H TO HE, WHO AM THE ONLY ONE

In arthouse movies that added layer of philosophical exploration is key to lift up a piece of art to the status of a masterpiece. On some album in the progressive rock genre there's also such an effect; and Van Der Graaf's Generator 'Who Am The Only One' is such a record. All songs deal - in their own way - with scenes of extreme loneliness and the effect is has on the human experience. On time and meaning.

Musically the album expands on the progressive direction that was set on 'The Least We Can Do' with long organ-led compositions in which the commanding and expressive performance of Peter Hammill is key. Hammill leads us straight into his world of fantasy, an ability that makes him unique as a performer. The majestic sound and medieval influenced chords of the organ by Hugh Banton and the original uses of flutes and sax by David Jackson give the music its magical appeal. Robert Fripp (of King Crimson) adds some guitars, most notably on 'The Room', but I never felt his presence is that important for the impact of VdGG's music on this record. The later releases with alternative takes without Fripp are sublime as well.

The opening song 'Killer' (with its wild avant-prog sax solo!) deals with the loneliness of the top predator, which turns out to an analogy for the performer's own social isolation. The wonderful ballad 'House with No Door' explores the human experience when cut of from all others. 'The Emperor in His War Room' is the most majestic song here and its main theme was the first thing I liked about VdGG. It tells about the loneliness of being the single one responsible for decisions about life or death. 'Lost' is about the craving for another person that is deemed beyond reach. 'Pioneers over C', perhaps my favorite, is about exploring outer space, but so far out that the fear of loosing one own's humanity in the utter emptiness of space takes on hold. Eventually the character looses his mind completely, which is aptly preceded by a breathy avant sax solo part by Jackson.

I believe this is - both musically and lyrically - simply one of the most interesting records the progressive genre has to offer.