Zuffanti going Post rocjk
I still have the album - probably in my top 15 of the Post-Rock genre
Zuffanti going Post rocjk
I still have the album - probably in my top 15 of the Post-Rock genre
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
Looking forward to read this one: Jeanette Leech: "Fearless. The Making Of Post-Rock".
If you have some time left you could watch this interview with Graham Sutton (Bark Psychosis) and Jeanette Leech:
here are a few that i took home:
BOSSK
ROLO TOMASSi
AND SO i WATCH YOU FROM AFAR
Really enjoying WE LOST THE SEA's Departure Songs about people who lost their lives in heroic and unselfish ways. Just some killer instrumental bits and lot of beauty too. No vocals but quite a few samples.
"The wind is slowly tearing her apart"
Sad Rain
Anekdoten
Hugues I don't why I couldn't get into LAZONA especially since they're one of the few PostRock bands to use mellotron. Another one that uses it though that I do really like is the Swiss band Equus.
"The wind is slowly tearing her apart"
Sad Rain
Anekdoten
So on the subject of post rock:
Last weekend, my younger brother and his wife came over to my house to visit for a while. The sun was starting to set and the dim evening light was shining into the living room through the open window blinds; so I turned all the lights off, cracked open a couple beers for us, and then put on my vinyl copy of Spirit of Eden.
He had never listened to Talk Talk before, aside from "It's My Life" (which he liked). He was quite floored by SoE though.
About halfway through the second track, Eden, he remarked on how much it reminded him of the Hogarth-era Marillion and that he thought Talk Talk must have been an influence on them. He also could not get over how pristine the sound was, and how much you could hear in the sonic space of that album.
When it was finished, he said to me that every once in a while something comes along that reminds him there is still music out there that he has an emotional response to, and Spirit of Eden was one of them. I also let him hear a little bit of The Colour of Spring before we had to go get dinner.
I had a feeling that he would really like them, but it was just a matter of the circumstances being right for him to really just give it a good listen. And that is definitely one record that is meant to be listened to. It was perfect timing too, with the setting sun filling the room and then gradually dimming into darkness while we sipped Aventinus and listened to the LP. Really special actually.
i agree all the way with this … although “the colour of spring” will always remain as my favourite TALK TALK album ever … probably because i also enjoyed them as an avant garde pop act and i do cherish the transitional period evident on that album. h-MARiLLiON have mentioned the impact that TT had on them several times before; in fact i recall reading that robbie macintosh’s heartrending performance on “i don’t believe in you” is one of steve rothery’s favourite guitar solos ever. and he should know.
you know what? with hindsight i would have loved to be a fly on the wall when the band was discussing their next moves with their increasingly suffering record company (EMI at the time) within which
• two years of recording in a derelict church in the fens
• absolutely no record company interference welcome whatsoever
• no hit singles to be considered in the remotest
• no track to be allowed for editing and release to the radio prohibited
• oh, while we are at it: no touring … that material cannot ever be reproduced on stage in a concert setting
EMI eventually breached contract in a major huff and released an edited version of “i believe in you” to the radio … and forced TT to lip-synch it on a dutch pop programme. for their follow up (“laughing stock”, 1991) the band moved to VERVE/POLYGRAM and that was that. EMI have subsequently exploited their pop/post-pop catalogue on compilations and remix albums too numerous to mention. mark hollis did one solo album in 1998 which manages to reduce the essence of those two final TT albums to an even more intensified essence and “live in london 1986” was released in 1999. further spin offs are O-RANG and RUSTIN MAN, featuring beth gibbons from PORTiSHEAD.
this is not a derailment into a TALK TALK thread. it merely charts the beginning of post rock as many sources would claim hereafter. feast your eyes on an increasingly pissed off maestro hollis:
Last edited by iguana; 02-05-2019 at 10:57 AM.
Oh yeah! I love The Colour of Spring, it's great. Like you said, Colour captured them during a transition and it was really interesting to see even in hindsight.
I believe I've seen Marillion and/or Hogarth mention Talk Talk as well; definitely think there's a line that could be drawn between TT's Colour/Spirit and Marillion's Brave/Afraid of Sunlight. Never heard that about Rothery commenting on the guitar solo on "I Don't Believe In You", so that's really cool.
Thanks guys! It was really neat to get to introduce my brother to some music he had never heard before, and see the impact it made in person.
And it is a great album that deserves to be heard by way more people.
I'm going to try to give post rock another try - it's eluded me so far. As a person who loves lush melodies, post rock's lack of them has put me in the category of people who find the music not exactly boring, but someone annoyingly repetitive. I just haven't listened enough to even be able to tell the difference between one band and the next.
Mongrel dog soils actor's feet
"Post-rock" as a whole was usually full of melody. But the concept of "melody" wasn't somehow created by "prog"/Genesis/Yes-bands, so the definition may have something to do with it. I find more melody in a single Stereolab- or Sea&Cake-album than I do in the entire discography of most so-called "classic prog" bands. Even Tortoise's most decried release, It's All Around You (2004), is practically chocked with melody.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Well, from most post-rock that I've heard, its reflection of melody draws from baroque and pretty much until late-period developments in contemporary music. Melody not only as "repeated ostinato" but, I suppose, as constellations of harmonics and allsorts of dynamic and dissonance at that.
Don't get me wrong; minimalistic, repetitive post-rock does exist. But again there's the question of definition, as some would certainly hear the phenomenon of "prog rock" (main bulk) as painstakingly repetitive and primitive next to, say, a baroque fugue or modal improvisations in avant-garde jazz.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
"Who would have thought a whale would be so heavy?" - Moe Sizlak
Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?
The rust and oxidation on this one is gorgeous. Some might say it's more stoner than post rock. I'm just glad to catch a buzz off it. Snagged it after guy at a Progfest vendor stand described it as an instrumental Sabbath/Crimson cross and got reprimanded for it. Genre labels aside, this is just a cool record... like maybe a mutant cousin of Melvins Ozma.
https://youtu.be/3GZ2VtNZRe4
Tons of great post rock melody.
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