The early work is lonely because as an invincible monolith, but also happened in the past few decades now and then great things. Most of the recent publications I could, however, often only partially abgewinnen something - this also applies to the Van Der Graaf Generator CDs after the reunion and also for Hammills live performances.
What was it? I reacted gradually allergic to Hammills sometimes exaggerated pathos and his mannerisms - or I do not take the time to earn his works? I really do not know exactly. After his quite refreshing Duo with Gary Lucas now so again Hammill solo: A man, his voice all possible instruments and a few boxes with electronics. This time even (ordered separately, since the expanded edition of Amazon is not available) in the set of three, with different versions of the CD:
*** "RETRO" is the instrumental (except for something rustling in the background) version, take on the instruments, the vocal lines.
*** On "SONGS" there's the song with little, distracting sound experiments between the pieces.
*** "Cine" is probably the best of both worlds and is both postmodern variant (to seek these somewhat hackneyed term), because the recordings were production-deconstructed and reassembled, as well as the essence of the other two CDs. Should be overrated this approach Hammills not (it's since Miles Davis 'Bitches Brew' well-known and now has a long beard, as it is the principle of every better Remixes), but it led probably to not always the first idea / Version to give in / implementation but as long the result rumzufeilen until too predictable and expectable was eliminated and the result ultimately sounds like a unified whole. In addition, attention was paid in this procedure on maintaining the sound free and airy. Instead of piling up more and more, what often happens when you - rumschraubt more than a year in a publication, entschlackte Hammill "CINE" and focused on the essentials - as in this case.
In addition, "CINE" the version of the CD single available!
To be honest: I shoot, the concept of this hat-trick only conditionally. The instrumental CD is a little too complacent, the song-oriented, however, wins the "CINE" variant from any new aspects and is within the shorter "songs to go" EP version. At least I see the (still) like that. But that may change with time and perhaps change ...
I would, however, I found it sometimes sexy, Hammill had such an album (perhaps as a fourth modification) placed another remixer in his hands. A Autechre remix of Hammill Imagine, the direction Abstract techno would ...
However, as for some time at PH usual, also this a quiet, contemplative work has become and how on several occasions in the past, this time without drums - just a few rattles (Maracas are called, I think) I can as a percussive rhythm donors herhaushören. The time when he announced a "loud" after each "quiet" album ("The Noise" was officially released in 1993 as the first of the "Loud" series, as then stood in the booklet), are over. Hammills Klangkosmos seems increasingly to volatilize into the transcendental: Songs that are often indicated only as hatching or fragment dive between strange sound patterns on, then back to single notes get lost in Soundscape Landscapes, Gitarrenklirren paired with then spotted deep bass and the man that "for the voice rendered what Hendrix did for the guitar", sings in chorus with himself, thus creating an almost sacred atmosphere.
Although a few songs set properly (the then but right), exerts "All that Might Have Been" for me an almost hypnotic attraction of, because here most Hammill qualities are reunited, without that one has the feeling that he would only drive on autopilot. Again and again little disturbing moments are woven into the compositions, so it certainly helps to consider this publication as a sound installation and less as a collection of songs. In any case, as an overall composition that you only hear concentrated and for which you should take your time: A sort of abstract ambient music with vocals that opens partially towards modern classical music. "Music on the edge of silence" was called the (so do I seem to remember) in the "sound horizons" of the Germany radio.
Mostly remembered "All That Might ..." removed the late works of David Sylvian, the (in his own unique way) more and more of the traditional way of composing songs and orchestrating, departed. Although Hammills method to create a melancholic soundtrack of his soul landscapes, of course has very different qualities and idiosyncrasies. A resident of the ivory tower, whose incomparable voice pulls me over and over again in her spell, so it does not bother me that it is age-related slipped into something deeper layers. In short: He took me back by the collar.
Everything sounds incredibly transparent: The songs themselves seem (formulated figuratively) slowly inhale and exhale, the suspense to build carefully and do not dissolve (as before) in brachial outbursts, but in waves on. I know this was now a whole lot arg verquasteter metaphors, but I can not describe it differently ... (and now if someone comes on stupid thoughts: No, I write in my spare no poems).
Conclusion: In any case this is' for me a harmonious and exciting late work of the enigmatic vocal acrobats and sound tinkerer, that I can recommend to anyone who wants to engage in it. Whether it is absolutely necessary, the three-set? Who might hesitate limited boxes of value to collectors on the shelf, who also appreciates the aesthetic value of the different variants. For me, however, runs primarily of "The CINÉ" mix - and that is with the regular single-CD identical.
