e-book Berlin, la Cour et la Ville - Une Vengeance à Berlin (French Edition)

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Magic : You had disappeared from circulation since , and the release of the Talk Talk album Laughing Stock Mark Hollis: After a record, there always follows for me a period where I feel the need to create a vacuum Anyway, I refuse to feel obliged to compose within a specific context. At one time, I mostly wrote instrumental pieces, some very simple but others rather fragmented, which I intended for string quartets. Yes, very much. This time, however, I wanted to reduce their number. I wanted to return to a certain simplicity while achieving the same impressions, the same emotions.

In order to materialize what I had in mind, it is necessary you know to sometimes take some time Indeed, six years, it can seem overwhelming. But not for me.

And this love must remain the only valid reason, there should not be others. This is what happened to me. And therefore I had to find other outlets.

One primary aspect seems to be But there were two other key concepts The first was that the album was created entirely with acoustic instruments. And I believe that only acoustic instruments can offer such a possibility. In addition, it allows you to use the wonderfully resonant notes, especially when you play at a fairly low noise level.

I am always impressed by this kind of so fragile music As for the second concept, it is linked with the problems I mentioned earlier and this obsession does not resolve the same way. Moreover, for this too, the sound was needed Because it was so much harder to find solutions.

This is a trick question He smiles and thinks. Today, it is clear that the way I compose mostly reflects the sound of the song. That said, I am convinced that the compositions still need to marry a certain form, accept a connection. After recording for ten years in a group, it is easy to make a record under your own name? It would have been dishonest to have credited it to the group. Especially as one of the centerpieces was Tim Friese-Greene. And the simple fact thatwas that he was not involved in this project, so I fobade the use of the name At what point did you know that you were not going to work again with Tim Friese-Greene: As soon as your compositions took shape?

Yes, it was so obvious. But even before At the end of Laughing Stock, I guessed that the approach we had adopted was at an end. We could not go further together. I did not want our spirit of experimentation to become routine. The main reason is quite simple really: I thought it was a perfect illustration of the words I had written. And then, I like cross-referencing.

On your record, there is this long piece, A Life , whose title remains quite enigmatic So, I spend all my free time catching up with my shortcomings. He smiles. When you turn to the past, you realize that there was a completely different approach to producation Take someone like Jimmy Miller for example: he was always working with Glyn Johns and the two were complementary. One was there to pay attention to the arrangements while the other was completely obsessed by the sound. That is why Phil Brown played a key role in the design of my disc In fact, we only used two microphones to record.

I had to be sure that everybody could understand where I was coming from. He takes his time. Yes, somehow, in the sense that I leave to each player the option of several possible interpretations. There are often several versions Faster, slower, more melancholy. But there is no form of improvisation on the disk. Actually there are two: the trumpet and harmonica on The Watershed But otherwise, they were held to what was written.

Your music has a very visual dimension. You would be attracted by the idea of doing a soundtrack? I absolutely love movies, especially the European School Therefore, the problem arises for me to find a film as strong.


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Not to mention that someone should want to use my services Long ago, I was asked to compose a theme for a documentary. I asked at every opportunity and warned that the result would be very different from what I would do with Talk Talk. As ever, I had been allowed free rein, but once people heard the result, they asked me if we could not add a little drumming, do something more upbeat No, never!

Once mixing is complete, I never replay anything. During recording, everything is still in flux, you can evolve this or that detail But after the mixing, the songs have take shape, are immutable: you have arrived at the end of your work and therefore must know to move on to try to advance. It is impossible to say!

All I know is that I will continue composing.

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I want to use the piano with a very minimalist approach. I want to play on the resonance of the notes, try to find a certain innocence. But today, nobody can know what the purpose of this work is. Not even me Pourtant, son premier album solo est absolument unique. The last time we heard Mark Hollis was in , an eternity. Back then, Talk Talk released a record, Laughing Stock, and one was unaware of its final testamentary character. His incomparable genius is disconcerting.

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And seven-years later, Mark Hollis returns to the musical surface, without warning. Yet his first solo album is absolutely unique. Its singularity surpasses understanding. How can one write such music in? Eight timeless and out-of -fashion pieces, fruits of total artistic freedom. In a world ultra conformity, these pieces are about eight minutes of beautiful and happy incongruity.

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A genuine alien in the contemporary rock circus, Hollis is an acrobat undertaking some high wire act. Upon reaching its peak, it plunges the listener into speechless admiration, and sweet bliss. The six albums over 15 years featuring Mark Hollis have documented a most remarkable transformation. Chameleon Day, however, was the signifying track. If on Colour of Spring it was the strange track, by Spirit of Eden and especially Laughing Stock this kind of intense, near abstract soundscape was what Talk Talk did — the extreme delicacy of an organ chord offsetting searing, distorted harmonica or guitar with dobro, cor anglais, a cathedral choir and a dozen other texture providing flecks of colour and whispers of meaning.

This remains the familiarly elusive territory of Mark Hollis , but attuned ears will make much of the chamber-sized ensembles, the relatively controlled quality It was nearly all pre-scored , the enchanting wind quintet sketches, the absence of amplified instruments, the intimacy, the sounds of human interaction with acoustic instruments, the creak of a chair, even a pre-music sigh, all take their relevant place in this uniquely haunting soundworld. And a few listens in the splashes of sound start taking elegant shape, like staring at clouds and seeing faces.

Opening track The Colour of Spring no connection to the album is typically fragile. Accompanied only by piano and barely-so8udned clarinet, Hollis intones what sounds like the host of an ancient gospel tune, with beautiful Ravelian chords in the middle courtesy of pianist Phil Ramacon, who along with Warne Livesey and guitarist Dominic Miller is the latest collaborator to be sucked into the Hollis aesthetic.

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The Gift has a rolling jazz vamp supporting wracked harmonica. The eight minute A Life beings with a halting, fragmentary wind which gives way to a minimal piano and guitar motif over which float three female voices, whisper chanting in French. Starting with 17 seconds and ending with two full minutes of room ambience and tape hiss, the extraordinary atmosphere in Mark Hollis is one of awed respect for holy silence and a profound reluctance to break it.