Achingly gorgeous and hauntingly stark, Mark Hollis' self-titled debut picks up where he left off with Talk Talk's Laughing Stock seven years earlier, re-emerging at the nexus point where jazz, ambient, and folk music collide. It's quite possibly the most quiet and intimate record ever made, each song cut to the bone for maximum emotional impact and every note carrying enormous meaning. Hollis paints his music in fine, exquisite strokes, with an uncanny mastery of atmosphere that's frequently devastating. And if anything, his singularly resonant voice has grown even more plaintive with the passage of time, which -- combined with the understated artistry and minimalist beauty of tracks like "The Colour of Spring" and "Watershed" -- makes Mark Hollis a truly unique and indelible listening experience. His obvious understanding of the power of silence aside, one prays he doesn't again wait for the seven-year itch to strike before returning
On their first album for Germany's Marina Records, singer/songwriter David Scott and keyboardist Brian McAlpine offered a welcome antidote to the sound-alike power pop that proliferated in the '90s. Joined by a drummer and string section, the Scottish duo mined many of the same influences (Beatles, Brian Wilson) as their competitors, yet offered melodies and hooks that were reverent but never rip-offs. Cherry Sky is a near-flawless concoction that follows Beach Boys-style choruses with a chorus straight out of the Fab's psychedelic era (complete with "Penny Lane" fire bells). The lovely "Sugar Mountain Babies," meanwhile, owes not a little to McCartney's gentle side, and the jangly "Banana Sandwich" has all the fresh-faced glory of Scottish popsters past, like Aztec Camera or the Bluebells. Other than a couple of lesser tracks, like "Night Breeze," the remainder of the disc is simply high-quality, handsomely performed, and hummable pop you'd be foolish to pass up.