TRISECTOR

Although not exactly my introduction to Van der Graff Generator, this was the first album I ever owned, as I purchased it not long after it came out, when I spotted it in a store. This is not exactly the same music as one can hear from the band's classic era, but for that reason may please those who never cared for the over-the-top vocals, sprawling arrangements, or caterwauling saxophone. Overall, this music is dark and smoky, husky in a way. It's subdued throughout, with some really memorable songs. There is nothing flashy or ostentatious here- just solid music.

"The Hurlyburly" A gritty guitar plays a repetitive riff and suddenly there's plenty of crunch, heavy drumming, and some fine organ work. This is essentially a surf-rock instrumental- something I was not expecting at all.

"Interference Patterns" Several repetitive organ riffs build on one another. Peter Hammill sounds like he has a cold- but it's still Hammill. That distinctive voice is still there, though more restrained.

"The Final Reel" One of my favorite songs on the album, this begins with soft piano, and has some dark, jazzy instrumentation. The hook is dissonant and yet catchy. I love the melody and the build of it.

"Lifetime" Soft drumming and funeral-like organ begin this one. While not exactly memorable, it's a pleasing enough piece.

"Drop Dead" A stranger, straightforward rocker for this often esoteric band. The organ solo, full of tremolo, is a highlight of the album.

"Only in a Whisper" Electric piano and a thick bass begin this interesting work. Hammill's vocals are at their most theatric, but he really sounds a tad decrepit throughout this one. I enjoy the ending, static and repetitive though it may be, but I think the real highlight of this song is exceptional drumming, with rim shots that crack right through the mix

"All That Before" Here is a peppy number, with some fuzzy guitar backing up a classic organ. It's an intriguing piece, mainly because of the interplay of the organ and the vocal melody.

"Over the Hill" The lengthiest track by far, this has some of the avant-garde tendencies of yesteryear. Though starting off in the same manner of the rest of the album, the middle section has some stark piano and organ, accompanied (roughly) by drums and some outlandish sound effects. The varying movements should please those looking for more classic Van der Graaf Generator.

"(We Are) Not Here" The final track is a darker and fuller song, with dissonant piano and organ work and an odd time signature. The vocals are once more dramatic to a fault (coming across as goofy to me, to be honest). I believe this would have made an excellent instrumental, since I feel it's the vocals weighing this one down.