Search - Allinson / Brown :: AV1

Strangely beautiful minimalism

FloydWaters | 09/13/2003

(5 out of 5 stars)

"I probably wouldn't have pursued this album until acquiring all of Mark Hollis' other albums from Colour of Spring forward, but I had an unbelievable stroke of luck at the local used CD store. Seeing that it was filed under "Hollis", I couldn't resist. (By the way, I must thank the reviewer who explained about Mr. Hollis' pseudonym.) As the opening, atonal strings slowly faded in, I wasn't sure what exactly I was getting into--but it drew me in and slowly won me over. At first I expected a sudden explosion into something rather like the last parts of Pink Floyd's "Sysyphus" (though with better technology), but I settled in fairly quickly.Atonal. Mysterious. Minimalist. AV1 finely walks the line between music and sound. Notice I do not say music and *noise*, as that would imply something cacophonous, offputting. For instance, the opening notes in "Piano" resemble nothing more than the sweet, soft tolling of bells. Yes, there are a few moments thrown in there that are strange and a bit jarring, but acclimation comes rather quickly. The first track evoked in my mind images of something verdant, primieval, natural, not unlike the images from Fantasia's interpretation of Stravinsky's Rite of Spring, or what I might imagine with Pink Floyd's "Signs of Life"--though perhaps significantly more understated than either example. In the second track I greatly appreciate the intricacies and subtle differences between the rather similar percussion rhythms. This, as with all minimalist works, is indeed about subtlety. "Piano" seems to be Mark Hollis' game with silence--here, the spaces between the notes are every bit as emotional as the sound that comes from his instrument not unlike intermittent drops of rain. "Steel" is probably the most atonal piece on the album, and in my opinion the least accessible track, but by the time you've come through the two halves of "AV1", and "Piano", it may seem less difficult. In fact, one of the snippets of sound reprises from the second half of "AV1", perhaps serving to cleverly bridge the gap in continuity one might initially perceive after "Piano's" interlude. In the end, I feel content, that I have heard a complete piece.Reminders of Steve Reich and Brian Eno (think of his more ambient work such as the Apollo soundtracks) can be heard in AV1. This is pleasantly atmospheric music that can provide a nice backdrop for activities such as writing, reading, or drawing. For me, this is a choice for a relaxing evening at the coffee shop. This is for me very pleasant in character, and there are no obvious flaws to which I can point. I do recommend having a taste for minimalism, experimentation, and "ambient" forms of music--otherwise this may not be an appropriate choice for you, and you may wish to start with something slightly more accessible to help cultivate your tastes in the genre. But if you do already have that taste, or you are willing to go out on a limb to try something new, then by all means I suggest AV1 to you."

Pure genius, but not for all...

Shawn Damkroger | Austin, TX United States | 08/30/2000

(5 out of 5 stars)

"Mark Hollis is a musician that is writing and performing music for himself. If you happen to be of his same mindset, you will love his music and this CD. What I love about this piece, indeed all of his music - particularly all Talk Talk albums after It's My Life, and his solo work (the self-titled Mark Hollis) is his timing and his unabashed fearlessness of silence. Mark is completely unconcerned with how people receive his music, which allows him total freedom in how he embraces silence and leisurely pacing.This CD can be called a journey into the beauty of single notes. While other music can draw us in with it's melodic beauty or the mathematical structure of chords, this CD asks us to consider the elegance of sound itself, particularly single notes. But what makes it all worth while is the timing of this minimalism.The music draws you in and practically forces you to pace yourself with it. It causes you to wait on it's every move. An example might be when that part of your favorite song approaches, and as it does you find yourself getting more and more involved and when it plays out you are fully into the moment. This CD will do that, and sustain it for a long period of time. It can be intense, and very visual if you allow yourself the time and peace to really immerse into it.Which brings us full circle back to what I originally said about John's music in general. Summed up, that is; you will love it, or hate it. I play this CD for people when I want to understand more about them. Whether they love it, or hate it I end up knowing more about them. It's not a value judgement, it is simply such poignant music that it "evokes an emotional response" (to quote a line from Blade Runner). I believe the sound/music on this CD is pure, and unadulterated brilliance. If I were forced to give an example of (somewhat) similar work in recent memory, I would say that Jon Hassell's Fascinoma is swimming in the same tidepool. Hollis is unquestionably a genius. Whether he is your kind of genius is for you to decide."

Mar Hollis is on this album

Stuart Watkins (teeat4@hotmail.com) | Denver (but from England) | 10/12/1999

(4 out of 5 stars)

"The individual named John Cope is inactuality Mark Hollis. These segments were recorded between Spirit of Eden and Laughing Stock. It is minimalist and not your usual seven year venture out by MH, but I believe well worth it."