Talk Talk-Laughing Stock

1988’s Spirit of Eden saw the British band Talk Talk completely abandon their early 1980s new wave sound altogether for a more atmospheric yet organic sound that was hinted with their third album in 1986’s The Colour of Spring. While many felt that Spirit of Eden was ahead of its time in terms of creating the post-rock genre, the album drew mixed reviews from critics while the band’s label EMI was unhappy about the record as a two-year battle over contractual issues happened. While Talk Talk was able to free themselves from the label, they were unhappy about EMI releasing a best-of compilation to commercial success in 1990.

The band signed a two-album deal with Polydor and Verve for their next release though it would be a bittersweet moment when longtime bassist Paul Webb chose to leave the band. With the band a studio outfit for vocalist Mark Hollis and longtime collaborator/producer Tim Friese-Greene with drummer Lee Harris on board. Talk Talk went back to the studio in 1990 with engineer Phill Brown, who had worked with the band on Spirit of Eden, as they hired more session musicians for the recording. Taking more than a year to record due to Hollis’ perfectionist tendencies and his attempts to set the mood for the recording with candles and incense in darkened rooms. The band would finally unveil their fifth and final album entitled Laughing Stock.

Produced by Tim Friese-Greene and songs written by Friese-Greene and Mark Hollis, Laughing Stock takes the sound of Spirit of Eden to a much more minimalist yet experimental approach. Featuring a sparser yet more intricate production and a free-flowing approach to instrumentation, the album is a more atmospheric piece than Spirit of Eden while continuing on its exploration towards religious themes. With the music featuring more guitars, jazz melodies, and classical styles, the overall result would be a landmark album for the era of alternative music and a key pillar for the emerging post-rock genre.

The album opener Myrrhman is a reflective ballad led by smooth guitar strums, a soothing trumpet, low-key violins, and a soft yet hollow drum track in the background. Mark Hollis croons through the song’s lyrics that yearns for salvation as the track is a calm yet meditative piece that crosses the world of jazz and classical. The mid-tempo yet intense Ascension Day arrives with Lee Harris’ steady yet metallic drum fills and calm guitar arpeggios as the track becomes more visceral with its dissonant guitar riffs and Hollis’ haunting vocals. The song’s lyrics feature a lot of religious ideas of damnation and repent as a swooning organ and wailing harmonica follows as the performance of the instrument becomes menacing as it features screeching violins and a trumpet in the mix.

The nine-minute, thirty-nine second After the Flood starts off with a brief piano piece with swirling guitar sounds as Harris’ bopping yet steady drum fill arrives in a throbbing, jazz-like rhythm. Featuring a quiet organ and Hollis’ crooning vocals, the song delves into the despair of the world filled with sin as Hollis yearns for goodness to come. With a harmonica, tearing guitar noises, and sprinkling percussions, the song is a complex yet mesmerizing piece that feels a lot shorter than its running time suggests. Taphead opens with a slow yet low guitar melody as Hollis softly sings to the song’s life-based lyrics on death and resurrection as guitars spurt throughout. With an ambient-driven sound of organs, violins, and a trumpet playing through the song, a heavy yet low harmonica blares through as Hollis continues to sing in a softer vocal.

New Grass, a nine-minute and forty-second cut, is an enchanting song with smooth, pulsating drum fills and lush guitar strums that is followed by a swooning organ. Hollis’ quiet vocals croon through the song’s faith-driven lyrics that recalls a new world as its meditative yet minimalist tone is heightened by its evocative yet textured production and arpeggio-laden guitar melodies. The album closer is the near-five minute Runeii, which is also the shortest track on the album. Featuring a low yet slight-scratch guitar strum and a quiet organ accompaniment, Hollis sings in a low vocal register to the song’s reflective but searching lyrics as its calm yet simple performance provide a somber close to the album.

Released on September 16, 1991, exactly three years after the release of Spirit of Eden, the album peaked at #26 in the U.K. album charts and received good reviews upon its release. In the U.S. however, the album went nowhere due to the band’s commercial decline during the mid-1980s. While the album was later considered to be a landmark release for the post-rock genre, the album would be the end for Talk Talk as the group officially disbanded in 1992. Drummer Lee Harris reunited with former bassist Paul Webb to form .O.rang while longtime producer Tim Friese-Greene continued to work as a producer while creating his own project under the Heligoland banner. Mark Hollis released a self-titled solo album in 1998 to fulfill the band’s contract with Polydor as he later retired from the music industry altogether.

Laughing Stock is, without a doubt, one of the most important records in the history of popular music. While it’s an album that isn’t immediate in its delivery, repeated listens allow the album to soar into the mind while its religious lyrics aren’t overbearing but rather reflective and personal. Of the albums that Talk Talk has released, it is definitely their best album in terms of performance, production, and in ambition. It’s also one of the key albums for anyone that has interest in post-rock should start with in terms of what was done for the genre. In the end, Laughing Stock is Talk Talk’s masterpiece that remains very vital 20 years since its release.

Talk Talk Albums: The Party's Over - It's My Life - The Colour of Spring - Spirit of Eden

© thevoid99 2011

Talk Talk-Spirit of Eden

When Talk Talk emerged in the early 1980s, they arrived as a British new wave quartet that was reminiscent of bands like Duran Duran and Spandau Ballet. Yet, that wasn’t what the group wanted as they became a trio that featured vocalist Mark Hollis, bassist Paul Webb, and drummer Lee Harris. The band’s meeting with up-and-coming producer Tim Friese-Greene would change their outlook as 1984’s It’s My Life saw the band take a broader approach to new wave. 1986’s The Colour of Spring saw the group abandon new wave for more organic music as Friese-Greene would become Hollis’ key collaborator. The success of that album would allow the group to take on new musical heights for what would be their fourth studio album entitled Spirit of Eden.

Produced by Tim Friese-Greene with songs written by Friese-Greene and Mark Hollis, Spirit of Eden represents a huge departure from the band of where they were musically. Stripping down the ideas of traditional song structure in favor of more improvisation with organic instruments. The album showcases the band with various sessions musicians to display a more dissonant yet esoteric sound that recalls ideas of ambient and jazz music. With more emphasis on guitars and atmospheric sound textures, the album also features a much broader take on spirituality that is reflected on Mark Hollis’ lyrics. The result would be an album that was truly ahead of its time in terms of what could be done in the ideas of popular music.

Opening the album is The Rainbow that is led by a soft trumpet and ethereal guitar wails that is followed by a soft piano. The track then changes to a more mid-tempo track with a blues-style guitar wash with a wailing harmonica, a melodic piano, and a hollow drum fill. Mark Hollis’ crooning vocals take charge as he sings abstract lyrics filled with ideas of the world in despair as he is followed by an organ in some parts of the song. Eden follows through with siren-like guitars and a somber trumpet as a washy yet dissonant guitar starts to appear with soft, thumping beats and a piano. With another slower tempo change, Hollis’ vocals swoon through the song’s esoteric lyrics filled with dreamy descriptions as he’s surrounded by a heightened organ and charging guitars.

Desire maintains the soothing, ambient tone of its previous cut while spurting guitar riffs arrive as well as a piano and a smooth trumpet. Featuring lyrics of fragility, Hollis sings in a calm manner as the song becomes more aggressive during its chorus as it features thundering beats and blistering guitars as the song’s tempo goes back and forth that includes some walloping percussions in the mix. Inheritance is a piano-based ballad with droning guitar riffs and soft, pulsating drum fills. Hollis sings quietly to the song’s spiritual-driven song as the song’s chorus features flourishing sounds of keyboards and it is followed by sounds of clarinets and other brass and woodwind instruments to complement the song’s organic-driven presentation.

The album’s lone single I Believe in You is a reflective yet somber song that features a soft yet steady drum fill, a soothing piano, a soaring organ, and dissonant guitar washes. Hollis’ chilling vocals is a highlight as the lyrics tell a world that is troubled as Hollis yearns for salvation as it’s one of the album’s key highlights. The closing track Wealth has Hollis croon to desperate lyrics in his attempt for salvation. Featuring a soothing organ and a somber piano, the spiritual-driven song serves as a fitting close to an evocative yet haunting album.

After a year-and-a-half of production that included notorious settings for the recording in darkened roots only with candles and natural light filling the room. Spirit of Eden was finally released on September 16, 1988 following a dispute between the band and EMI which led to a two-year court battle between the two over contractual issues. The band’s refusal to tour due to Mark Hollis’ belief that the music was too complex to be played live as the band never toured again. While the album didn’t do well commercially, the initial critical reaction was mixed though reviews later on stated that the album is one of the key recordings of the 1980s. Many believed that it was this album that helped started a new genre that would later become post-rock.

Spirit of Eden is an intoxicating yet enchanting album from Talk Talk that is truly timeless in the way music is approached. Anyone interested in the post-rock genre will find this as a great place to start though the follow-up Laughing Stock is a better album. This is a record that isn’t easy to listen to at first due to the complexity and minimalist approach of the album but it’s a record that gets better with repeated plays. Particularly as it is a record that is very daring though in comparison to some of the recent post-rock recordings of bands like Radiohead and Sigur Ros. It makes a whole lot of sense of where some of these ideas that these bands among others got it from. In the end, Spirit of Eden is a glorious yet mesmerizing album from Talk Talk.

Talk Talk Albums: The Party's Over - It's My Life - The Colour of Spring - Laughing Stock

© thevoid99 2011

Talk Talk-The Colour of Spring

1984’s It’s My Life and its title track helped Talk Talk gain international success as the band was starting to gain some control musically. Thanks in part to the contributions of unofficial member and producer Tim Friese-Greene, Talk Talk was able to move away from the world of synth-pop and new wave as singer Mark Hollis yearned for a more organic musical style for the band. With bassist Paul Webb and drummer Lee Smith, the band returned to the studio in 1985 with a group of session musicians for their third album The Colour of Spring.

Produced by Tim Friese-Greene and songs written by Friese-Greene and Mark Hollis, The Colour of Spring is an album where Talk Talk goes full-on into the world of art rock as the record strips down the synthesizers of its previous albums for a more organic yet massive sound. Featuring contributions from guitarist Robbie McIntosh of the Pretenders and Steve Winwood, the album shows a more evocative side to the band in terms of performance and musical arrangements. Lyrically, Mark Hollis delves into ideas of life from a more cerebral template as it plays to the album’s more improvisational yet adventurous presentation. The result is a sprawling yet soaring album from Talk Talk.

The album opener Happiness is Easy starts off with smooth, pulsating beats from Lee Harris, Paul Webb’s jazz-wobbly bass, soft piano riffs, a flowing synthesizer, and acoustic guitar melodies. Mark Hollis sings quietly to lyrics filled with religious themes that includes a chorus that is partially sung by a children’s choir which also features a trumpet solo. I Don’t Believe In You is a mid-tempo track with bopping rhythms, smooth guitar swanks and wails, melodic keyboard swirls, and acoustic guitar washes. Featuring expressive lyrics of loss and disappointment, Hollis sings in an anguished tone that features a wide range of emotions. The first single Life’s What You Make It features a pummeling back beat, crashing piano melodies, a hypnotic organ accompaniment, and a wailing guitar solo. Hollis’ vocals play up to the song’s lyrics filled with ideas of life as it’s presented in a powerful yet direct approach.

The minimalist-inspired April 5th features a somber piano piece, a smooth trumpet, and a soft, shaky percussion as Hollis sings in a nasally-pitch vocal. With reflective lyrics that features abstract imagery, the song is one of the album’s key tracks as it plays as a simple yet very esoteric song. Living in Another World is an upbeat track with pulsating rhythms, striking piano chords, and brimming acoustic guitars as Hollis sings harrowing lyrics of despair. The song intensifies in the chorus with a wailing organ, Robbie McIntosh’s soaring guitar, and a harmonica solo as Hollis sings in a powerful vocal that recalls the world falling apart.

Give It Up has a throbbing yet smooth mid-tempo rhythm with a swooning keyboard and organ plus soft, walloping percussions and a melodic piano. The song’s lyrics reflects elements of disappointment and questionable lyrics of life that is exuded by Hollis’ hypnotic vocals. Chameleon Day is another minimalist-inspired track with esoteric lyrics describing nighttime as Hollis’ nasally yet powerful vocals is accompanied by a smooth trumpet, a soft piano, and a chilling organ. The album closer Time It’s Time is an eight-minute cut that features throbbing bass lines, soft yet walloping percussions, a soothing synthesizer, driving guitars that later changes into a more direct, mid-tempo track with wailing keyboards and powerful beats. Hollis’ soft yet hypnotic vocals take charge to the song’s changing rhythms while singing somber lyrics filled with reflective yet religious themes chronicling a world in despair.

Released in March of 1986, the album drew rave reviews as well as the band’s best international sales despite a disappointing reaction in the U.S. The band went on tour for the record which helped them become international favorites as a performance at the 1986 Montreux Jazz Festival was later released on DVD in 2008. The international commercial reception also gave the band unlimited control as they would spend the next two years reinventing themselves.

The Colour of Spring is a superb yet exhilarating album from Talk Talk. Featuring a layered yet textured production from Tim Friese-Greene, it’s the band’s most accessible album of their entire catalog. Particularly as it bridges the gap between their earlier, new wave inspired albums and the post-rock albums they would do in the coming years. While those later albums would be superior in comparison to their catalog, The Colour of Spring is a more worthy introduction of what Talk Talk was able to do when balancing minimalist music and the new wave style that they had done earlier. In the end, The Colour of Spring is a rich yet adventurous album from Talk Talk.

Talk Talk Albums: The Party's Over - It's My Life - Spirit of Eden - Laughing Stock

© thevoid99 2011

Talk Talk-It's My Life

Talk Talk’s 1982 debut album The Party’s Over may have given the band some exposure on MTV through the song Talk Talk but the band was unhappy with being part of the new wave music scene. While a collaboration with famed Roxy Music producer Rhett Davies for the non-LP single My Foolish Friend helped expose the band, keyboardist Simon Brenner left the band after its recording leaving singer Mark Hollis, bassist Paul Webb, and drummer Lee Smith to carry on. In need of a new member and a new direction, the band met up with a young up-and-coming producer named Tim Friese-Greene who would become the band’s unofficial fourth member. Friese-Greene’s involvement would impact the band musically as he would eventually become Hollis’ songwriter partner as they worked on the band’s second album It’s My Life.

Produced by Tim Friese-Greene, It’s My Life is an album that took the synthesizer-driven new wave sound of The Party’s Over to much broader sounds towards art rock. Featuring bits of jazz elements that would be prominent in their later recordings, the album also explores heavier themes lyrically as singer Mark Hollis would have more control on what to say. The album also allows bassist Paul Webb and drummer Lee Smith to loosen up as musicians making the band more in tune with their own ambitions which includes an appearance from Robbie McIntosh of the Pretenders. The result would be a breakthrough album for Talk Talk.

The album opener Dum Dum Girl is led by steady mid-tempo beats from Lee Webb and Paul Webb’s funky bass wobble with Tim Friese-Greene’s flowing yet layered synthesizers that includes some soft, pulsating beats. Mark Hollis’ calm vocals take charge as he sings about a girl that accuses a boy of trouble as it’s a song that features different tempo changes and hypnotic arrangements. Such a Shame is a song that starts off as a mid-tempo track with smooth, pummeling beats and spurting synthesizer wails as it goes into a faster tempo for its chorus. Hollis’ direct vocals sings to lyrics that reflects the idea of fear and shame as it is one of the band‘s best singles for its thrilling presentation. The ballad Renee features a smooth, throbbing rhythm, lush synthesizers, and Hollis’ somber vocals that recalls a woman being taken advantage of.

The title track is a mid-tempo track with spurting bass lines, steady drum fills, and layers of blaring yet buzzing synthesizers. With its somber lyrics about life and taking control, Hollis sings in a determined yet captivating tone as it’s one of the band’s finest moments. Tomorrow Started features throbbing rhythms, searing synthesizers, wailing trumpets, and washy acoustic guitars as the mid-tempo ballad has Hollis’ chilling vocals playing to the song’s dark yet mesmerizing lyrics. The Last Time is an upbeat track with swooning synthesizer melodies and a bopping rhythm where Hollis’ vocals takes in a lower register. The song’s lyrics reflect the feelings of being hurt as it is one of the most accessible tracks on the album.

Call in the Night Boy is a synthesizer-driven track with bopping rhythms and wavy synthesizers that accompanies Hollis’ vocals for this song about a young man’s night ending. While there’s moments that the song breaks away from its new wave presentation, it’s a song that doesn’t really fit in since it’s one of the last songs that former member Simon Brenner co-wrote with the band. Does Caroline Know? is led by throbbing percussions and swooning synthesizer melodies that has Hollis singing coolly to the song’s longing lyrics about heartbreak as it’s one of the standout cuts on the album. The album closer It’s You is a mid-tempo track with wobbly bass lines, pummeling beats, and spurting synthesizer melodies. Hollis’ wailing vocals play to the song’s angry lyrics filled with anguish that is accompanied by fluid synthesizers and driving guitars as it closes the album in style.

Released in February of 1984, the album drew excellent reviews from critics while the single for It’s My Life gave the band it’s biggest hit in the U.S. along with its accompanying video on MTV. While the album didn’t do well initially in Britain, the band did find an audience in places around Europe where they were becoming bigger. Yet, the success would allow the band to take drastic steps into what they wanted to do next as Tim Friese-Greene would become a key member despite his willingness to stay in the studio.

It’s My Life is a superb album from Talk Talk that is a major improvement over the band’s debut album in terms of a broader production and more compelling songs. While it may not live up to the later records they make, it is still an album that offers a lot of moments as well as an idea of where they were going from The Party’s Over to The Colour of Spring. Particularly as it features great singles like Dum Dum Girls, Such a Shame, and its famed title track that was later covered by No Doubt in 2003. In the end, It’s My Life is a stellar yet exciting album from Talk Talk.

Talk Talk Albums: The Party's Over - The Colour of Spring - Spirit of Eden - Laughing Stock

© thevoid99 2011