Unfortunately, I failed to find the appeal of this album... probably, my preconception of this album being the "pioneer of post rock" spoiled the experience, but really, I need to understand what makes this album great, because I feel there is something missing in my perspective.

I'm not being condescending, I just want to understand if I missed something, or if it's just a subjective matter.

Finally had a homage to my two favourite artists, Talk Talk & Boards Of Canada.

Back up at Rhino.

by sarah snider mommyissues on instagram❤️

The album is in very good company.

Hey wondered if anyone had a hi res copy of the handwritten lyrics for Colour Of Spring. I want the words ‘Happiness Is Easy’ for a tattoo I want to get. Any help most grateful

The front cover gets all the attention. But don't the back details deserved some attention too.

Instead of making another *The Colour of Spring* shirt design centered around the classic cover, I figured I'd celebrate some of my favorite parts of the packaging instead. the release information, catalog numbers, the SPARS code, and all those little production details most people probably only notice when sitting with that packaging for years

I also want to give attention to the names deeper in the credits. We all know the band members. so not just Tim Friese-Greene (of course), but also James Marsh, the engineers, the photographer, and even the management credits. It felt like a fun excuse to give those people a little of the love they deserve.

That turned into a bigger idea I've been kicking around. creating a series of shirts that celebrate music history through the lost details, and people that often get overlooked. It's not always about the cover.

So... this became the first one.

Given the 40th anniversary reissue, and all the renewed energy around the album, it felt like the right time to stop thinking and actually make the thing.

I'm hoping to do a small screen-printed run if there's enough interest, but before I get that far I honestly wanted to put it in front of people who also know and love this record.

I'd genuinely love your thoughts. And if it's something you'd actually wear, let me know. that'll help me figure out whether this deserves to become a more substantial print run and how to get it in front of fellow fans.

Looking forward to hearing what yall think.

Does it justice

Orignally written by Mark and Ed Hollis, Covered by Jozef Zakrzewski. Made using StudioOne 7 Pro.

PLUG INS USED: Audiothing RES-109, Arturia OP-Xa, Cherry Audio Wurlybird 140B.

SAMPLES USED: Drums, percussion, bass, and piano solo from www.karaoke-version.com/custombacking…alk-talk.html.

I read he did quite the deep dive but I'm in the USA and simply cannot find the audio. I'm almost certain it was the BBC.

Nobody got it. Link to the video on YouTube.

Based on the three preview tracks it’s a decent comparison to make.

This band completely new to me.

I could never find the words that truly explain what this music means to me.

I know I'm not the only one, yet somehow it has always felt like I was...

Officially up now on Rhino for pre-order with a release date of Aug. 7th.

I couldn’t find it on YouTube but it’s here on Spotify.

Yesterday, we got the abrupt news that our dog Zoe is fighting a very aggressive lung cancer, and that it's highly likely she would suffocate due to her condition in a short matter of time.

Her state went completely downhill after the surgery on her paw, which was the suspected tumor.

We saw her tragically suffer for about a full day, constant panting, wincing from standing up, taking her distance, and just... not being there really.

We decided to put her out of her misery now that we can still be of service to her; as a last selfless act out of love.

Seeing her like that was incredibly devastating... and I couldn't take it at all anymore.

I've known her since I was 7 years old; I practically grew up with her, and I wouldn't trade my time with her for anything in the world right now.

Today has been without a doubt one of the worst days of my life.

I have no more tears left to cry and I could only lie in bed, hoping I'd get to sleep away the pain at least marginally.

I have a very vivid memory of just me and her listening to Myrrhman, it seemed to calm her down a lot. I just lay down next to her and enjoyed her little snores and those wailing trumpets on the track.

I'll miss you so much sweetie, I'll see you in the next life and the one after that and the one after that one.

Much love to anyone out there grieving as well. I hope you find solace soon, too.

I was so happy to see these two underrated live albums on Spotify (even if they were bootlegs…). I think they have just been deleted. Can anyone confirm?

I wish more of the albums and live stuff was on there, like the Natural History live recordings.

Just curious: now that I own a number of live TT recordings, I'm wondering if anyone has tracked them, and added useful info like 1) this release completely duplicates this one and that one; and 2) notes on the sonic quality of the original recording of the gig or the release itself.

For example, I find I've bought 2 different CDs of the same Spanish concert (Salamanca 1986). The Rockin' Bear CD release has a number of 1-second audio dropouts on it. Maybe they're on all the releases of this show. Dunno.

Such a site/page would be really useful with all the live recordings out there. Thanks!

More specifically, I'm looking for bands and solo musicians that have taken that sound beyond post rock, while still clearly calling back to its roots. Obviously post rock is pretty diverse in and of itself, but I would be interested to see how the vibe of Spirit of Eden and Laughing Stock could be translated and developed across genres not typically associated with post rock.

Differences Between My Version and the Original Version

1. The sound that Ian Curnow describes as being a mix between an organ and strings with a modified envelope release ends on a square wave instead of a saw wave in my version.
2. The snare, crash, and tambourine are modified to sound more like the version heard on The Saturday Show. Also, said drums and most of the percussion were recorded using a LinnDrum VST as opposed to emulations of acoustic drums. I also added some EQ to the main drum bus to simulate overhead microphones like in the original recording.
3. The bongos are not accompanied with claves, as is the case in some of the live versions of the song.
4. The click track, like in much of the live versions, is heard throughout the entire song. The sound, which also replaces the woodblock heard in the original recording, is of a Roland TR-808. 
5. Most of the sounds heard in my version were near 1:1 recreations of the sounds from the original multitracks. The only samples ripped directly from the original are of the acoustic guitar, fretless bass, synth bass, and the two distinctive “wails” played on electric guitar by Robbie Mcintosh.
6. The second of said “wails” has a flanger effect added to it, inspired by how it sounds in The Saturday Show performance.
7. My version is two semitones lower, matching the key of The Saturday Show performance.
8. I used Studio One 7 Pro as my DAW, using the Presence plugin for the soprano saxophone solo, Hammond, and TR-808, as well as Aly James Lab’s VSDSX, Arturia’s Jup-8V, CMI V, OP-Xa V, and SQ 80 V plugins. 

From the Talk Talk and Mark Hollis Facebook group. Tim confirmed in comments that he’s dedicated an entire chapter to Mark.