SPIRIT OF EDEN

The transition continues: from the cerebral Glam Rock of their early days toward more experimental song sounds and structures of their previous album, their third, 1986's The Colour of Spring, with it's two major international hits, "Life's What You Make It" and "Living in Another World."

1. "The Rainbow" (9:09) stripped down, even stark, musical landscapes with very little, very subtle shifts and changes make Mark Hollis' whisper-sung lyrics and things like a swamp-blues harmonica solo and even guitar strums, organ chords, and bass drum and tom hits distinctive (almost irritating) highlights. (17.33/20)

2. "Eden" (6:34) after the bleak austerity of the previous song, the far more active foreground of organ chords, grating guitar strums, occasional loud drum play, and loud bursts of voice from singer Mark Hollis make for a sometimes jarring listening experience. Interesting and definitely unconventional. Quite an unusual and often awkward experience for the nervous system. (8.33/10)

3. "Desire" (6:57) with two and a half minutes of very quiet, subtly nuanced piano, bass, and trumpet play to open this song, the sudden burst of full-band rock loudness at 2:39 is quite harsh and unsettling. A swift return to the quiet, stark motif of the opening by 3:05. This soft, build, and outburst pattern repeats itself with the second entry into the full-band cacophony being continued to the end of the song with the participation of several other instruments in the final minute. I have to admit, this is a memorable, life-altering song. (13.25/15) This soft-starting, slow-building to a crashing climax pattern (with repetition) is what would eventually become the template for the Post Rock song.

4. "Inheritance" (5:23) an unconventional, dissonant, disorganized-sounding, multi-instrumental, polyphonic weave opens and accompanies Lee's brushed snare, Paul's spacious bass, Tim Friese-Greene's sustained harmonium chords, and Mark Hollis' discordant, almost-melody-less vocals. Interesting and challenging. (8.667/10)

5. "I Believe in You" (6:10) within the stark, subtly populated polyphony lies a fairly likable song. Mark sings over the top in a more standard Western style over this more-Western-standardly-constructed and formed song. The contribution of the Chelmsford Cathedral Choir is delightful--even heavenly. This, then, is contrasted to the DAVID SYLVIAN/HOLGER CZUKAY-like odd instrumental additions injected into the second half of the song. (8.875/10)

6. "Wealth" (6:43) an interesting return to the stark, very subtly populated and subtly-shifting songs of the album's opening. This could almost be a song played during a funeral home viewing/visitation. As sparse and somber as this song is, I do, however, happen to really it. (9/10)

Total Time: 40:56

I understand the historical significance that this remarkable collection of very unusual songs has for the evolution (progress) of rock music but, at the time, it was not the kind of music you really wanted to play at a party or to elevate your mood after work or on the weekend. Even now, as fascinating as the journey is, I really don't find myself liking the songs--wanting to get up and dance or write socially-inspiring mottos to.

B/four stars; a very interesting and, ultimately, rewarding musical listening experience that could be a challenging listen for many prog and music lovers but I highly recommend to any self-proclaimed prog lovers--especially those who have found a way into/affinity for the Post Rock world.