Peter Hammill - From The Trees album review

On his subtly hued and autumnal new album, Peter Hammill turns over a new leaf, coming to terms with ageing as only the Van der Graaf Generator man can

Peter Hammill - From The Trees album artwork

You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.

Peter Hammill’s 35th album under his own name is a finely crafted masterpiece that grapples fearlessly with the varied psychological aspects of old age. Forget the demon alcohol or drugs, advancing time is prog’s worst enemy as more of its veteran heroes, young guns when they started making waves half a century ago, are falling with increasing frequency.

Peter Hammill, who co-formed Van der Graaf Generator at Manchester University 50 years ago, is one of the few to square up to their mortality on record. He even started 40 years ago, with the projected later life of 1976 track Autumn, but he inevitably upped the intensity after 2003’s near-fatal heart attack at 55. That narrow escape was reflected in his astonishing next album, Singularity.

This vulnerability has underpinned subsequent albums with varying degrees of transparency, joined by increased focus on vanishing family, friends, places and contemporaries. Always intensely driven, Hammill has described an ongoing thread “that I make an effort to document some of the passages of life through which most of us go as I experience and observe them”.

Starkly simple, befitting an album named after an eternal symbol of ageing with natural beauty and dignity.

This ethos is used to devastating effect on his follow-up to 2014’s cinematic noir epic …All That Might Have Been…. True to long‑standing form, its multi-tiered firewalls of vocals and swirling electronic backdrops are followed by “10 songs, all of them on the short end of things and generally conventional – or as conventional as I get – in form”.

Long-time devotees will know this means more concise statements that make their point in under five minutes. Subtly hued and autumnal, these 10 songs are starkly simple, befitting an album named after an eternal symbol of ageing with natural beauty and dignity. As Hammill puts it, “The characters who pace their fretful way through these songs are, in general, facing up to or edging their way towards twilight… None of these songs are of soft comfort, but in the third act of life it’s time to look with a clear eye at where one has (or, indeed, has not) been, at where one’s going.”

Unusually, when he started work on the album last year Hammill, performed these songs live on piano or guitar (“old school”) before recording. Each follows its chosen mood, maybe suggesting a chorus or hook but invariably with a seat-clenching turn or heart-in-mouth lyrical twist. His overdubbed chorales are less frenetic and more warmly carpeted – even if that devil still likes to whisper on his shoulder. Synthesisers are used as tonal crayons rather than flamethrower paint brushes. This makes the gorgeous strings that rise on closing track The Descent, about coming down from life’s peak, doubly effective when they fade into infinity as the album’s final sound.

During his first three decades or so, Hammill often sang of the pain, anger or melancholy caused by lost love. From The Trees sees him reflecting on those changes that seem to set in after passing 60, questioning his lost youth and asking why all that energy wasn’t sometimes put to better use.

Girl To The North Country reaches back to folk scene beginnings (‘She was once your lucky star, you went and let her down so hard’), while My Unintended is ‘the letter I never sent’, capturing these uncomfortable moments when traumatic episodes or bad decisions of decades ago suddenly jerk into sharp focus, to be re-examined as if they can still be put right.

Being Hammill, as he sings on Charm Alone, ‘My private thoughts, I keep them all well hidden,’ which means projecting painful situations through characters, such as the performer losing his muse and audience on Milked, finding ‘Fame and fortune are falsehoods that’ll leave you for dead’ on Reputation (against a rolling Brecht-Weill piano jaunt) or, even worse, finding no one listening (On Deaf Ears).

The compelling uncertainty of What Lies Ahead concludes, ‘Let’s leave the truth unsaid about all those lies ahead.’ Paradoxically, Hammill pours the bleak lyrics of Torpor (‘I find it hard to breathe, I can’t maintain the pace, feels like I’m slowing irreversibly and there’s no knowing where this leads’) over the album’s most exquisite vocal melody.

This isn’t to say that this richly compelling album can only be appreciated by sexagenarians, even if it is gratifying to encounter something so much deeper than the usual ageist gags. With Hammill, an album’s always going to touch emotions that are universal at any age and, on any level, From The Trees demands to be held among his evocative best. It might just take a little time.

Sid Smith

Sid's feature articles and reviews have appeared in numerous publications including Prog, Classic Rock, Record Collector, Q, Mojo and Uncut. A full-time freelance writer with hundreds of sleevenotes and essays for both indie and major record labels to his credit, his book, In The Court Of King Crimson, an acclaimed biography of King Crimson, was substantially revised and expanded in 2019 to coincide with the band’s 50th Anniversary. Alongside appearances on radio and TV, he has lectured on jazz and progressive music in the UK and Europe.  

A resident of Whitley Bay in north-east England, he spends far too much time posting photographs of LPs he's listening to on Twitter and Facebook.

Latest in
Foreigner at the Rock and Roll Hall Of Fame in 2024
Foreigner will complete their Historic Farewell Tour with four different singers – and one of them has recorded Spanish versions of their hits
Pete Townshend - The Studio Albums cover art
"This collection embodies both the best and worst of Townshend the artist and arch conceptualist": An overview of the solo career of Pete Townshend, the man who never meant to have a solo career
Linkin Park 2024
Linkin Park launch "the best song we've ever made" Up From The Bottom
Vera Farmiga in 2021
The Conjuring star Vera Farmiga announces debut album with her heavy metal band The Yagas
'Emo' Ed Sheeran busking
Watch Ed Sheeran cover Chappell Roan's Pink Pony Club on the New York subway while disguised as an emo busker
A close-up shot of the Marshall Major IV on-ear headphones on a turquoise, blue and black background.
I’ve never seen the Marshall Major IV headphones this cheap before - get them for half price in Amazon’s big spring sale
Latest in Review
Pete Townshend - The Studio Albums cover art
"This collection embodies both the best and worst of Townshend the artist and arch conceptualist": An overview of the solo career of Pete Townshend, the man who never meant to have a solo career
The Horrors
Ghouls Aloud: The Horrors come back from the dead with "a dazzling nocturnal spectacle of sombre reflections and oozing catharsis"
/news/the-darkness-i-hate-myself
"When the storm clouds clear, the band’s innate pop sensibilities shine as brightly as ever": In a world of bread-and-butter rock bands, The Darkness remain the toast of the town
Sex Pistols at the RAH
"Open the dance floor, you’ll never get to do it again." Forget John Lydon's bitter and boring "karaoke" jibes, with Frank Carter up front, the Sex Pistols sound like the world's greatest punk band once more
Arch Enemy posing in an alleyway
Arch Enemy promised they'd throw out the rule book for Blood Dynasty. They didn't go quite that far, but this is the boldest album of the Alissa White-Gluz era - and it kicks ass
The Darkness press shot
"Not just one of the best British rock albums of all time, but one of the best debut albums ever made": That time The Darkness added a riot of colour to a grey musical landscape