12. Talk TalkSpirit Of Eden
I was working for NME at the time, and I remember getting given a promo. The PR was like, ‘I’m not sure what you’re going to make of this…’ and it was like, ‘What do you mean? It’s obviously a masterpiece!’ I got it from day one, but at the time it did get a very mixed set of reviews. I guess because it’s quite an unusual step to start very pop and then go outwards. Again, it’s got a ritual element to it. Only six tracks, but incredible dynamics, something that can go so quiet and then so loud. The playing is all amazing, plus the genius of Phill Brown and his mic placement. It’s a psychedelic record, basically. I think there were oil wheels involved in the studio. I read Phill Brown’s book and he was saying that he couldn’t listen to it for years afterwards, which is a shame, but I can see why.
I’m not a big lyrics person, I couldn’t tell you what any of the lyrics are, but I like the sound of [Mark Hollis’] singing. It sounds like music that’s getting in touch with the subconscious, that point where the music is flowing, like I said with those Oracle Sound records where I can’t remember the actual making of them. Even though this probably took a year to make, there are a lot of things on there that sound like they were the first ideas. It feels quite fragile, like it’s just being born. Despite it being very beautiful sounding, it feels like if you nudge it just slightly it will all fall over. And it’s another one where it repays listening again and again and again.
