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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Black Box
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A Black Box
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| Price | New from | Used from |
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MP3 Music, August 1, 1980
"Please retry" | $8.99 | — |
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Audio CD, Extra tracks, Import, October 29, 2006
"Please retry" | $55.71 | $29.98 |
| Audio CD, August 20, 1990 | $23.95 | — | $14.98 |
Track Listings
| 1 | Golden Promises |
| 2 | Losing Faith In Words |
| 3 | Jargon King |
| 4 | Fogwalking |
| 5 | The Spirit |
| 6 | In Slow Time |
| 7 | The Wipe |
| 8 | Flight |
Product details
- Is Discontinued By Manufacturer : No
- Product Dimensions : 5.5 x 4.94 x 0.45 inches; 2.88 Ounces
- Manufacturer : Blue Plate Caroline
- Date First Available : December 9, 2006
- Label : Blue Plate Caroline
- ASIN : B000000HUR
- Number of discs : 1
- Customer Reviews:
Customer reviews
4.3 out of 5 stars
4.3 out of 5
21 global ratings
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Top reviews from the United States
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Reviewed in the United States on July 22, 2008
Reviewed in the United States on 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."
Reviewed in the United States on November 12, 2001
When you buy this CD, go straight to track #4, the excellent 'Fogwalking'. Rarely have I heard a track where the atmospheric music goes so perfectly with the lyrics. Apart from the drum machine -- which is strongly reminiscent of the Bentley Rhythm machine that Arthur Brown supervised on Kingdom Come's JOURNEY -- this could easily be Van Der Graaf Generator, around the classic GODBLUFF period. Even saxophonist Dave Jackson assists with the riff generation.
I'm collecting Hammill albums very late in the day -- I own just three so far. But this is certainly the best of those, and in the VdGG pantheon, it's up there with PAWN HEARTS, GODBLUFF and STILL LIFE.
For me there's only one dud track: 'In the Spirit'. Although the acoustic guitar is crisply recorded, the tune is too conventional (just too unHammillesque, I suppose) to retain my interest beyond a few plays.
It's a great shame that the poetry establishment gets so snooty about the lyrics of popular and rock music songs. (It may just be resentment at the tiny amount of money a poet can make compared to a pop singer.) Peter Hammill comes closer than 99% of rock lyricists to writing superb poetry which can stand on its own, away from the music. And although immensely talented, Peter hasn't made a fortune. So it may well be time for his application to the Poets' Hall of Fame to be reconsidered.
I'm collecting Hammill albums very late in the day -- I own just three so far. But this is certainly the best of those, and in the VdGG pantheon, it's up there with PAWN HEARTS, GODBLUFF and STILL LIFE.
For me there's only one dud track: 'In the Spirit'. Although the acoustic guitar is crisply recorded, the tune is too conventional (just too unHammillesque, I suppose) to retain my interest beyond a few plays.
It's a great shame that the poetry establishment gets so snooty about the lyrics of popular and rock music songs. (It may just be resentment at the tiny amount of money a poet can make compared to a pop singer.) Peter Hammill comes closer than 99% of rock lyricists to writing superb poetry which can stand on its own, away from the music. And although immensely talented, Peter hasn't made a fortune. So it may well be time for his application to the Poets' Hall of Fame to be reconsidered.
Reviewed in the United States on 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
Una joya para abrir la década de los `80
Top reviews from other countries
Client d'Amazon
5.0 out of 5 stars
le meilleur
Reviewed in Canada on November 24, 2016
un des meilleurs
Dr.プログレ
3.0 out of 5 stars
VDGG dilemma
Reviewed in Japan on October 13, 2008
聞いてみてジャケットが真っ黒になった意味が解るような気がする。確かにVDGGばりの攻撃的なピーターハミルのウ゛ォーカルは存在する。が、ファンとしてはVDGGのままの彼が聞きたいのに新しいものを入れたいのか、3曲めからはエレクトリック・テクノロジーを入れているが、それがもう一つである。VDGGを脱却したいのにできないジレンマを感じる作品である。ピーターハミルのファン以外は勧められない。
Exene Martins
5.0 out of 5 stars
La scatola nera.
Reviewed in Italy on April 17, 2013
Album del 1980,rieditato dalla EMi,è l'ultimo album della trilogia che ha segnato un cambiamento sitlistico dell'ex vocalist dei Van Der Graaf Generator,seguito di The future show e PH7.Hammill diviene più accessibile,anche nei testi,un nuovo modo di comporre,che aumenta la potenza del significato delle parole abbinate alla musica,un modo più semplice eppure più diretto.Anche la musica è più semplice,tutti gli strumenti sono suonati dal solo Hammill,chitarra elettrica(assente nei VDGG)batteria,basso e tastiere,c'è anche la drum-machine,come ospiti sono presenti David Jackson al sax e flauto e David Ferguson al synth e tambourine,un suono che si esprime tra chiaro-scuri,tra lampi brillanti,tra temi conditi di improvvisi scatti,diviso in due sezioni.L'album è diviso in due,una prima parte con brani più brevi e una seconda all'insegna del poema epico,Flight di 20 minuti.L'inizio è con un brano sui versanti del rock,Golden promises,suonato ed interpretato in modo essenziale,senza concessioni ai virtuosimi,chitarra distorta,il testo è uno dei più ermetici,sembra puntare il dito verso il pericolo rappresentato dal farsi coinvolgere dalle ideologie di massa,legate a vari aspetti,religiosio/politico.Losing faith in words,incomincia a mettere in risalto alcune sperimentazioni,su una base ancora legata al rock,Jargon king è situato su sonorità di avanguardia,dominato dal cantato-recitato di Hammill,che affronta il tema delle difficoltà di comunicazione interpersonale.Musica inquietante,che crea il pathos addatto ai testi nel brano Fogwalking,camminare avvolti dalla nebbia,un testo che lascia aperte varie interpretazioni,dove si parla di macerie,di crolli dell'umanità o fisici,cupo e spettrale,con in conclusione un riferimento a Jack lo squartatore(..fogwalking through what used to be Whitechapel),riferimenti inquietanti ad un olocausto.Brano di estrema semplicità,nei suoi pochi accordi con la chitarra acustica strappata sul rock è il seguente The spirit,seguito dalle melodie insinuanti di In slow time,abbracciato alle melodie del synth e seguito dai caotici spasmi ambient di The whipe.La conclusione è affidata alla lunghissima Flight(sul vinile occupava l'intera seconda side),un brano composto dalla riunificazione/fusione di 7 brevi brani singoli,il segmento finale che intitola l'album,incedere epico,un brano dal forte potere emozionale,frequenti cambi di ritmo e di atmosfere,tutti gli strumenti sono suonati dal solo Hammill,nel canto,rispolvera il suo tipico modo di cantare,che nei VDGG aveva anticipato il modulo gotico,un brano dalle forti linee melodiche e testi di grande fantasia.
Grande album che non ebbe il successo meritato,coinvolgente,enigmatico,ossessivo,delirante,difficile,bello.
Perfetta la rimasterizzazione ad opera della EMI,riesce a donare una nuova vita a questo bellissimo ed introverso album.
Grande album che non ebbe il successo meritato,coinvolgente,enigmatico,ossessivo,delirante,difficile,bello.
Perfetta la rimasterizzazione ad opera della EMI,riesce a donare una nuova vita a questo bellissimo ed introverso album.
Stefy
3.0 out of 5 stars
Noir, c'est noir
Reviewed in France on July 19, 2019
Écouter un disque de Peter Hammill, c'est avoir l'assurance de se frotter à une expérience auditive autre. Car Hammill expérimente à tout va, ne se donnant aucune limite dans ce sens. C'est parfois réussi, d'autres fois moins bien, mais l'important, chez lui, semble être d'avancer et on verra après. A l'image de sa pochette, "A Black Box" est un disque sombre. Menaçant et glaçant, également. La première face propose sept vignettes bien distinctives avec leur lot de synthés caverneux et lugubres, des guitares qui semblent provenir d'une lointaine ère glaciaire et des rythmes tarabiscotés en veux-tu en voilà. A ce sujet, "Jargon King" et "The Wipe" préfigurent grandement la jungle ou Aphex Twin. On voit bien que Peter Hammill n'est donc pas là pour caresser l'auditeur dans le sens de la mélodie gracieuse. Comme l'atteste le grinçant et asphyxiant "Fogwalking" aux riffs déstructurés habiles et étouffants. La seconde face se veut une longue suite d'une vingtaine de minutes intitulée "Flight". Elle commence superbement avec une très belle introduction au piano. Las, Hammill va vite sombrer ici dans son péché mignon, celui de fournir des parties vocales bien trop longues, bavardes et ampoulées. D'autant que les intonations qu'il prend tour à tour sont également assez lassantes. Bref, le disque est un poil décevant par rapport à des réussites précédentes comme "The Future's Now". En même temps, l'écoute demeure intrigante et riche car, avec lui, on ne sait jamais ce qui va se passer. Un album autre, pas entièrement convaincant, mais qu'on ressort de temps à autre pour s'y frotter encore une fois.
M. Pauli
5.0 out of 5 stars
Don't go for the easy way...
Reviewed in Germany on March 18, 2012
...welch wahre Worte gleich zu Beginn des albums (Golden Promises). Black Box ist für mich bis heute das Highlight von Peter Hammill's leicht unüberschaubarer und sehr kreativen Solophase. Flight - eines der Highlights an Longtracks überhaupt (ich vergleiche es immer gerne mit Supper's Ready von Genesis) das zentrale Stück des Albums. Die Wechsel, ob Tempi oder Stimme sind der Wahnsinn. aber auch die kürzeren Stücke dieses sehr gewaltigen albums sind Spitze: fogwalking (man spührt den Nebel nahezu) oder Losing faith in words. An den Texten mag man erkennen, dass Hammill hier eine gewisse Trennung erarbeitet. Das Vertrauen in Worte zu verlieren oder auch in Golden Promises der Rat, nicht immer den leichtesten Weg zu gehen, zeigt einem eine neue Findungsphase. Ich persönlich find es ja klasse, dass Hammill's Alben meistens einen persönlichen Eindruck vermitteln und einem als Zuhörer ein wenig teilhaben lässt an seinen Gedanken. Alle, die noch keine Platte von ihm haben würde ich zur Black Box raten oder den Samplern "The Calm"/"The Storm" - da geht nix schief!
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