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Talk Talk - "Laughing Stock"
- Thread starter Dick Sirloin
- Start date
xfer
I JERK OFF TO ARCTOPUS
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YOUSENDIT ----> http://www.yousendit.com/download/bVlERkJUMGNrYUJMWEE9PQ
Per some stupid site with poor formatting:
"Talk Talk was a British music group that was active from 1981 to 1991. Principal members included singer/songwriter Mark Hollis, producer and co-writer Tim Friese-Greene, bassist Paul Webb, and drummer Lee Harris. The group is known for their early synthpop/New Wave work, and "post-rock" for their later experimental albums. Singles include: "Today", "Talk Talk", "It's My Life, "Such a Shame" and "Life's What You Make It."
Though they were identified with the New Wave movement and bands such as Duran Duran, Talk Talk had a progressive depth their contemporaries lacked. With the addition of unofficial fourth member Tim Friese-Greene in 1983, replacing Simon Brenner on keyboards and becoming producer for the band, each successive Talk Talk release became more sophisticated and original.
They eventually abandoned the New Wave style completely with Spirit of Eden (1988), an album founded on improvised structures and diverse, natural instruments (violin, harmonica) instead of a synth-driven, pop song mold. The less commercial sound did not go well with their label EMI, so they moved to Verve Records to release Laughing Stock in 1991. Spirit of Eden and Laughing Stock (which has been retroactively categorized as "post-rock" by some critics) are both are widely regarded as the group's masterpieces."
Post-rock is a terrible way to describe this, btw
Per some stupid site with poor formatting:
"Talk Talk was a British music group that was active from 1981 to 1991. Principal members included singer/songwriter Mark Hollis, producer and co-writer Tim Friese-Greene, bassist Paul Webb, and drummer Lee Harris. The group is known for their early synthpop/New Wave work, and "post-rock" for their later experimental albums. Singles include: "Today", "Talk Talk", "It's My Life, "Such a Shame" and "Life's What You Make It."
Though they were identified with the New Wave movement and bands such as Duran Duran, Talk Talk had a progressive depth their contemporaries lacked. With the addition of unofficial fourth member Tim Friese-Greene in 1983, replacing Simon Brenner on keyboards and becoming producer for the band, each successive Talk Talk release became more sophisticated and original.
They eventually abandoned the New Wave style completely with Spirit of Eden (1988), an album founded on improvised structures and diverse, natural instruments (violin, harmonica) instead of a synth-driven, pop song mold. The less commercial sound did not go well with their label EMI, so they moved to Verve Records to release Laughing Stock in 1991. Spirit of Eden and Laughing Stock (which has been retroactively categorized as "post-rock" by some critics) are both are widely regarded as the group's masterpieces."
Post-rock is a terrible way to describe this, btw
metaghost
Ghast of the Geist
I don't think it was retroactively termed "Post-Rock" in so much as any "genrefication" of an album is retroactively made.
I was under the impression the term was coined in regard to "Laughingstock", and to me makes more sense then the notion that "Post-Rock" would mean "ambient instrumental rock".
I like this album lots. Ascension Day is one of my favorite drum beats of all time.
I was under the impression the term was coined in regard to "Laughingstock", and to me makes more sense then the notion that "Post-Rock" would mean "ambient instrumental rock".
I like this album lots. Ascension Day is one of my favorite drum beats of all time.
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metaghost
Ghast of the Geist
Well, Bark Psychosis is the same drummer, so I may have gotten things conflated, but regardless, I don't have a problem with the term in reference to Laughing Stock (or Spirit of Eden).
I think that the action of appropriating and deconstructing what is essentially a rhythm and blues sound (chord progressions, instrumentation, lyrical content, vocal delivery) and turning it into this coldly emotional, messy, symphonic experience with religious overtones could be defined as a post-modernist musical performance: Post-Rock.
But that's just how I perceive it.
Who knows what the dude who said it meant.
I think that the action of appropriating and deconstructing what is essentially a rhythm and blues sound (chord progressions, instrumentation, lyrical content, vocal delivery) and turning it into this coldly emotional, messy, symphonic experience with religious overtones could be defined as a post-modernist musical performance: Post-Rock.
But that's just how I perceive it.
Who knows what the dude who said it meant.
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