“It was based on Roland Leighton, the boyfriend of Vera Brittain, who died within a year of the start of the First World War,” Hollis revealed in an NME interview supporting the album’s release. Arguably the record’s stand-out, however, was “A Life (1985-1915)”: an elusive, suite-like affair stretching over seven minutes and which was inspired by the tragic death of a young soldier during World War I. Its primary stock in trade were its hushed, haunted hymnals (“The Colour Of Spring,” “Westward Bound,” the stark “Inside Looking Out”), though “The Gift”’s subtle, jazzy groove reflected Hollis’ love of Miles Davis and John Coltrane, and the woodwind-enhanced “The Daily Planet” felt delightfully quirky. to let the sound of the room be heard – the production was, in this case, to relax the musicians and give them a chance to find their own interpretations.” An unlikely inspirationĪs the methodology suggests, Mark Hollis added up to an intimate and intensely personal experience. I also very much like the character and realization of acoustical instruments. Recording in its purest form, really, like in the old days.

“We searched a long time to find the right balance. “We only used two microphones,” he told Music Minded. During the lengthy studio sessions, Hollis also made further sonic advancements by placing greater emphasis on acoustic instrumentation and paring recording techniques back to their bare minimum.

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