Henry Plainview - May 11 2009 at 04:07

Ok, so apart from those 2 other albums.

What about Trisector?

James wrote: TGM: Orb wrote: James wrote: Oh I agree. VdGG's Still Life has a certain sound throughout the album and I think the album is stronger because of it.  However, the tracks on that album are not remotely same-y.  They just sound as if they were composed for the album. Godbluff is similar but it's an angrier version. Pawn Hearts is all over the place yet still a great album.  The album doesn't flow properly.  Lemmings is different to Man-Erg and both are different to A Plague of Lighthouse Keepers.  The are almost independent tracks stuck on an album. Still Life has a recurrent sound and an existential angst (yet often melancholic) throughout. @Still Life. Yes, and that sound is from Banton and Evans. Probably the most underrated rhythm section of all time. La Rossa, great though it is, feels a bit out of place in the middle of that album to me. Important for the concept, I guess, but it's a Godbluff track toned back a bit. Yes, it took me a while to appreciate La Rossa.  I always thought it was ill-placed on the album too.  Now I think it's a vital cog in the Still Life motion.  In fact, what got me really liking La Rossa more was the BBC version on Maida Vale.  That version is actually better than the studio version. @Godbluff. Well, Y&N. Clavinet + Evans make that one pretty individual, and Hammill's clearly at his wordiest. Oh yes, I love Godbluff.  It's just behind Still Life for me.  The first two tracks cannot really be separated (even though I've heard live versions of them separated).  Hammill has realised this too.  The reformed VdGG gigs had those two tracks played together.  Arrow is amazing but for some reason I cannot remember as much of it as I would like. @Pawn Hearts. It flows perfectly to me. Yes, it's three separate tracks... but it really has its own sound and vibe, more from the sound-effect-chaos of Banton with a four-million-keyboard-set and Evans/Jaxon being particularly chaotic, while Hammill's being particularly pretty lots of the time. Oh I do agree. What I meant was: the tracks all have that Pawn Hearts style.  However, they're individual tracks and don't sound like they were meant to all be on the same album.  I believe some may have been left-overs from the H to He sessions.  All three of the tracks on Pawn Hearts have the same angst.  It's also the most experimental album with the most affects.  It's their most avant-garde effort. Whilst you're here: I wasn't expecting you to like Necromancer.

I shouldn't like that one. The lyrics are, pretty much, disastrous. On the other hand, that vocal harmony is so good