Drink better during this season’s music festivals with these campsite-friendly novelty hip flasks.
This might seem a strange place to write about this. I didn’t know the musician Mark Hollis (1955-2019), who has died at age 64. I haven’t a clue whether he liked whisky or not. Why, then, is he here? Because there was a quality about his music which aligned itself to the manner in which we sometimes come to terms with the phenomena around us – it could be a landscape, a look, a piece of art, a plate of food, or in what we are all apparently obsessed about, a glass of something.
Hollis started out in a synth-pop band called Talk Talk. They were good at what they did and had some hits. Not, to be honest, the music I was listening to in the 1980s. Then came Spirit of Eden which oscillated between ambience and jazz, loudness and almost silence, emotion and detachment. It was arranged, but seemed improvisatory, thrillingly haunting and immersive.
‘Haunting genius’: Mark Hollis did not allow his creativity to be restricted by dogma nor genre
Spirit and its even further out companion Laughing Stock moved beyond genre. You could identify elements – the way the cymbals set up a pulse which was not always followed, how the guitar then played across everything, switches from electronic noise to harmony, peaks which lasted too long, followed by abrupt silences. Music as collage. They were unsurpassed in modern music. Naturally, they hardly sold.
The band split up and seven years later Hollis resurfaced with a solo album. Here the space has widened, the music is almost becalmed, existing in space and tone. The creaks of a stool, a voice so close it is in your head. Woodwind and classical arrangements. At times things are barely there at all. The references shift again. Aligned to ECM or modern classical composers like Morton Feldman.
The lyrics are gnomic poems speaking of war, loss, wanderings and the search of and for a spirit. There’s something of Schubert’s Winterreise. ‘I’d like to make music that can exist outside the timeframe,’ he once said. Outwith time itself.
‘“Forget our fate”
The peddler sings
Set up to sell my soul.
I've lived a life for wealth to bring
And yet I'll gaze
At the colour of spring
Immerse in that one moment
Left in love with everything.’
[The Colour of Spring, 1998]
‘I wanted to make a record where you can’t hear when it has been made… I also… like the character and the realism of acoustic instruments… I adjusted the volume of the instruments, so the manner in which these instruments resonate are a part of the total sound. I looked for instruments who could grow above the limitations of a certain style like a clarinet, trumpet and flute.’
The limitations he spoke of are as much about technique and approach as physical. To be truly creative is to transcend boundaries and genres and the restrictions of dogma.
And that, reader, is the creative impulse. Taking something and making it greater, but not by adding things. Complexity isn’t necessarily about accumulation; it is more often about having the courage to strip elements away. It is all there. It is how he approached his music. It is how we can approach that liquid in the glass, or life itself. Quietly, immersed in the moment.
It’s My Life, Talk Talk (Live at Ahoy in Rotterdam, 1984):
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