History Music / LaughingStock

''Laughing Stock'', released in 1991 through Creator/PolydorRecords, is the fifth and final album by British group Music/TalkTalk, embarking on an [[NewSoundAlbum even further departure]] from their SynthPop[=/=]NewWaveMusic beginnings that began with their previous album, ''Music/SpiritOfEden'', and letting their jazz influences and experimental leanings shine through. The album is sometimes referred to as being [[IAmTheBand a Mark Hollis improvisation session]] with a bunch of guest artists: bassist Paul Webb left the band prior to recording, and Hollis hired a large ensemble for recordings (to put it into perspective, the amount of violists featured in this album is ''seven''). Like its predecessor, the album was a considerable influence on the genre of PostRock, and together with Music/{{Slint}}'s sophomore album ''Music/{{Spiderland}}'' (also from 1991) is frequently described as the outright TropeMaker.

''Laughing Stock'', released in 1991, is the fifth and final album by British group Music/TalkTalk, embarking on an [[NewSoundAlbum even further departure]] from their SynthPop[=/=]NewWaveMusic beginnings that began with their previous album, ''Music/SpiritOfEden'', and letting their jazz influences and experimental leanings shine through. The album is sometimes referred to as being [[IAmTheBand a Mark Hollis improvisation session]] with a bunch of guest artists: bassist Paul Webb left the band prior to recording, and Hollis hired a large ensemble for recordings (to put it into perspective, the amount of violists featured in this album is ''seven''). Like its predecessor, the album was a considerable influence on the genre of PostRock, and together with Music/{{Slint}}'s sophomore album ''Music/{{Spiderland}}'' (also from 1991) is frequently described as the outright TropeMaker.

[[caption-width-right:350:''Shake my head, turn my face to the floor...'']]

* NotChristianRock: As with ''Music/SpiritOfEden'', religious themes are very prominent on ''Laughing Stock'', to the point where one of its descriptors on ''Rate Your Music'' is "Christian." However, it's more to serve as a reflection on Hollis himself than anything regarding Christianity.

''Laughing Stock'', released in 1991, is the fifth and final album by British group Music/TalkTalk, embarking on an [[NewSoundAlbum even further departure]] from their SynthPop[=/=]NewWaveMusic beginnings that began with their previous album, ''Music/SpiritOfEden'', and letting their jazz influences and experimental leanings shine through. The album is sometimes referred to as being a [[IAmTheBand Mark Hollis]] improvisation session with a bunch of guest artists: bassist Paul Webb left the band prior to recording, and Hollis hired a large ensemble for recordings (to put it into perspective, the amount of violists featured in this album is ''seven''). Like its predecessor, the album was a considerable influence on the genre of PostRock, and together with Music/{{Slint}}'s sophomore album ''Music/{{Spiderland}}'' (also from 1991) is frequently described as the outright TropeMaker.

Talk Talk had already accomplished their musical goals with ''Spirit of Eden'', and had fully expected that to be their last album. However, a legal dispute with Creator/{{EMI}} regarding a last-minute contract extension resulted in the band jumping ship to Creator/PolydorRecords. Polydor, aware that the band didn't expect to be active for much longer, gave them a contract that asked for just two albums: Hollis would eventually put out the second in the form of his 1998 solo album. In both cases, Hollis was given the same free rein as on ''Spirit of Eden'': for ''Laughing Stock'', Talk Talk repeated their prior method of improvising with session players in darkness before piecing together songs out of the results. Distribution of the album was handled between both Polydor and their jazz subsidiary Creator/VerveRecords, previously known for their handling of Music/TheVelvetUnderground and Music/FrankZappa catalogs in the 60's. Verve put out the album in the UK, while Polydor themselves distributed it in the US.

* GrandFinale: The final album by Talk Talk, with "Runeii" in particular being conclusive in its lyricism. It almost ended up a SeriesFauxnale, with Mark Hollis initially putting together his 1998 solo album as a one-man Talk Talk project, but his decision to make it a SelfTitledAlbum instead ensured that ''Laughing Stock'' remained the last note for the band.

Talk Talk had already accomplished their musical goals with ''Spirit of Eden'', and had fully expected that to be their last album. However, a legal dispute with Creator/{{EMI}} regarding a last-minute contract extension resulted in the band jumping ship to Creator/PolydorRecords. Polydor, aware that the band didn't expect to be active for much longer, gave them a contract that asked for just two albums: Hollis would eventually put out the second in the form of his 1998 solo album. In both cases, Hollis was given the same free rein as on ''Spirit of Eden'': for ''Laughing Stock'', Talk Talk repeated their prior method of improvising with session players in darkness before piecing together songs out of the results. Distribution of the album was handled between both Polydor and their jazz subsidiary Verve Records, previously known for their handling of the Music/VelvetUnderground and Music/FrankZappa catalogs in the 60's. Verve put out the album in the UK, while Polydor themselves distributed it in the US.

* CallBack: The titles of the first and last songs on the album hark back to the band's first two albums.
** "Myrrhman" recalls "Mirror Man" off of ''The Party's Over'', which was released as the band's debut single.
** "Runeii" recalls the ''It's My Life'' track "Renée".

Talk Talk had already accomplished their musical goals with ''Spirit of Eden'', and had fully expected that to be their last album. However, a legal dispute with Creator/{{EMI}} regarding a last-minute contract extension resulted in the band jumping ship to Creator/PolydorRecords. Polydor, aware that the band didn't expect to be active for much longer, gave them a contract that asked for just two albums: Hollis would eventually put out the second in the form of his 1998 solo album. In both cases, Hollis was given the same free reign as on ''Spirit of Eden'': for ''Laughing Stock'', Talk Talk repeated their prior method of improvising with session players in darkness before piecing together songs out of the results. Distribution of the album was handled between both Polydor and their jazz subsidiary Verve Records, previously known for their handling of the Music/VelvetUnderground and Music/FrankZappa catalogs in the 60's. Verve put out the album in the UK, while Polydor themselves distributed it in the US.

''Laughing Stock'', released in 1991, is the fifth and final album by British group Music/TalkTalk, embarking on an [[NewSoundAlbum even further departure]] from their SynthPop[=/=]NewWaveMusic beginnings that began with their previous album, ''Music/SpiritOfEden'', and letting their jazz influences and experimental leanings shine through. The album is sometimes referred to as being a [[IAmTheBand Mark Hollis]] improvisation session with a bunch of guest artists: bassist Paul Webb left the band prior to recording, and Hollis hired a large ensemble for recordings (to put it into perspective, the amount of violists featured in this album is ''seven'').

The album sold moderately well in its native UK, peaking at No. 26 on the UK Albums charts, but missed the Billboard 200 entirely and never sold well enough to earn any certifications. The album was also somewhat criticised by viewers as being self-indulgent and pretentious upon release, though others praised its haunting tone and musical experimentation, with ''Melody Maker'' listing it as the 12th best album of 1991. The album's acclaim exponentially increased in the years since, though, and it is now recognised as one of the TropeMakers for PostRock, alongside ''Spirit of Eden'' and Music/{{Slint}}'s ''Music/{{Spiderland}}''. While Talk Talk would break up and go their separate ways shortly after its completion, ''Laughing Stock'' still generates praise and respect among critics, being widely considered the crown on Talk Talk's career (alongside its direct predecessor) and one of the greatest albums ever made. As of 2020, the album sits at No. 492 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums list]] of the 3000 most critically lauded albums of all time.

* BookEnds: The album begins and ends with songs whose titles literally translate to "Laughing Stock" and are partly references to the band's earlier works.

The album sold moderately well in its native UK, peaking at No. 26 on the UK Albums charts, but missed the Billboard 200 entirely and never sold well enough to earn any certifications. The album was also somewhat criticised by viewers as being self-indulgent and pretentious upon release, though others praised its haunting tone and musical experimentation, with ''Melody Maker'' listing it as the 12th best album of 1991. The album's acclaim exponentially increased in the years since, though, and it is now recognised as one of the TropeMakers for PostRock, alongside ''Spirit of Eden'' and Music/{{Slint}}'s ''Music/{{Spiderland}}''. While Talk Talk would break up and go their separate ways shortly after its completion, ''Laughing Stock'' still generates praise and respect among critics, being widely considered one of the greatest albums ever made. As of 2020, the album sits at No. 492 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums list]] of the 3000 most critically lauded albums of all time.

* PostRock: Generally considered the de-facto TropeMaker, alongside ''Music/SpiritOfEden'' and ''Music/{{Spiderland}}''.

* FadingIntoTheNextSong: "After the Flood" into "Taphead" on CD copies outside the US; American CD copies lack the crossfade effect and instead feature "After the Flood" and "Taphead" as wholly separate tracks, as on the LP release. Interestingly, the lack of a cross-fade ends up highlighting a brief four-second guitar warmup at the start of "Taphead" that the crossfade on most CD copies obscures.

* NotChristianRock: As with their previous album ''Spirit of Eden'', religious themes are very prominent on ''Laughing Stock''. However, it's more to serve as a reflection on Hollis himself than anything regarding Christianity.

* RearrangeTheSong: The single release of "After the Flood", titled "After the Flood (Outtake)", is an alternate take of the song that runs for roughly half the length of the version included on the album and consists of the vocal part overlaid atop what ultimately became the outro in the album version.

''Laughing Stock'', released in 1991, is the fifth and final album by British group Music/TalkTalk, embarking on an [[NewSoundAlbum even further departure]] from their SynthPop[=/=]NewWaveMusic beginnings that began with their previous album, ''Spirit of Eden'', and letting their jazz influences and experimental leanings shine through. The album is sometimes referred to as being a [[IAmTheBand Mark Hollis]] improvisation session with a bunch of guest artists: bassist Paul Webb left the band prior to recording, and Hollis hired a large ensemble for recordings (to put it into perspective, the amount of violists featured in this album is ''seven'').

* LighterAndSofter[=/=]DarkerAndEdgier: It's more artsy and bohemian compared to Music/{{Slint}}'s ''Music/{{Spiderland}}'', but heavier in mood and more fractured in comparison to Talk Talk's earlier ''Spirit of Eden''.
* NewSoundAlbum: Listening to this, it's hard to believe the band was making cheap Music/DuranDuran-esque synthpop almost a decade before.

* PostRock: Generally considered the de-facto TropeMaker, alongside ''Spirit of Eden'' and ''Music/{{Spiderland}}''.

The album sold moderately well in its native UK, peaking at No. 26 on the UK Albums charts, but missed the Billboard 200 entirely and never sold well enough to earn any certifications. The album was also somewhat criticised by viewers as being self-indulgent and pretentious upon release, though others praised its haunting tone and musical experimentation, with ''Melody Maker'' listing it as the 12th best album of 1991. The album's acclaim exponentially increased in the years since, though, and it is now recognised as one of the TropeMakers for PostRock, alongside ''Spirit of Eden'' and Music/{{Slint}}'s ''Music/{{Spiderland}}''. While Talk Talk would break up and go their separate ways shortly after its completion, ''Laughing Stock'' still generates praise and respect among critics, being widely considered one of the greatest albums ever made. As of 2018, the album sits at No. 466 on ''WebSite/AcclaimedMusic''[='s=] [[UsefulNotes/AcclaimedMusicAllTimeTopAlbums list]] of the 3000 most critically lauded albums of all time.

''Laughing Stock'', while somewhat criticised as being self-indulgent and pretentious upon release, has since gone on to critical acclaim. It's now recognised as one of the TropeMakers for PostRock, alongside ''Spirit of Eden'' and Music/{{Slint}}'s ''Music/{{Spiderland}}''. While Talk Talk would break up and go their separate ways shortly after its completion, the album still generates praise and respect among critics.