Most Helpful Customer Reviews
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5 of 5 people found the following review helpful:
5.0 out of 5 stars
One of the best along Peter Hammill's flight path, May 25, 2007
The remastered 'A Black Box'. Originally released in 1980, this, one of the first 'indie' albums but now an EMI product, completed the trilogy of 'monochrome' albums that kicked off with 'The Future Now' in 1978 and 'PH7' in 1979. These albums marked a stylistic shift, Hammill largely dispensing with the complex, labyrinthine arrangements that had been the hallmark of his earlier solo albums and his work with Van der Graaf Generator. This new style was stripped-down, concentrated and concise - and fitted well into the punk ethos of the time. One of Hammill's earlier albums 'Nadir's Big Chance' released in 1975 had, in fact, been hailed as a prototype punk-rock album. The subject matter of Hammill's songs became more accessible, his lyrics more straightforward and direct. This new approach served to heighten the intensity and power of Hammill's writing. Every song here hits like a punch both musically and lyrically, as a result of the basic electric guitar, bass drums and keyboards instrumentation and the production quality Hammill achieved by recording with only 8 tracks. The sound is jerky, cut-up, grainy black and white and brilliant. The opener, 'Golden Promises' is a no-nonsense rocker, with harsh distorted guitar and a strident rhythm; 'Losing Faith in Words' shouts about the difficulty of being heard above a juddering piano and staccato lead guitar. 'Jargon King' continues on the theme of communication using phased-out electronic effects, synthesiser and backwards tape; 'Fogwalking' is a slow stroll through a nightmarish nightime London with gothic keyboard landscapes and eerie saxophone provided by David Jaxon; 'The Spirit' is a simple three-chord trick up-tempo rock-song, almost thrown away; 'In Slow Time' features melodic synths and a sinuous melody line; 'The Wipe' a chaotic, out-of-control ambient spasm wraps up what was originally side one of the vinyl album. The remainder is taken up with the twenty minute sequence 'Flight'. Although consisting of seven individual parts, 'Flight' is so precisely constructed that it seems to be no more than a single song. Hammill holds the separate strands of the piece together with strong melody lines and musical themes, overlaid with some of his most imaginative lyrics. The end result is a satisfyingly unified piece that sits at the heart of 'A Black Box'. John Gill, in his Sounds review of July 26, concluded that this was Hammill's strongest material in years: "'A Black Box' carries the achievements of 'The Future Now' and 'PH7' even further. Searching, pushing, outstripping and setting precedents for others."
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
a great neglected album, July 22, 2008
This is easily one of my favorite Peter Hammill Records. I felt compelled to write a review because I feel that some reviews that I've read (on Amazon and elsewhere) unjustly gave it a low rating.
Hammill plays all the instruments and, yes, he is competent but not a virtuoso in all of them, but his music has always been so much more about creativity and expression than about flash. Others who criticized him for using drum machines miss the whole point - If it sound cold, it's because it's SUPPOSED to! Stylistically you might say that this one is similar to The Future Now and pH7, its predecessors, though perhaps even more experimental.
Unlike a number of PH albums, this one actually starts out on a strong note. "Golden Promises" is a good, fairly straight-ahead rocker. I'm not clear exactly what he means, but it warns against "groupthink" of one sort or another (religious, political, etc.). The next track, "Losing Faith In Words" is another relatively straightforward rocker, but already incorporates some experimentation. "Jargon King" continues the communication breakdown theme, and thoroughly immerses you in avant-garde sounds and dissonant talk-singing from Hammill.
"Fogwalking" is the highlight of the album, and in my opinion, on of the best tracks that PH ever did. The lyrics are really outstanding, and the eerie, moody music is very effective. As usual he leaves a lot open to multiple interpretations. On one hand, evidently he does like to go for evening strolls in the fog (he is English), which inspire his creativity, but there's more going on here. When talks about fall-out and wreckage, it's not clear whether he means physical wreckage or human. The lines about "clumsy slow motion" and "fog spores breeding in my head" suggest the fog in question is not a meteorological condition. In the last line he says "fogwalking through what used to be Whitechapel". Clearly this is a reference to Jack the Ripper (Whitechapel is the seedy neighborhood where ol' Jack did his nasty business), and the music fits right in, but what does he mean by "used to be"? Buy the album just for this one!
"The Spirit" is another straightforward tune that people have argued doesn't fit in with the album, and theoretically they're right. By itself it's a fairly non-descript track, but in its context provides a good contrast sandwiched between two experimental tracks. "In Slow Time" is stylistically similar to "Fogwalking", and is somewhat reminiscent of the stuff Bowie & Eno had been doing around the same time.
After a brief noisy return to the "Jargon King" thing, you get to "Flight", which takes up the second half of the album. This track is the main reason why some reviewers malign this album, but I strongly disagree. The lore goes that he did it as a second attempt at a long-form piece, after Van Der Graaf Generator's "Plague of the Lighthouse Keepers" was not well received. Personally I think "Plague..." is excellent Pawn Hearts (review forthcoming). Some of the critics also commented that by 1980 the time for 20 minute songs had long passed, but the fact is that PH never did anything to be fashionable, but pursued his own vision. Perhaps a passage or two are a bit slow, but it is a great showcase for his versatility and his singing skills. The song is made up of various segments all using metaphors relating to...flight (what else?). As is the case with "Plague...", it seems to be about a trip through insanity.
It's certainly one his most experimental albums and may not be the easiest to get into, but anyone who appreciates PH's work ought to check this one out. If I have any criticism, it's for the sound quality, particularly on "Flight". Keep in mind that he was bumped off his label after his previous album, so this this is a DIY album. The sound quality is flat on a lot of it. I have an old copy of the CD, and have not heard the recent remastered version, so I don't know how much of an improvement that one is. People interested in pursuing Peter Hammill's music ought anyway not to be put off if it is not "glitzy" sounding. It is the sound of a highly unique and individualistic talent pursuing his vision, even if he has to do it out of his house!
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0 of 1 people found the following review helpful:
4.0 out of 5 stars
Un gran disco!, November 22, 2007
PH con éste disco se adelantó varios años al rock que vendría. Una búsqueda constante de nuevos sonidos a través de guitarras distorsionas y procesadas.
Una joya para abrir la década de los `80
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~ Peter Hammill
~ Peter Hammill
~ Peter Hammill
~ Peter Hammill
~ Peter Hammill
by Peter Hammill 
