DAVID SYLVIAN

— First review of this album —

Turns out that, my favorite up to this day prog-albums, are collaborations between two extraordinary musicians, in a single project. Colin Edwin & Jon Durant-2012-Burnt Belief, Steve MacLean & Chris Cutler - 2012 - The Year Of The Dragon and this a 3 musicians project. In fact David Sylvian's name is a bit overshadowed (in a gesture of humbleness, I suppose), being that it is more like some kind of guest appearance for Jan Bang and Erik Honore (also featuring-Sidsel Endresen and Arve Henriksen), but these guys are not included in the PA's page. So, whatever, who cares , this is a 5 star masterpiece of music. The musical language is daring, without having to be ingenious or innovative perforce. The conceptual context it attempts, its heights and pretentions, are counter-balanced by a sober performance, of a sometimes, almost naked, musical environment. So each of these, "unworshipped" deities, inspire a song, for their own, uncommon "attributes". Therefore, every composition is crafted especifically, music-wise, to the humour or somberness of the deity chosen. As far as this sounds, super-pretentious, David Sylvian's earthy and ethereal voice, in a closer to reading than singing style, brings everything down to earth, enhancing every aspect of Jan Bang and Erik Honore 's electronic/acoustic-musical backdrop, which in turn offers some uncommon kind of raw and deep beauty, close sometimes (in its own proportion, of course) to Hildergard von Bingen's medieval compositions. So, this is not , really an easy to tag or compare with something project. All I can think of, is the two albums, mentioned above, but as a reference of approaches, not musically... Its own conception and execution, sets it apart. If you like or are close to Sylvian's career, this will blow your mind. *****5 "without blinking", PA stars!!

"I was attracted to the Monster material by the moral dilemma faced by its central character. The calm surface of the music giving way to darker undercurrents signifying the conscience of the lead protagonist and the themes of morality, fate, resignation, and free will." - David Sylvian quote in the booklet of Monster - Original Soundtrack.

I was presented to David Sylvian music when I was looking for the OST from the thriller seinen (adult anime series) Monster. I fell into David Sylvian official website catalogue, since my favorite song, and probably the song that made me search for the OST, was For The Love Of Life. David Sylvian was a cooperator to the Monster animated series soundtrack, but the only track that was really written by him is For The Love of Life, and this one can't be found on any other Sylvian release, so I will focus my review on this single, but DEEP track. This song is one of the most brilliant songs that I have ever heard in terms of soundtrack composition. Genial. It's some kind of spacey atmospheric music, calm but with a thriller background. The beauty singing and vocal melody is just wonderful. At the first time I have heard For The Love of Life, i thought that the song was weird and I didn't get it. The good side of being an "ending theme" is that I had to listen to it after every single episode, and 'slowly I realise', this fits perfect! The song transmits exactly what it should! The background painting of a monster (something like a green witch) at the ending of the animated series is freak as hell, and makes the song very much more darker. Talking about this music as single, it's still an awesome 5/5 track. Trippy and catchy. Is a hard listening song, maybe you need time to understand the whole thing. A masterpiece.

The rest of the album is very well done, the soundtrack works perfect as a thriller soundtrack, dark and elaborated. The plot of the series is one of the most intelligent and one of my favorites, and the music there is brilliant as well.

David Sylvian is one of my weaknesses. His class is unique, his voice and singing style is inimitable. Maybe not as progressive or changeable as some would like or somewhat monotonous, but imposing your style with authority. And creator of sublime atmospheres, within emotional or spiritual context. Difficult to fit into a specific musical concept. His work includes songs rarely interrelated.

'I Surrender' is slow and repetitive, but subtle and moving, passionate. Smooth Jazz intelligent, distinctive, with a touch of Soul. Caf� Europe, Thalheim, Wanderlust are held in the same pillars. Krishna Blue is a bit more intimate and ethnic feel.

Other songs are introspective as Dobro, Alphabet Angle and The Shining of Things. Midnight Sun and its course Blues. Darkest Dreams is a grand finale. And some songs inconsistent for me as Godman, Pollen Path and Praise.

I couldn�t choose two or three references as a parameter to help someone who has never heard an idea of ​​how found, or who resembles his voice. Is David Sylvian, trademark....

The label Eclectic-Prog suits perfectly. Now that I am getting aquainted with the tag; and the recent music bands which turn out to be under this genre. By chance. Anyway this introduction serves the purpose to distance this David Sylvian effort as merely "crossover" in its strict sense. Even better/worse; the other guy (Robert Fripp) simply cannot be tagged down. Considering his vast amount of collaborations with any kind of bands; known and not; prog and not. At least 100 other than Crimson & solo projects. I follow the guy closely; I have to admit! This is one of the best live collaborations (dates) among these guys. Accompanied by close to both musicians (Trey Gunn, Pat Matellotto). Most!.. underline most;.. not all of course; front-men/women vocalist in this style of music (with all its sub-cats) and in general; suffer of what I call "The "Dylan- Syndrome" they get this weird idea that just because they sing in a band whatever f...k they sing is relevant to audiences and the rest of the world. Well Dylan did; and had an ugly voice...so by divine intervention "my thoughts are poetry because I AM the singer!!!of a Prog/Rock/?/band.!!!"...Not David Sylvian (founder of the 80�s proto-prog band "Japan" and apparently "early unclaimed Eclectic-Prog pioneer").. Styles come and go but; when you have nurtered, your naturally born wisdom with words; beyond music academies, more with real life "academies"; raw, dirty, real life! (like Dylan did, actually), you discover and construct your own-language, your mean of expression, and poetry, like Mr. Sylvian does, pure and deep poetry. There are things that simply cannot be taught at school; any school.... A great combination between already written songs ("The First Day" with Fripp) some personal prior "solo" work songs, some from earlier collaborations also with Fripp "Gone to Earth"; and the unmistakable- "Frippertronics" here and there. ..But above all; and best if you like surprises; when required Fripp shows a Hard/Rock guitar approach (like in the studio effort.) he normally does not show (opposite to the Crimson Metal one and his "normal" one). What makes also; this work very relevant; is the perfectly woven "live" performance of great and real intelligent songs. So Eclectic-Prog followers you should ALSO, appreciate this work, I guess. I did entirely! Just because, the whole thing is a perfect combination of songs played amazingly up-front "live"in a ****4.5 "my kind" of live album-Stars............. Every Colour You Are!

The perfect combination of 2 original composers/performers; from different backgrounds (King Crimson; you know / /Japan; an early 80's electro-pop band) ; who had already played together, here and there; in some Sylvians�s, way out; by then, of Japan, solo projects. With Robert Fripp as invited guest solely. (David Sylvians�s Alchemy /An Index of Possibilities-1985 and David Sylvian; Gone To Earth-1986; mainly); So; Fripp only as collaborator; as he has done in 100's of projects; alongside the Crimson projects, his solo albums, and his DGM biz label participation; among other things. But the connection was made and notoriously, beyond mere musical bases. So both; like alchemy; and all the index of possibilities in language and structure; came out in 1993 with these completely original proposal for us audiophiles. Really! ; one of the best things about Robert Fripp, is his always, self-demanding creative process, to outdo and try, even in his own guitar playing approach, different outlooks, different perspectives (with not always; as rule; great; results but DARING always, at least), to which I am so fond of; in every genre, in every artist. David Sylvian, of course by the time, had setted some standards in his own musical language and genre. Both artists by their own right, have aquired a personal-musical language, and both offer the best of each, as a single entity, that will travel the route, but would not spare expenses, to try different ones along the way. Accompanying them in this endeavor; we find out an all star band- close to them and others. Trey Gunn; former Crimson member who also co-writes some songs here . Jerry Marotta: well known drummer in this prog-circle and other circles. Marc Anderson: percussions;.. David Bottrill: wiz-kid in all kinds of engineering "treatments". And close to Sylvian, back then, Ingrid Chavez: choruses/vocals, among other collaborators. Now; how all this sounds around the basically written Sylvian/Fripp compositions?.. to put it simply: Formidable;.. like told; the best of both worlds brought to one perfect result. 4.5**** PA Stars;...so why not 5? Just because personally; I think; "Jean the Birdman" is quiet weak; in comparisson to the rest of his sisters; as "Firepower", "Darshan","20th Century Dreaming (A Shaman's Song)" and "Gods�s Monkey" (great name!). Add up to that bunch; the beautiful 8 minute closing "Frippertronics" piece "Bringing Down the Light". So,besides the song mentioned above; I will think of it as "flawless"; but then; that is me!;....... Climb the ladder, Gods�s monkey!....4.5-near to perfect PA-Stars.

It dawned on David Sylvian (Japan) and Robert Fripp (King Crimson) that a creative partnership might be nice: 1993's excellent "The First Day" was the fruit. Putting together a high-quality touring band, they went on the road and "Damage" tells the tale. As well as live treatments of a big chunk of the studio album, several songs from Sylvian's "Gone To Earth" are included (Fripp collaborated on that under-rated 1986 album too). There is even a song from the (also under-rated) almost-Japan "Rain Tree Crow" (1991). Throughout, the musical energy ebbs and flows around Sylvian's languid voice; guitar textures are woven by Fripp and Michael Brook, while the rhythm section of Trey Gunn and Pat Mastelotto are limber and powerful (Fripp would work with them extensively in the later KC ProjeKcts). Despite the aching melancholy that characterises much of Sylvian's singing, this is not a grey album at all, more a day of many seasons. www.vinylconnection.com.au

The funky and the fretless bass of the first track identify immediately this album in its decade, but even if in the middle of the 80s, between the first notes we can appreciate how in advance Sylvian was. The jazzy chill-out of "The Healing Place" together with his baritone vocals, like a low pitched Bowie, would be more well placed in the 90s. Another thing that comes to mind is the ZEE underrated album. Respect to that album we have a very impressive lineup: Mel Collins and Fripp and his Frippertronics, above all.

The slow ambient jazz of "Laughter & Forgetting" features a flugelhorn, a sound that sends my mind to the atmosphere of Blade Runner Blues or Mark Isham's Tibet. Short and very nice.

"Before the Bullfight" starts with ambient electronics, on which the electronic drums first, then a clean jazz guitar seem to be just waiting for the flugelhorn in the background. After few less than three minutes the warm voice of Sylvian arrives. The song develops on a different chords sequence, but sometimes the flugelhorn comes back. About 10 minutes of chill-out, not properly "dark ambient", but there's some darkness inside, enhanced by the bass vocals.

The title track is the one I suppose Fripp is more responsible of. It's like the melody has been composed on a "normal" base, then the chords and the sounds have been "frippertroniced" to transform it into something different. I'm not sure about Fripp playing on this song, but he is in the album and I think to hear him here.

Another "long" track, for the album's standards, comes. Also "Wave" has some dissonances inside which give it a more avantgarde feeling repsect to just 80s darkness. This song reminds me of the late Rick Wright's efforts on Broken China. Regardless the similarities with an album that I love, this song is not really my fav.

"Riverman" proceeds on the same line. The lazy proceeding of percussion setup a dreamy environment. Taken along this is a good song, but the whole album is made of this dark chill-out and this makes it suitable as background music, except for the short flugelhorn intermissions. This is an instrument which surely adds value to all the song it's present in.

The first LP is closed by "Silver Moon" which is a more "normal" song. Less dark and more radio-friendly than the rest of the album it has an unusual quantity, for Sylvian, of major chords. Mel Collins is excellent as always on his sax.

The second LP is instrumental only, but this fact gives more room to the clean lead guitar. "The Healing Place" could have had lyrics, but this dark and slow blues is really more effective without. Fans of late Floyd and of Porcupine Tree can find this track very appealing. Surely a highlight.

"Answered Prayers" is very borderline with newage, as well as many other artists during those years. If it wasn't for the guitar I could think of Vangelis, Isham, or even Lucia Hwong.

"Where the Railroad Meets the Sea" is another slow bluesy track based on few guitar repeated notes. A bit too dark to be called newage.

"The Wooden Cross" Sounds like a Tangerine Dream track of the Pink period. I mean Zeit, mainly. Of course I like it.

It's followed by "Silver moon over sleeping steeples" which is more newage oriented, even though some dissonances makes it sound more like the already mentioned Lucia Hwong. It looks like we are used (I am at least), to call newage the ambient music when it's not dark.

"The following track "Camp fire : Coyote country" Is even more calm, positive and relaxing. It's strange thinking to how far this music is from what he was doing with Japan.

With a title like " A bird of prey vanishes into a bright blue cloudless sky" one could have expected something different, but the track is not bad. Still this positive ambient music. If you like Yoga or other kinds of meditation it's fine. For my tastes I'd prefer something more intriguing.

"Home" is leading us to the end of the second LP. Looking at the vinyl surface it appears quite slick. Who comes from the vinyl days knows what I mean. Not bad, really. Only this IS newage.

"Sunlight seen through towering trees" sounds newage even in the title. A good test for the pickups quality. I have the impression of a Shakuyaki below, adding an oriental touch in the second half of the track.

The only voices that can be heard on this LP are on the closing track: "Upon This Earth". It's a speech that combined with the repetitive chords is very pleasant. It reminds me of Vangelis on China but again also Lucia Hwong comes to mind. this is the best track of the second LP in my opinion and a perfect closer if you have been able to survive up to here.

Depending on your tastes you can love the first and hate the second or vice versa. Complexively I think a correct rating is 3 stars as none of the two albums is fundamental in its genre. And we are effectively speaking of two different albums.

David Sylvian leads, with their particular and unique voice and style, a refined set of songs inclined to ambient music, tinged with jazz and electronic. Its main partners are here percussionist Steve Jansen, also with his contribution on keyboards and Bernd Friedmann on toy piano, keyboards and synth ms 20, among others. At times the music becomes monotonous, with few variations. In others it is extremely nice and well orchestrated. In this second facet, are: Darkest Bird, A History of Holes, experimentation of Snow Borne Sorrow and Serotonin and beauty of The Day The Earth Stole Heaven and the sharp end of The Librarian, perhaps the best song. It is worth mentioning that the pace never stops being gentle and slow with no major leaks.

A great little instrumental album that confused many Sylvian fans back in '85.

Without doubt the most overlooked Sylvian album. This one trickles with Indonesian sweat as he continues directly from the last track on 'Brilliant Trees' from the previous year. Jon Hassell's flugelhorn sounds inspired, wrapping itself around Eastern vocals along with Steve Jansen's always foreign drum thumping.

For those wishing to hear more of Sylvian's first album - this is the one. It almost sounds like it should have been part of a double album.

'Steel Cathedrals' - the big 18min side two track is basically a forerunner to his work with Holger Czakay in '87. Only here it sounds far more Eastern and minimal. An Excellent recording throughout.

A fairly one dimensional and dreary album which, to call 'grey' would be giving porage a bad name. David Sylvian delivers his vocals here as though he's auditioning for the 'speaking clock'.

The addition of strings adds a certain degree of interest, but overall the structure is dreadful - lying scattered like a bag of sugar spilt over your kitchen floor.

The background sounds are excellent in an almost 'art concret' manner but the tunes, as such are awful. It's one of those beatless albums, with no drums, bass or guitar which I normally love, but here I'm left scratching my head in bewilderment.

Only the double tracked vocals help Sylvian out of the quicksand of this dirge. It may be a superbly clear and sharp recording, but guaranteed - you'll be left with absolutely nothing worth humming or whistling at the end of this listen. And that includes the 'bonus' instrumental cd which could have fitted on to the first if it weren't for the usual money making ploys.

Damn!, what's happened to Sylvian? He sounds like he really can't be bothered at all these days.