THE SILENT CORNER AND THE EMPTY STAGE

I discovered VDGG a very long time ago, and when I looked at the friends that surround Peter for his earlier ''solo'' work, I really wonder why VDGG was put to a (temporarily) end after "Pawn Hearts".

All the likes of Jackson, Evans and Banton are featured on his first three albums (and the story will go on, episodically, for quite some time) which is an excellent news but plunge me in some perplexity. Was this all necessary?

This album starts almost like a VDGG one. The noisy moments are back and the organized cacophony is fully present during "Modern". A dark yet strong song. The next "Wilhelmina" sounds as "Man-Erg" for a while. Simple piano and the man. So vibrant. Just the two of them. He is probably the one and only to be able to bring me these feelings. One of his very good songs. A delicacy.

The structure of "The Lie" is almost similar but the vocals are more tortured. If you would have added some powerful sax in here, this would have been another great VDDG song. As such, it reaches the barrier of the good piece of music.

As if my vow would need to be fulfilled, this is exactly what happens during "Forsaken Gardens" as well as with "Red Shift". Other highlights from this very good album so far which can be considered by now as another VDGG album actually. At least, I feel that way.

As during his prior album, Peter had the good idea to release a long and great song as the closing number. The counterpart of "Black Room" here is "A Louse Is Not A Home". A wonderful journey in the dark and sad affairs, with vocals changing from delicate to screaming, but always passionate. The band following the pattern brilliantly.

Gloomy atmosphere, scary. Thinking that I'll go to bed just after this review (it's about three AM here). Not very comforting. This piece of work is really on par with the greatest Van Der Graaf Generator songs. Maybe because it is one?

Four stars for this Silent Corner. By far his best ''solo'' work so far. Thanks Peter.