Peter Hammill - And Close As This (1986)

Un hombre que creó un estilo único de música sobrecogedora que ha inspirado y maravillado a muchos durante décadas (saqué esa definición de una comentario que copio en la entrada, y me pareció muy acertada). Aquí empezamos nuestro recorrido discográfico del genio creativo de Van Der Graaf Generator, en un disco donde está él, su piano, su voz y su taleno, y no falta nada más.

Artista: Peter Hammill

Álbum: And Close As This
Año: 1986
Género: Art rock / Progresivo ecléctico
Duración: 40:11
Nacionalidad: Inglaterra

Lista de Temas:
1. Too Many of My Yesterdays
2. Faith
3. Empire of Delight
4. Silver
5. Beside the One You Love
6. Other Old Chichés
7. Confidence
8. Sleep Now

Alineación:
- Peter Hammill / Vocal y piano.

¿Qué podemos decir de un personaje de semejante peso dentro de la historia del rock? y decimos eso aunque no tenga demasiado peso en la cultura de masas, pero ni hablar en lo que respecta a la parte artística, realmente no existen palabras para calificar a semejante usina de producción musical, desde su liderazgo con Van Der Graaf Generator, y su extensa producción solista que pretendemos abordar con la ayuda de nuestro amigo Elías.
Empezamos con un disco en donde se lo escucha a Peter con su pianito, nada más... y nada menos. Vamos con el comentario del Mago Alberto que es quien nos trae el disco:

Quizas "la casualidad" sea la confirmacion del sincronismo del inconsciente colectivo, porque de ninguna otra manera se explica que justo cuando había subido un disco de Peter Hammill, aparece un cabezón en el chat pidiendo algo de Peter, y esta confirmación la tuvo muchas veces el Vampiro, cosa que en algún otro momento comentaremos, pero bueno... vamos con este disco que es mas importante.
Dentro de la amplia discografía solista de Hammill, éste trabajo sobresale por muchas razones, que a continuación paso a detallar.

a) Todo el disco es solo la voz de Hammill y su piano.
b) Es super intimista.
c) Apogeo de su carrera.
d) Es algo asi como el Hunky Dory de Bowie.

Si se toman el trabajo de traducir las letras se van a llevar otra sorpresita. Estos son los años de madurez compositiva de PH. Madurez en su voz. Madurez como hombre. Un punto altísimo de un creador que ya dejó una huella imborrable en el universo de la música.
Hay quienes disfrutan en extremo este tipo de proyectos porque es un viaje a la intimidad, placer garantizado para una cena de a dos, finde de lluvia, etc. etc.
Justo cuando el mundo entero se rendia a los pies de Travolta (me parece que a éste ya lo nombré varias veces) Hammill se despachaba con un disco sin batas electrónicas y sin ningun efecto ochentoso, y te sumergía en una atmósfera profunda y hermosa.
No duden en llevarse este material que a propósito es el único que voy a reseñar de Peter Hammill (no me pregunten la razón).

Alberto

A ver, me ayudo un poquito con otro comentario de terceros:

Es un disco apartado a la linea general de la musica de los ochenta, mas convencional, y que corresponde a esa tercera etapa. Es muy pausado y relajado, un poco soso pero que no es un mal disco. La duracion es bastante corta: 40:11. La portada es un primer plano de un ojo cerrado en blanco y negro.
1.- Too Many of My Yesterdays (4:48): Uno de los temas mas interesantes del disco por ser un tema melancolico bello con voz suave y acompanyado del piano. Sube la capacidad melodramatica y el cierre es solemne.
2.- Faith (4:28): Tema interesante tambien melancolico y voz suave pero un poco mas alegre.
3.- Empire of Delight (4:44): Otro tema notable al piano y melodia cantada triste.
4.- Silver (5:29): Tema mas variado con partes energicas y otras dramaticas. La voz es mas grave.
5.- Beside the One You Love (5:14): Piano melancolico en una balada tranquila. Correcta.
6.- Other Old Chiches (4:07): Tema tambien melodramatico al piano. Tambien correcta.
7.- Confidence (6:37): Algo mas variado, pues en este tema dramatico al piano, se anyade un toque mas energico, con sintetizadores y algunas percusiones.
8.- Sleep Now (4:44): El mejor tema del disco despues del primer, una preciosa balada al piano.
En general es un disco con temas notables pero que para algun oyente puedes ser algo monotono. Puede ser un buen disco en momentos relajados y en buena companyia. Valoracion: 7-7,5/10

Lluis Bonet

Y por último, un recorrido por la biografía del talentoso artista, también escrito por otras personas que ayudan involuntariamente a nuestra tarea:

Peter Joseph Andrew Hammill nacio el 5 de Noviembre de 1948, en Ealing (un barrio de Londres). De acuerdo a las creencias familiares, Peter Hammill crecio bajo la fe Jesuita, y este seria un elemento mas que infuenciaria mucho de su futuras composiciones y obras, ademas de sus estudios en filosofia y artes.
Conducido por esta musa tan "particular", se comienza a interesar (ya en los anios '60) por la Ciencia Ficcion y su corriente llamada "New Wave" que tenia entre sus lideres a Michael Moorcock, Thomas Disch, Harlan Ellison y otros.
Mas tarde, Peter junto a se amigo Chris Judge-Smith funda la Van Der Graaf Generator en el seno de la Universidad de Manchester. La banda se separa luego de un par de presentaciones y Hammill se convierte en solista. Despues de esto, firma contrato con Mercury Records para grabar, acompaniado por varios amigos, una breve pero intensa sesion de grabacion. De aqui, renace Van Der Graaf Generator, y comienza una extensa colaboracion con el productor John Anthony que continuaria en los siguientes albums de la banda.
El sonido monolitico y barroco de VDGG todavia no habia llegado, pero las letras de Hammill ya incuian las multiples personalidades cercanas a la oscuridad, los secretos cosmicos y los misterios de las dimensiones desconocidas (ocultas a anios luz de la cotidiana realidad en que nos vemos inmersos). Todos estos topicos convergian cual muerte subita en uno solo, que era en realidad el corazon musical de VDGG y su verdadera razon de ser.
En el comienzo, todo empezo de la mano de "People You Were Going To", una alegre tonada con toques de desesperacion. Hammill mas tarde regrabaria esta cancion para el disco de 1975, "Nadir's Big Chance". En esas primeras epocas, VDGG sigue los pasos de Genesis y firma un contrato con Anthony Stratton-Smith y su nuevo sello discografico Charisma. En ese punto Hammill comienza a redefinir sus composiciones hacia formas mas adornadas, obteniendo muy buenos resultados, al incluir temas que incuian pizcas de ciencia y misticismo, con movidas ocasionales hacia temas algo mas "terrenales". Los tres primeros discos de VDGG para Charisma nos muestran muchas de estas "oscuras" cascadas hacia genuinos momentos de introspeccion "sci-fi" en temas como los geniales "Pioneers Over C" o "Man-Erg", que promediaban tranquilamente los 12 minutos de duracion. Asi llega el primer opus solista de Hammill llamado "Fool's Mate" (un nombre que referia tanto a la clasica jugada ajedrecista llamada "Mate Pastor" como a una referencia del Tarot), este disco insinuaba la veta que seguiria Van Der Graaf Generator a partir del album "H to He Who Am the Only One". El primer experimento solista de Hammill consistio, en efecto, de una coleccion de canciones bastantes mas cortas de las realizadas en VDGG, un material de su juventud que habia permanecido inedito. Para realizar estas grabaciones, Hammill conto con la ayuda de miembros de Lindisfarne, otra banda contratada por Charisma, asi como de su amigo Robert Fripp. Despues, siguiendo a la momentaria disolucion de VDGG posterior a "Pawn Hearts", Hammill graba otro disco solista llamado "The Chameleon in the Shadow of the Night", que fue en efecto casi un descanso de sus tareas grupales. Hammill se dio cuenta en este punto de la historia que tenia que desnudar sus intenciones musicales un poco, llevandolas hacia terrenos un poco mas esenciales, grabando en su casa (la primera aparicion del "Sonido Sofa"); y asi sus letras se volvieron bastantes mas personales, hasta llegar a un estilo que encontraria su culminacion en "The Black Room".
Con "Silent Corner and The Empty Stage", Hammill hace que su voz tome una forma nueva mas alla del mundo de VDGG, con caracteristicas muy maduras y propias como se escucha en "Red Shift", por ejemplo. En esta tendencia, el album revela nuevos tracks que incluyen a "Modern", "Wilhelmina", "Forsaken Gardens", y "A Louse Is Not a Home". El siguiente disco, "In Camera" consiste en una ardua labor instrumental en la que Hammill experimenta en si mismo con los ambientes creados por los "soundscapes". En 1975, Peter asume la personificacion de Rikki Nadir, un tipo vestido con campera de cuero, para "Nadir's Big Chance", un album de "garage" caotico y ruidoso con el estilo de las viejas bandas de rock & roll. Este disco surge efecto en la comunidad musical britanica de la epoca y es seguido poco despues por la explosion del punk de la mano de figuras como John Lydon (o "Rotten") que rinden una publica admiracion por el trabajo de Hammill, una de las pocas viejas figuras del Rock que se salva de las distribas "Punks". El culto de adoracion hacia la figura de Hammill continuaria en los anios siguientes, creciendo aldrededor del mundo. Tambien en 1975, renace Van Der Graaf Generator en un formato que se metia mas en una tendencia en clave de "proto-jazz" con explosiones de "rock" adheridas. Las letras de Hammill en esta epoca trataban de examinar a la gente y sus cosas (como pasa por ejemplo en "Childlike Faith in Childhood's End") todo de la mano de la expresiva y (a veces) narrativa voz de Hammill. Los primeros dos discos del regreso de VDGG, "Godbluff" y "Still Life", fueron dos muy finos albums, con algunas de las mas bellas paginas musicales jamas escritas por Hammill, como la climatica "My Room (Waiting for Wonderland)". Sin embargo, el tercer album, "World Record", (a pesar de su calidad) indicaba algunos problemas estilisticos y parecia que VDGG se acercaba a su fin. En algun momento de este sendero se sintio como que Van Der Graaf Generator habia perdido el "corazon" que impulsaba a su musica. En efecto, la banda se fracturo otra vez. Entonces, Hammill se toma tiempo para grabar "Over", otro intenso trabajo solista. Sin embargo, la banda, ahora conocida como Van Der Graaf a secas, retorna brevemente para grabar "Vital", un titulo ironico para un album que marcaba el final oficial para una de las bandas mas importantes y venerada en forma subterranea en la historia del Rock. Asi, Hammill retorno a su labor como solista, otra vez, grabando discos como "A Black Box by himself"; y mas tarde, adoptando una propia agrupacion de musicos para sus subsiguientes trabajos. En ese punto, sus letras indagan en una vision mas madura, pero con varios de los ingredientes de antanio (tanto cosmicos como misticos), aunque que en este caso enfocados de forma bastante mas personal, con una vuelta de tuerca oscura e ironica por igual. Esto se nota en algunas tonadas sardonicas que lo emparentan (casi) con otras figuras como Leonard Cohen. Asi, a lo largo de los anios graba un monton de discos, que enriquecen su reputacion y catalogo, a la vez de colaborar en forma regular con varias figuras de renombre como Roger Eno, Peter Gabriel, Robert Fripp, quienes son solo tres de varias docenas de nombres. Hammill tambien ha compuesto musica de ballet, y el trabajo operistico llamado "The Fall of the House of Usher" (basado en la historia del gran Edgar Allan Poe). Tambien se caso y tuvo tres hijas, dos de las cuales hicieron regulares apariciones en los discos de "Papa" Peter.
Tambien, a pesar de ser una figura muy conocida y una persona publica, Hammill siempre se las ingenió durante todos estos años para permanecer como un personaje enigmático y privado; un hombre que creó un estilo único de música (muchas veces) sobrecogedora que ha insipirado y maravillado a muchos durante más de 35 años.

E. Acevedo.

Para confirmar la afirmación dicha anteriormente, dejo un video de un tema que no está en éste disco: el conocido track "In The End"; Hamill solito con su piano desarrollando su estilo musical único y personal:



Como solista, pareciera que le gusta más hacer sonidos cadentes y melodiosos, acompañados por una voz más suave (generalmente) que la que usaba con VDGG. Eso lo pueden comprobar en éste disco que publicamos ahora.
Vamos con algunos comentarios en inglés si es que hacen falta, aunque no creo, pero por las dudas los dejo.

This is a programmatic album. In his liner notes, Peter Hammill points out that the music on the album consist of nothing but "one pass of the hands across a keyboard". The result is perhaps Hammill's most sparsely instrumented music, but that doesn't mean it's an introspective album; quite on the contrary, even initially calm songs like "Too Many of My Yesterdays" feature Hammill's expressive singing from his old Van der Graaf days.
While not introspective, it's certainly an intimate album, and an immediate one. Emotions are conveyed in an unfiltered way, with no arrangements to distract the listener. It fails to fully succeed only when there is an imbalance between the vocal performance and the music to back it so that the result sounds like a Van der Graaf song with the remaining musicians missing ("Silver", "Confidence"). It does, however, work wonders when the drama is more low key ("Too Many of My Yesterdays", "Beside the One You Love").
The true surprise here is how this is at the same time a very unusual Peter Hammill album and yet at the same time, it's unmistakably Hammill with all of his usual traits in place, and very strong songs too. It may be that Hammill wanted to prove the theorem than less is more, and the result is obvious: QED.

hprill

When it comes to PH, naturally I go for any of his 70's releases, they are much more exciting and complex, but to ignore his 80's output would be a severe loss for any lover of music. Taking a simpler approach (though nothing is ever 'simple' regarding this genius), 'And Close As This' shows what an intelligent musician can create with 'one pass of the hands across a keyboard', as stated on the back cover of the LP. I gather that this means he's basically playing the song 'solo' on a piano (or computer sequence) with no further musical over-dubs as such. The songs remain full of emotion, passionately sung and powerful. Strongest tracks, IMO, would have to be 'Too Many Of My Yesterdays', the beautiful 'Empire Of Delight' and 'Silver'. The song 'Sleep Now', is a lullaby to one of his daughters, and is a lovely change from his usual, 'loud' self. Excellent album - 4/5

Tom Ozric

Hammill's solo career is a minefield; not that it's inconsistent in quality - at least, from the twenty-five or so discs I've got, I wouldn't consider any album bad, just that the range of styles is wide enough that, for any album after Nadir's Big Chance, you need to be ready to enjoy it for what it is, not for how it compares to The Silent Corner... or Godbluff. This particular gem, 1986's And Close As This is almost as close as Hammill gets to 'true solo' efforts - all songs created by one vocal take and one keyboard take - with the assistance only of Paul Ridout in synthesiser preparation, and it's both accessible and experimental. All the songs are, essentially, keys and voice; however, the single unedited takes of all the various songs are modified with pre-prepared sequencing. So, essentially, we have single-performance takes and more direct songwriting, which is, from Hammill, usually excellent. So, that's the concept of the album, now: how well does it work?
Well, a number of the songs, particularly the straight piano-and-voice Too Many Of My Yesterdays, as well as Empire Of Delight and Other Old Clichés turn out very well, and we do get some of Hammill's best clean vocals to make up for the lack of thick self-harmonising we're accustomed to from Hammill. On the other hand, this concept is used more to create perfumed piano pieces, to accent and augment basic tunes, only on Confidence is really going out to create a complete multi-instrument piece. However, all in all, And Close As This is an excellent album, and both an interesting and novel experiment and a set of mostly good songs, a worthwhile purchase for any listener, though admittedly those accustomed to Hammill's writing for keyboards and vocal stylings will perhaps get a bit more out of it; just a bit of trivia, Empire of Delight, one of the album's highlights, is a collaboration with Keith Emerson (who contributed the music), and so might be of interest to the more diehard ELP fans for that alone, much as it's really not in the style you'd anticipate.
The album opens with its hardest-hitting song, the piano-and-voice Too Many Of My Yesterdays. An arresting main theme, fluent decoration, daringly bare and jarring breaks, all underpinning a lush vocal, with subtle trembling embellishments, a developed voice as the song moves on and astounding guttural-ethereal dynamics. But this fantastic performance and composition is only half of the song's impact: the lyrics are well-written, striking and more importantly, they connect directly to a situation in my life - not wanting an old relationship to resurface... putting it to a final end.
I shelved my broken heart I put you from my mind I got up from my knees I picked up all the pieces But seeing you again Puts shakes into my soul Just when I think I'm finally over you Don't come and show me that's not true.
Heavy stuff, and, if Van Der Graaf Generator's philosophical poetry comes across as pretentious to you, I guess that solo songs like this one might connect with you more.
Faith is the first of the album's 'prepared' pieces, relying primarily on a sort of softened and slightly lighter piano voice to offer an appropriate voice for the soft positivity of the song as a whole (as mentioned in the liner notes, this is a rare affirmation of love from Hammill). An understated instrumental break offers us the first real fruits of the album's experimentation in the form of echoing flute or reed organish voices, and the introduction of a more acoustic-guitar or orchestral percussion vibes in some of the decorative 'piano' embellishments, as well as supporting sustained strings. After a little initial indecision and a couple of mild vocal twists that either don't really come off or don't feel very well-aimed, the additional voices and an increasingly beautiful vocal turn this into a sort of sweet one-man chamber piece. The lyrics again, are straight experience stuff, but while the insidious doubts of this supposed relationship of trust are brought to the surface quite interestingly, Hammill doesn't really manage to put his own stamp on the idea as he'd earlier done in Ferret And Featherbird or Child. Still, a nice song, and one that introduces the album's key idea very well, but this probably isn't the one you'll find yourself coming back to time and again.
Empire Of Delight, as mentioned previously, a collaboration between Emerson and Hammill, is a must-hear, and perhaps represents the most successful marriage of this innovation and a direct song performance. A spectral love story, explained by an incredible tentative/confident vocal, with a superb, slowly bringing out the haunting emotional power of this idea with, again, a real individual voice and development of mood. The soft surrealism of the setting is brought out by the very well-developed tune and a sort of soft acoustic-guitar-like voice for the piano's chords contrasted by its much more certain individual notes and some brooding organ as it reaches its peak at the speaker's disappearance. The lyrics are again a highlight, and all-in-all, this is a beautiful and fascinating understated piece.
Silver offers a more obvious use of the prepared sequences in a slightly longer centre-piece (and I'm pretty sure there's an effect on the voice); again, there's a piano at the base of it, but the rapacious lead is snatched by organ and hybrid voices, spiralling runs by this voice and the piano with its interesting conflicting voices merging into complimentary ones, assisted by a sort of cash-register percussive trill and some oddball synths. Silver is a continually active and challenging piece, both in its interweaving keyboard part and the dynamic, dramatic and mocking vocal with both aggressive highs and guttural lows (the majestic 'Argenteeee! Argent!' is a particular high. The lyrics are again direct, and consequently they don't really benefit from the crude references, but they fit the piece and the message is convincing: that unbridled robber baron greed is not the way forwards (at the time of writing, I've just read of fraudster Bernie Madoff's 150 year sentence - now, both the sentence and the crime seem ridiculous to me: no amount of money is worth 150 years).
Beside The One You Love is the second piano song, and also the second affirmational love song, of the album, and it proves a fairly attractive number on both counts. A sort of lullaby melody, a pleasantly drifting-away vocal, again showing the incredible beauty and power of Hammill's voice, even when he's not pushing it to its dramatic limits. Creeping piano flourishes add a pretty distraction to the entirely winning lyrical picture, this time with the individuality of Hammill's writing and perspective truly surfacing and at least my memory connects with it entirely. A gem.
Other Old Clichés is the second destructive love song, compiled, as you might well guess, of self-mocking assembly of inappropriate idioms and hollow phrases. The embellishments to the bitter, masochistic piano melody are rare, but inspired, and the sheer amount of ideas Hammill can convey with the mere way he sings a word is, as always, jaw-dropping. The deep anger and passion of the song suit his voice perfectly, and again, a human lyric prompts human emotions. On the arrangement side, dark strings are the most common alternative to the piano melodies, but towards the end a strange whistling synthesiser and a humming conclusion effectively add variety. Again, striking.
However, great though all these perfumed piano numbers are, the real fulfilment of the album's concept comes through the Faculty X styled epic of Confidence. Shiny synthesiser lines all over the place, much more strength given to the non-piano lines (though a sort of bouncy not-quite-piano sound is quite prominent), and we get some much more complex (at least in conception) multi-part melodies, with various synth sounds bouncing off an odd glockenspielalike sound. Later on, we even get some 'drums'. The vocals are, as on Silver, much more rough and attacking, though this time a selective echo effect is use, with extended notes and a development from a sort of mock pride to the uncertain fear and hope of the final 'we are not alone'. Lyrically, as well as compositionally, it's a daring effort, and comes off very well, with a mock-comic (in and of itself, an accomplishment) denouement a little reminiscent of Tapeworm, some punning to reinforce the general opinion of 'Confidence' as something of a fraud, and a final verse so perfectly uncertain in its character. Though I prefer other pieces from the album, this one is the example of what the mixture of preparatory sequencing and direct performance could achieve, and it's extremely successful in that respect.
Sleep Now, an endearing profession of paternal love, is opened with a gorgeous synthesiser background over which the ethereal lullaby piano and a beautiful, sentimental vocal. Some more sustained string-based backgrounds and some sort of twinkling piano-replacement synthesiser. The humanity of the lyrics again is a strength, and this soft, touching conclusion is a perfect contrast to the soul-stabbing opening and a gentle release from an intelligent and understated album. Just for the sake of completeness, an excerpt of the lyrics, and one of my favourite Hammill lines: 'Sleep now, one day I'll tell you how my life has been O so strange now, to think your eyes will fall on things that mine have never seen these eyes that gently flicker in some lost childhood dream'
And Close As This remains one of Peter Hammill's most interesting, mind-expanding efforts, with a unique concept, variety and exceptional songwriting all carried off with capable playing and a set of vocals that, as much as any of his acknowledged classics, show the sheer captivating power and the range of ideas and moods he can convey with his voice: this is, make no mistake, one of the best albums in the respect of vocals ever, with a very consistent approach both to using dynamics and creating real voices for the individual songs, developing ideas and not losing touch with the essence of the song. A challenging album to put into words, and challenging, even if at first it might not appear so, to appreciate as fully as I now can. The two lesser tracks, though neither of them terrible, Silver and Faith, keep this one from the fifth star, but, nevertheless, the remnant make And Close As This an interesting addition to any decent music collection.
Rating: Four Stars. 12/15. Favourite Track: Too Many Of My Yesterdays or Empire Of Delight, depending on mood.
Edit: dropped to three because I'm trying some slightly harsher ratings... still, a very good album... figured that maybe it was stuck on specialist appeal and there are some songs which, although nice, don't really compare to the gems, and that maybe didn't come across in the review or the original ratings.

Rob

I cannot continue to ignore the fact that I return to this album more than many of his other titles. He has so many albums to choose from, and no one should ignore his 80s output since there are some gems along with his immaculate 70s. "And Close as This" is a stripped down close up and personal performance as the name suggests. This is not a very progressive album, but does count as Eclectic delivered with passion. There is no doubt that these songs have some deeper meanings to them since they cover the very fabric of humanity, and everyone should be able to relate to them. "Too Many of My Yesterdays" is one of my favorite songs from Peter, and it showcases the brilliance of his lyrics and the passion of his delivery.

javajeff

Not one of Hammill's best known albums and not mentioned among his greats usually either, but a real "hidden gem" if you like. In fact I have recently rediscovered this cd lying at the back of a cupboard having forgotten about it for five or six years, and it was a pleasure to find that it is much greater than I remember it (not that I disliked it), but over time other albums get purchased and others forgotten.
A strangeish album in that it is taken in one complete run through (one pass of the hands, as Hammill himself called it), just voice and piano, with virtually no overdubs, maybe a bit of synth here and there, and it gives you a feeling of Hammill live.
It has all the Hammill trademarks, impassioned playing (even if it is just piano), strong lyrics, beautiful melodies, interspersed with the impassioned singing are some truly remarkable songs, which are normally overlooked when talking about Hammill's canon.
Strongest songs in my opinion are the opener Too Many of My Yesterdays, along with Empire of Delight, Beside the One You Love and Other Old Cliches, which mix the parts mentioned memorably, that's not too say the others are weak, no way, Silver and Confidence are sung with gusto and, funnily enough, confidence and a beautiful lullaby Sleep Now is sung to his children at the end.
So probably not essential to a proggers collection but certainly worth purchasing if you are into Hammill, and, hey it's just been digitally remastered, so maybe I'll buy it again myself.

Mike

I do not understand why I have been having problems to submit this review all the time. Perhaps, it is because this is a Cinderella album. I mean it is absolutely not known (even in the frame of PH) and still it is beutiful. It involves all the sides of the PH expressive music from the agressive pressing impacts to silents meditations. And that is all achieved just by piano and voice. A beautiful cluster of chamber music. Highly recomended, especially for moments when you are sitting on a sofa with your beloved one drinking some red wine.

Vladimir Leksa

Pasional, emotivo, talentoso, carismático, personal, todo lo que tiene que tener un disco de Hammill está aquí, no importa que solamente esté solamente él y un piano.