Spirit Of Eden

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Biography

Spirit of Eden was the fourth album by the English band Talk Talk . The songs were written by Mark Hollis (English musician)|Mark Hollis and Tim Friese-Greene , and performed by numerous musicians using a diverse combination of instruments. In 2008, Alan McGee of the The Guardian|Guardian wrote: " Spirit of Eden has not dated; it's remarkable how contemporary it sounds, anticipating post-rock, The Verve and Radiohead . It's the sound of an artist being given the keys to the kingdom and returning with art."
The album emerged from a demanding recording process: often working in darkness, the band recorded many hours of musical improvisation|improvised performances, edited them down heavily, then arranged the remaining pieces into an album using digital equipment. The end product includes elements of rock music|rock , jazz , classical music|classical , and ambient music . The album was released on the Parlophone record label, an imprint of EMI .

Critics often view Spirit of Eden as a departure from Talk Talk's previous albums. Compared to their 1986 hit The Colour of Spring , it was commercially unsuccessful. While upon release it received mostly mixed to negative reviews, it has been acknowledged as being an influence in the musical development of a number of later alternative rock musicians and subgenres.

Background

Talk Talk, led by singer Mark Hollis (English musician)|Mark Hollis , formed in England in the early 1980s. From the start, Hollis cited jazz and classical artists like Miles Davis , John Coltrane , Béla Bartók , and Claude Debussy as major musical influences. But Talk Talk's first two albums, '' The Party's Over (Talk Talk album)|The Party's Over (1982) and It's My Life (album)|It's My Life (1984), did not readily reflect such influences; critics compared the band to contemporary New Wave music|New Wave groups, especially Duran Duran . Hollis partly attributes the shortcomings of their early music to a financial need to use synthesizer s in place of acoustic instrument s.

Although critics did not favour the band's early output, the first two albums were commercially successful in Europe. This gave Talk Talk the money needed to hire additional musicians to play on their next album, The Colour of Spring (1986). The band no longer had to rely on synthesizers. Instead, musicians improvised with their instruments for many hours, then Hollis and producer Tim Friese-Greene edited and arranged the performances to get the sound they wanted. A total of sixteen musicians appeared on the album. The Colour of Spring became Talk Talk's most successful album, selling over two million copies and prompting a major world tour.Irvin, "Paradise Regained," 53. At the same time, minimalist songs like "April 5th," "Chameleon Day," and the outtake "It's Getting Late in the Evening" pointed towards the band's next direction.Irvin, The Mojo Collection , 603.

Recording

For the success of The Colour of Spring , EMI rewarded Talk Talk with an open budget and schedule for the recording of their next album, Spirit of Eden .Neiss, "Talk Talk." Talk Talk were given complete control over the recording process; their manager and EMI executives were barred from studio sessions.Irvin, "Paradise Regained," 53. Recording for Spirit of Eden began in 1987 at Wessex Sound Studios|Wessex Studios , London and took about a year to complete.Sources vary as to the exact duration. Fourteen months is commonly reported, but Phill Brown said they spent nine months at Wessex (Sutherland, "Paradise Regained"). Engineer Phill Brown has also stated that the album, along with its successor, was "recorded by chance, accident, and hours of trying every possible overdub idea." http://users.cybercity.dk/~bcc11425/IntWWpb1198.html

Contract dispute with EMI

By early March 1988, the band had finished recording Spirit of Eden and had sent a cassette of the album to EMI. After listening to the cassette, EMI representatives doubted that it could be commercially successful. They asked Hollis to re-record a song or replace material, but he refused to do so. By the time the masters were delivered later in the month, however, the label conceded that the album had been satisfactorily completed. EMI Records Limited v Hollis & Others .

Despite their reservations towards Spirit of Eden , EMI chose to exercise their option to extend the recording contract with Talk Talk. The band, however, wanted out of the contract. "I knew by that time that EMI was not the company this band should be with," manager Keith Aspden told Mojo . "I was fearful that the money wouldn't be there to record another album."Irvin, "Paradise Regained," 54. EMI and Talk Talk went to court to decide the issue.

The case centred on whether EMI had notified the band about the contract extension in time. As part of the agreement, EMI had to send a written notice within three months after the completion of Spirit of Eden . The band said that EMI had sent the notice too late, arguing that the three month period began once recording had finished; EMI argued that the three month period did not begin until they were satisfied with the recording. Justice Andrew Morritt ruled in favour of EMI, but his decision was overturned in the Court of Appeal of England and Wales . Talk Talk were released from the contract and later signed to Polydor .

Marketing and release history

Spirit of Eden 's moody, experimental nature made it a challenge to promote; one critic said it "is the kind of record which encourages marketing men to commit suicide."Cooper, "Rev. of Spirit of Eden . Tony Wadsworth, Parlophone's marketing director at the time, told Q : "Talk Talk are not your ordinary combo and require sympathetic marketing. They're not so much difficult as not obvious. You've just got to find as many ways as possible to expose the music."Devoy, "Come On, Market Me." Evaluating some masterpieces of the eighties in a 2004 article for The Guardian , John Robinson calls Spirit of Eden , like David Sylvian 's Brilliant Trees , "triumphant, completely unmarketable."Robinson, "Pieces of Eighties."

Although the band did not originally plan to release a single (music)|single , EMI issued a radio edit of "I Believe In You" in September 1988 (the previously unreleased "John Cope" was included as the B-side ). The single failed to breach the UK Singles Chart Top 75. Around November, Tim Pope directed a music video for "I Believe In You", featuring Hollis sitting with his guitar, singing the lyrics. "That was a massive mistake," said Hollis. "I thought just by sitting there and listening and really thinking about what it was about, I could get that in my eyes. But you cannot do it. It just feels stupid."

The band did not tour in support of the album. Hollis explained, "There is no way that I could ever play again a lot of the stuff I played on this album because I just wouldn't know how to. So, to play it live, to take a part that was done in spontaneity, to write it down and then get someone to play it, would lose the whole point, lose the whole purity of what it was in the first place."Paradise Regained They would never tour again.

Spirit of Eden was released worldwide in 1988. It did not enjoy nearly as much commercial success as The Colour of Spring . The album spent five weeks on the UK Albums Chart , peaking at #19. Guinness Book of British Hit Albums . The album cover depicts a tree festooned with seashells, snails, birds, and insects. It was illustrated by James Marsh (artist)|James Marsh , who did Talk Talk's artwork throughout their career. The booklet provides reproductions of Hollis' handwritten lyrics. The album was Remaster|digitally remastered by Phill Brown and Denis Blackham in 1997. A hybrid Super Audio CD (without surround sound ) surfaced in 2003.

Musical style

Although the album is noted for its tranquil soundscapes, Graham Sutton of Bark Psychosis notes "Noise is important. I could never understand people I knew who liked Talk Talk and saw it as something 'nice to chill out to' when I loved the overwhelming intensity and the dynamics."Southall, "Bark Psychosis."

Mark Hollis' lyrics contain religion|religious and spirituality|spiritual references. Though Hollis acknowledges that his lyrics are religious, he says they are not based on a specific religion, preferring to think of them as " humanitarian ."Young. "I Believe in You" has been described as an "anti- heroin song."Record Collector bio When asked whether the lyrics are based on personal experience, Hollis replied, "No, not at all. But, you know, I met people who got totally fucked up on it. Within rock music there's so much fucking glorification of it, and it is a wicked, horrible thing."

Critical reception

Spirit of Eden has been both acclaimed and panned by numerous music critics. Markus Berkmann of The Spectator was uncertain about the album: "It is either a work of immense merit and bravery or a load of bilge, and I cannot decide which."Randy's return. Berkmann revisited the album in a later article, but said "I still don't know." Roy Wilkinson of Sounds (magazine)|Sounds , although rating the album highly, thought that the second side was not as good as the first and that the lyrics were a weak point.sounds review Chris Dafoe of The Globe and Mail was largely unimpressed: "At its best, this can be evocative and slightly unsettling. More frequently, however, it sounds like dreary New Age music|New Age miserablism. Yawn Yawn."Globe and Mail

In the 1992 Rolling Stone Album Guide , J.D. Considine rated the album 1 star out of 5: "Instead of getting better or worse, this band simply grew more pretentious with each passing year. . . . by Spirit of Eden , Mark Hollis's Pete Townshend -on- Dramamine vocals have been pushed aside by the band's pointless noodling." Simon Williams of NME noted the album's pretentiousness and aimlessness, but found it forgivable, commenting, "...they're resolute and determined, flaunting commercial rules with fascinating disregard for understanding or acceptance." A review in Q magazine|Q criticized the band for not even trying to create the hit singles they'd led the record label to expect, but concluded that "If Spirit Of Eden often recalls the pastoral epics of the early 70s, it has a range, ambition and self-sufficiency that enables Hollis and co to step out of time and into their own." PopMatters 's retrospective review was less qualified in its praise, calling Spirit of Eden "an album for the ages."Hicks, Chuck. (September 10, 2001). , PopMatters Pitchfork Media named Spirit of Eden the 34th best album of the 1980s. In 2006, Q magazine| Q magazine placed the album at #31 in its list of "40 Best Albums of the '80s". Q August 2006, Issue 241 In 2012, Slant Magazine listed the album at #56 on its list of "Best Albums of the 1980s." http://www.slantmagazine.com/music/feature/best-albums-of-the-1980s/308/page_5

Legacy

Some music critics consider Spirit of Eden and its 1991 follow-up Laughing Stock (album)|Laughing Stock influential to post-rock , a music genre that developed in Britain and North America in the 1990s. In a review of Bark Psychosis ' album Hex (album)|Hex , where the term post-rock was coined, Simon Reynolds opined that Hex aspires to the "baroque grandeur" of Spirit of Eden .Reynolds. Andy Whitman of Paste (magazine)|Paste magazine argues that Spirit of Eden represents the beginning of post-rock: "The telltale marks of the genre—textured guitars, glacial tempos, an emphasis on dynamics, electronica, ambience and minimalism—were all in place, and paved the way for bands like Sigur Rós , Mogwai , Godspeed You& #33; Black Emperor , Low (band)|Low , and latter-period Radiohead ." Simon Harper of the Birmingham Post adds, "Certainly, their combination of jazz, classical, rock and the spacey echoes of dub, using silence almost as an instrument in its own right, lends itself to the vernacular of post-rock, and there can be little argument that Tortoise (band)|Tortoise and their Chicago-based compatriots would hardly sound the same were it not for the staggering achievements of Hollis and Tim Friese-Greene."Harper, 11. Music historian Piero Scaruffi believes that with Spirit of Eden , Talk Talk "invented a new form of music, one in which a complex atmosphere is created out of slow, inorganic, inarticulate streams of simple sounds. The six lengthy, free-form, brooding and cataleptic ruminations . . . pioneered ' Slowcore|slo-core '."Scaruffi, 237. Numerous bands and artists, ranging from Catherine Wheel to Sarah McLachlan to Matthew Good , Graham Coxon , Doves (band)|Doves and Elbow (band)|Elbow have praised Spirit of Eden or have cited it as an influence in their own music.DeMain; Dickinson. Indie Folk group Bon Iver covered "I believe in you" during a 2008 show in Dublin.

Track listing

The track times reflect the original North American version of the compact disc. UK and European releases of the compact disc present the first three songs, "The Rainbow," "Eden," and "Desire," as a single track, totaling 23:11. The North American version of the album, and subsequent international reissues, divide the suite into three tracks, although they are still presented without an audible break.Irvin, "Paradise Regained," 53. There is a forced silence of just over 30 seconds between "Desire" and "Inheritance". Working title s of the songs were "Modell," "Camel," "Maureen," "Norm," "Inheritance," "Snow in Berlin," and "Eric."Brown, "The Colour of EQing."

Personnel

Musicians

Lee Harris (musician)|Lee Harris – Drum kit|drums

Paul Webb – bass guitar|electric bass guitar

Tim Friese-Greene – harmonium , piano , organ (music)|organ , guitar

Mark Hollis (English musician)|Mark Hollis – Singing|vocals , piano, organ, guitar

Martin Ditcham – percussion instrument|percussion

Robbie McIntosh – dobro , 12 string guitar

Mark Feltham (musician)|Mark Feltham – harmonica

Simon Edwards – Mexican bass

Danny Thompson – double bass

Henry Lowther (musician)|Henry Lowther – trumpet

Nigel Kennedy – violin

Hugh Davies (composer)|Hugh Davies – shozygs

Andrew Stowell – bassoon

Michael Jeans – oboe

Andrew Marriner – clarinet

Christopher Hooker – cor anglais

Choir of Chelmsford Cathedral

Technical

Phill Brown – audio engineering|engineering

Tim Friese-Greene – record producer|production

James Marsh (artist)|James Marsh – cover art

Notes

References

Brown, Phill. "." Within Without , November 12, 1998.

———. Interview by Larry Crane and Chris Eckman. "." Tape Op , Spring 1999.

Guinness Book of British Hit Albums . 7th Edition. ISBN 0-85112-619.

Harper, Simon. "." The Birmingham Post , August 24, 2005, 11.

Irvin, Jim, ed. "Talk Talk: Spirit Of Eden" in The Mojo Collection: The Greatest Albums of All Time . Edinburgh: Canongate Books, Mojo Books, 2001.

———. "Paradise Lost." Mojo , February 2006, 50–56.

Reynolds, Simon. Review of Hex , by Bark Psychosis. Mojo , March 1994.

Sutherland, Steve. "Dawn Rising." Review of Spirit of Eden , by Talk Talk. Melody Maker , September 17, 1988, 38.

———. "Paradise Regained." Melody Maker , September 24, 1988, 8.

———. "." Melody Maker , September 7, 1991, 40.

Young, Rob. "." The Wire , January 1998, 26.

Copyright Citations

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1. Harmonium 2. Danny Thompson

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