Easily overlooked intermediate Pawn Hearts and The Least

Some fans keep yes Pawn Hearts for the only essential Van Der Graaf Generator disc, has achieved what no doubt evenly matched, musical qualities, but take the pieces of H to He, Who Am the Only One closer look, is you realize that the songs are more fluid through-composed, the Gründgerüst the five thoughtfully arranged compositions not theatrically degenerate (the interminable solos excluded), and each instrument to the train comes, as was later the case and sound more balanced, as the progressive Concept of uniform and not acting as scattered as the aforementioned Pawn Hearts or the least we can do is wave to each other. Therefore H to He, Who Am the Only One is the next logical step after the solitary predecessor, and is VdGG newcomers to recommend most, the songs but act geradlinieger and more accessible. Musically, Peter Hammill (guitar, piano, vocals), Hugh Banton move (organ, piano, bass), Guy Evans (drums) and David Jackson (saxophone) between Genesis, EL & P, nectar and Colosseum (which frequent and effervescent saxophone use concerns), acting through the (spacey) guitar effects but as exotic, but less aggressive. Already the first track KILLERS is a kind of musical bridge between geradliniegen structures and fiddly solos (the guitar / Saxakkord or staccato "end" of the main riffs I still think for the icing all VdGG slices), between genius and insanity. Alone this song justifies buying the album, I dare him to call but as one of the best of Van Der Graaf. HOUSE WITH NO DOOR begins quietly with beautiful piano part before the "King of Fear," as Peter Hammill was dubbed jokingly at times the first VdGG-incarnation begins, narrative recite the piece. The muted, melancholy atmosphere adapts well to the band's instruments, and support the unintended tragedy. THE EMPEROR IN HIS WAR ROOM exists when 2005 appeared Remaster in two slightly differentiated versions. The original version starts with pleasant flute accents and organ passages that match the variable, dense atmosphere. Robert Fripp (King Crimson) has come to the guitar making a guest appearance. The piece seems - to be cut on it - the density ago. LOST begins merrily on, easy-floating of the Middle Ages reminiscent of instruments, then complex rhythm structures in which especially the intricate percussion and the typical for Van Der Graaf Generator guitar, saxophone and organ runs and solos in the middle of the song stand out. A dark, ominous-spacey intro opens PIONEERS OVER C, which seems to have sprung straight from a thriller, at least with regard to the bass lines at the beginning, before Hammill vocally nachlegt with the narrative "We left the Earth in 1983" passage and fleet Schlagzeugsynkopen mix with guitars and saxophones. The text is full of apocalyptic prophecies. This seems to be Der Graaf Generator of darkest and most threatening song by Van. The rhythm of the song varies constantly with quiet and stirring, the composition propulsive Parts, which go perfectly and contrast the rather geradliniegen basic tenor of the first four songs. The bonus are just as interesting and I find it a pity that the three-piece suite SQUID ONE / TWO SQUID / OCTOPUS did not make it to the original publication, for as the default song to concerts. The above-mentioned second version of The Emperor also succeeded, but I have to only be described as quite nice. The Remaster is good and the pieces work in the sound more transparent. The dreamlike Cover does the rest. BUY!