MARK HOLLIS

Just over six years following the final album by Hollis' landmark band Talk Talk, Laughing Stock (1991), his self-titled debut (and sole solo) album was released as the second in a 2-album contract with Polydor (after Talk Talk's formerly mentioned final statement). Despite only featuring Hollis from the band, it was nearly slated as a Talk Talk release. I had become a fan of his former band years back, starting in college, as I was delving (for a very short period) into Post-Rock and I always love/appreciate a comprehensive view of beloved genres. This, his solo album, unsurprisingly slipped by me.

The main chords of "The Colour of Spring" sound almost hymnal. His vocals are soft and reflective; the lyrics too: "Forget our fate / The pedlar sings / Set up to sell my soul / I've lived a life for wealth to bring". All is light and minimal. Far more than anything I've heard from Talk Talk before. His noted focus here on jazz of the middle of the 20th century is immediately heard in the lovely juxtaposition of the next: "The Watershed". This is not where I tend to dwell musically, but it's a very nice listen. The highest highlight, really aside from the beautiful chord selection, is the crisp trumpet feature by English Jazzman Henry Lowther. A notable feature on most Talk Talk albums, Lowther has also associated with Jon Anderson, Caravan, Colosseum, Curved Air, Bryan Ferry, Gordon Giltrap, Elton John, Manfred Mann, Slapp Happy, Spirogyra, Keith Tippett, Alan White, Kenny Wheeler, Lol Coxhill and John Surman. The degree to which this will appeal to fans of Prog is going to be debatable...

"Inside Looking Out" is almost uncomfortably sparse to me... Once again a stark juxtaposition is "The Gift", with nice modernish jazz drumming. Mark's voice and the underlying guitar and bass roll right along, met here and there by various reeds and, later, harmonica. Lovely and truly interesting.

"A Life" is in reference to WWI veteran Roland Leighton, his memory most memorably preserved by his poetry that was collected and published by his fiancé. Very quiet. Very melancholic. Things pick up in a queer and, I find, very interesting fashion. Almost like something you'd hear out of early RIO. Prancing and playful bassoon and flute(?). Worth a listen, even if just once (as I assume I'll be experiencing it).

"Westward Bound" is very pastoral, very bucolic [yes I had to look this word up to remember haha]. Back to the super super soft. Not much of anything to have much of anything for me here haha. A once more queer positioning next to what follows in "The Daily Planet" [Superman?]. Reeds run in and out and are eventually met by the soft clanging of the ride. Continuing to pick up, the rhythm section warms with low double bass. A sort of hypnotic dance. I've found this a good album of solace, but I must say, as a positive note to the ear candy throughout, it's worth the digging to find the gold [too many metaphors?]. I'm not going to pretend I understand the lyrical content, having now read it, but I certainly like the style of writing.

Finally we have "A New Jerusalem". This is the opposite of burnout, coming to the close of a very sparse album. The music does in fact have its rewards, and I do encourage a listen, despite my overall rating. This final note in the pages of Mark Hollis [sincerely, rest in peace, sir], this is a quieted and reflective number. Its final minute or so is actually just radio silence, if I can try to represent it...

I feel it is due another listen, but I don't know if I have the time or the energy.

True Rate: 2.5/5.0

Truly, I am that fan.