Man In The Rain
Group: Members
Posts: 405
Joined: April 2002 |
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Posted: May 28 2003, 00:15 |
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I wrote a review of Spirit Of Eden for another site:
Tremendously inspiring, reflective, meditative music with rare purity and beauty, Spirit Of Eden has been variably described as new age, ambient, even avant-garde, with blues, jazz, and rock elements. But however one attempts to pigeonhole the sound of this most individual of records, it remains far outside the conventional definitions of musical forms whilst rewarding the listener a remarkable level of accessibility considering the complexity of its themes. To such an extent does this mix genres into a naturally organic whole that it forms a living, breathing, genuinely original amalgamation, more than the sum of its parts, and influencing some of the best music made since its conception, particularly the work of the exceptional Sigur Rós. Spirit Of Eden remains a profoundly moving and deeply powerful record with an incredibly rare ability to cleanse, offering catharsis to the listener should one seek it. This quality makes Spirit Of Eden a truly spiritual experience, giving back however much one is willing to put into it. What one will notice immediately upon experiencing this album is the rich tapestry of textures, a rich aural bed in which one can completely lose oneself should one seek to. Chief songwriter and vocalist Mark Hollis once commented that “the most important thing with this album was just for it to have the right feel, for it to have an absolute calm, but for it to have an absolute intensity inside of that." And so even the quietest nuances and slightest sounds are imbued with an emotional depth seldom rivaled in contemporary music.
The vocals and sparse arrangements give a sense of vulnerability, creating an intimate atmosphere and a real sense of honesty, which has obviously helped endear Spirit Of Eden so strongly to those who have heard it. Every minute detail, every tender nuance, every single sound is essential to the whole, played with conviction and purpose. As Hollis once said, "before you play two notes learn how to play one note - and don't play one note unless you've got a reason to play it." If listening straight through the album, one will notice a 14 second gap between Desire and Inheritance, with other lengthy pauses as well. It is as if this silence exists to allow the songs full resonance, the silence being as important to the composition as the music itself.
It had been clear that Talk Talk were headed for unchartered waters for years based upon the evidence of their b-sides. Indeed their 1985 song It’s Getting Late In The Evening, with its devastating bleeding of feedback and tragically romantic piano chords, would not have sounded too out of place on this album. Hollis once said that "I think dynamics are very important. The only way you can possibly lay a foundation for that is to put your track down live and just go with the one that has the right vibe”, and this notion proved key to the recording of Spirit Of Eden: “There would be just three or four of us, percussion, kit, guitar and keyboards. Then we'd give the other musicians - 17 in all - mostly people we'd worked with before - absolute freedom to play on the track so that it has a spontaneity and looseness. Eighty or 90% of what they played was improvised." With these tracks laid down, the band were able to remove individual elements of performances or combinations of instruments and place them wherever they were deemed most effective, thus giving the performances an even greater emotional resonance whilst retaining a true live sound and feel.
1 The Rainbow (8.02)
Spirit Of Eden commences with a hushed choir of mournful violins over which brass plays slow blues notes, stray piano notes find sound whilst a babbling brook flows past. underwater creatures echo into the unseen depths, a loud but restrained guitar riff gives way to a searing harmonica riff, whilst drums, percussion and piano come in behind. Mark Hollis' vocals initially sound frail and murmured, breaking away before each the first euphoric slow rush of sound after around five minutes as he sings “Lenient, The song the lawyer sang, Our nation's wrong”. It perfectly evokes the feeling of looking into the sky and seeing a flow of colour glistening in the damp air. I interpreted the song to be that of a man given another chance at life, who despite being lambasted by society upon being released from jail, looking to the sky and drawing the sweet breath of freedom and redemption: “Repented changed, aware where I have wronged”. A few classical chords reminiscent of Erik Satie and we return to the verses, vocals still overpowered by the guitar riff. Sadly the songs lyrics end on a downbeat note, “The trial is gone, the trial goes on”. The character Hollis paints does not seem to be able to escape the negative resonance of his past actions in the eyes of others, regardless of his spiritual transformation. Hollis pauses on a note of uncertainty and we return to the piano chords, more developed this time and leading to some sorrowful woodwind and organ, a sense of loss, brass giving a melancholic quiet blow and then back to all instruments in unison. The harmonica gives a spirited, bluesy but also cathartic solo with the chorus again reaching for the sky, this time the piano chords find resolution, minor turning to major.
2 Eden (7.39)
A beating drum increasing in pace seems to promise something pleasing to come, with chiming guitar plucking and building in intense volume, piano chords increasing. We reach a moment of calm where a sense of rebirth is again tangible in the lyrics, “The flower crushed conceives, A child of fragrance so much clearer, In legacy”. It is unclear whether the child symbolizes Hollis own spiritual rebirth, or his ability to better father his children as a parent. Most likely it is meant as a universal theme for both. With the heartfelt simplicity of “everybody needs somebody to live by”, Hollis deliberately unspecific lyrics suggest that in love from fellow man or woman and/or in love from God above we can find peace and fulfilment, the ability to change our false ways and achieve a greater sense of spiritual purity.
3 Desire (7.03)
Violins and organ, a mood of doubt and despair, slowly falling feeling inside. Searing brass passes gently through, a simple repeating blues guitar coda and piano. A harsh aggressive full on blast of loud but fairly restrained guitar and cymbal bashing with Hollis sounding angry and aggressive for once, “That ain't me babe, I'm just content to relax, Than drown within myself” fills your ears, returning as suddenly as it began to the repeating blues guitar and piano. It is the quiet-loud ethic that would find prominence in the grunge era of the following decade, but here it possesses a hovering, spiritual beauty. Tropical percussion with growling guitar interplay, a hypnotic storm over which the bass and melody return with Hollis soaring vocals. It all breaks off suddenly, to a few contemplative piano notes.
4 Inheritance (5.18)
Brushed drums and soft contemplative keys, an amped guitar, stray notes on a double bass, hushed vocals, a tranquil mood. Occasional jazz tinged improvisation on the piano, repeating twanging on the double bass and held organ keys, the murmuring turns into soaring optimistic singing when Hollis reaches “Nature’s son, don’t you know where love has gone”, tinkling organ in the background giving a magical air of ascendance while the descending bass provides a step back down from the clouds. A clarinet and oboe give a mysterious, jazzy air, floating into the ether until the earthy guitar comes back in, echoing the earlier piano chords. There is a tremendous sense of rising and falling back to earth in this song, of hopes raised and feelings of helplessness threatening to consume all
5 I Believe In You (6.03)
A lament on substance abuse, Hollis’ own overcoming of his addiction to Heroin gives this song real honest clout. A few circling piano notes with guitar circling quietly in the air during the long intro. Light, insistent drums underpin quietly passionate vocals at a relaxed leisurely pace. Slow rising vocal chanting in the background gives one a sense of ascendance, the pure spiritual brilliance of a children's choir provide ethereal grace and beauty to Hollis’ sensitive pleading of “spirit”, as if he seeks absolution from this place that he depicts as a “crippled world” with “on the street so young laying wasted”. He sounds as if he wishes for the next world already, not in defeated sadness but in pure faith of the love of what is to come. All instruments fall away to leave drums, possibly accordion, and harmonica giving earthy resonance. The voices fall away and all that is left floats away into the silent.
6 Wealth (6.44)
Just Hollis' sensitively impassioned voice again with a flurry of shimmering contemplative organ chords, often just underpinning the vocals with occasional guitar strums, providing a hovering quality with vocals soaring, pleading “take my freedom”, a feeling of pure happiness, and an incredible and wonderful calm feeling. Hollis' songs of innocence and experience have led him back to the point where life began, in innocent uncorrupted bliss. A spiritual wealth, the wealth of a universal Godly love, evoked in some of the purest poetry ever accompanied by music:
Create upon my flesh
Create approach upon my breath
Bring me salvation if I fear
Take my freedom
Create upon my breath
Create reflection on my flesh
The wealth of love
Bear me a witness to the years
Take my freedom
Create upon my flesh
Create a home within my head
Take my freedom for giving me a sacred love
After such an emotionally draining experience, Hollis finally sounds resolved and complete, his search for the happiness that had evaded him finally proved to not have been in vain. We as the listener feel uplifted, deeply relaxed and close to tears – even if we are not sure entirely why. This is such deeply profound music, Hollis has created something truly beautiful and something to cherish.
~ Depending on the styles of music that you like or aspects of this album you have particularly enjoyed, I have selected some other recommended albums for your interest:
Acoustic : Mark Hollis : Mark Hollis : 1998
Ambient : Ambient 1 - Music For Airports : Brian Eno : 1978
Avant-Garde : Laughing Stock : Talk Talk : 1991
Folk : Out Of Season : Beth Gibbons & Rustin’ Man : 2002
Instrumental : Hergest Ridge : Mike Oldfield : 1974
Rock : Us : Peter Gabriel : 1992
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Hergest Ridge 165 - Ommadawn 038 - Incantations 243
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