THE FUTURE NOW

Hammill's first solo album after the second breakup of VdGG has plenty of precedent in his work, thematically speaking - Hammill experimented with minimalistic, stripped-down arrangements on Chameleon In the Shadow of the Night, and presenting a mix of tender love songs and harsh critiques of music industry politics and fashions makes the album something of a sequel to Nadir's Big Chance. (Hammill even angrily declares that he can "still be Nadir" on Pushing Thirty).

However, the collapse of VdGG seems to have left Hammill in a state of great uncertainty, concerned that he's hit a point where he's no longer able to adapt to changing fashions and is no longer relevant. In retrospect, of course, he needn't have worried - his solo career would go from strength to strength, and an enthusiastic endorsement from John Lydon (AKA Johnny Rotten) would help Hammill establish some New Wave credibility.

And of course, Hammill's perpetual tinkering with musical ideas continues unabated here. Backed up with occasional guest appearance from fellow VdGG survivors Graham Smith and David Jackson, Hammill explores minimalistic New Wave art rock avenues in styles ranging from the punkish Pushing Thirty to the starkly experimental A Motorbike In Africa. Not the easiest Hammill solo album to get along with, The Future Now is still an important landmark in the development of his career, setting a precedent for much of his work for the next five years or so.