New David Sylvian Collaboration

Sure looks promising! I HATED the Blemish album! I even walked out of a concert during the period. I love Dead Bees on a Cake however...
 
I never did the Blemish tour, just could not make it to any of the gigs but did see him live on the 'Everything and Nothing' tour a Hammersmith, London and the Warfield, San Francisco. They were both just superb gigs.
Personally I liked the whole Blemish concept, especially the follow-up remix project,...each to their own ;)
 
Thank Goodness for some common sense.

Blemish was shit, it really was.

I love the majority of Sylvian's work and have done so for many years. I felt Blemish was almost an insult.... so much so that I will be waiting for some feedback before purchasing this latest effort.

Here's hoping

Darren
 
Well I liked Blemish. I also have to disagree with comments that indicate this is nothing like Sylvian's prior work. This is not entirely true, Sylvian has been moving in this direction for years with his collaborations with people like Russell Mills and their 'sound installation' work projects.
 
Hi Listening Ear,

I'm glad you liked blemish - seriously - but I still feel it sits badly with the rest of Sylvian's output (most of which he no doubt despises now).

I do take your point about Sylvian's collaborations and instalation work - but I was never a fan of those, To be honest I feel that Sylvian misses the discipline imposed by a good producer.

Best

Darren
 
amazon starts with "Probably the most commercial release that David Sylvian has ever been involved with" (sic - should be "probably the most commercial release with which David Sylvian has ever been involved" !)

so there might be some "songs" ? perhaps not in the traditional sense ...

a review from an amazon customer:
WONDERFUL WORLD - an eerie jazz waltz featuring a vocal duet between Sylvian and Stina Nordenstam. their "she / he" back and forth lyrical scheme gives the song an overall feel somewhat akin to a Broadway musical show tune. Nordenstam sounds like a cross between Rickie Lee Jones and Shelley Duval as Olive Oyl in the movie Popeye. an odd choice to begin the disc,...thankfully, it does not exactly set the tone for what will follow.
DARKEST BIRDS - the "poppiest" track on the disc, with slight elements of electronica and a somewhat heavier kick to the chorus. incongruous trumpet parts are woven in to the tune,
perhaps in an effort to fit in better with the jazzier sound that dominates the rest of the album.
THE BANALITY OF EVIL - a prevalent 5/4 rhythm throughout this track gives it an odd feel that takes some getting used to and Sylvian's polyrhythmic vocal lines may take some time to entirely sink in, but they will with repeated listening. this track has a tone somewhat similar to the work of Peter Gabriel, not only in the rhythm and snaky guitar lines, but in the sinister backing vocals and grunts that appear later in this extended track. the avant guarde horn soloing was an unexpected surprise.
ATOM AND CELL - a slow dirge in 6/8. the sinister backing vocals and polyrhythmic vocal lines from the last track continue here, and even in greater abundance. the horn arrangement, or disarrangement to be more exact, is a nice touch that adds even more confusion to the melancholia and disfunction of this plodding track.
A HISTORY OF HOLES - another track in the odd time signature of five, but this one is straightened out by Sylvian's smooth vocal delivery. the lyrics seem to be a little more biographical than Sylvian is usually willing to offer up, dealing with childhood memories...mostly those he has chosen to block out during most of his adult life. It may take some listens to get the gist of this track, but this one is a gem.
SNOW BORNE SORROW - the harsh electronic sound of "blemish" (as well as the collaboration with Fennesz titled 'Transit') makes a brief appearance during the introduction of this track. then it smooths out into yet another 6/8 rhythm. Ryuichi Sakamoto contributes a notable cameo on piano and there is some fine string quartet orchestration, but this title track meanders a little too long on a very thin and repetitive vocal line.
THE DAY THE EARTH STOLE HEAVEN - a folk/jazz hybrid that reveals itself to be the highlight of the entire cd. Sylvian's voice is in such fine form on this and one could be of the opinion that he hasn't sung this well for more than a decade...definitely the track contains his strongest vocals of this new century. guitarist Tim Motzer composed the music and Sylvian's melody is the most focused of all the selections. a perfect collaboration.
SEROTONIN - hey, who let Japan in? this track could serve as the modern day equivalent of Sylvian's former band circa 79-80. the initial reaction is joyful surprise, but then the intrigue quickly gives way to boredom and tedium. "oh dear oh me oh my" indeed. this track should have languished on the cutting room floor.
THE LIBRARIAN - a fleshed out version of the Friedman/Liebezeit/Sylvian track released earlier this year. it now has more of a pronounced groove due to the addition of drums and syncopated guitar riffs. the greater use of vibraphone is similar to vibemaster Gary Burton's contributions on Bruce Cockburn's 'The Charity Of Night', and really adds an excellent texture to the song. yet there may be a little too much going on when compared to the original take and the clutter of the additional instruments may have now taken away from the subtlety of Sylvian's delicate vocal delivery. but the song is still one of the stronger tunes on the disc.
Click to expand...
 
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New album has arrived, also took the opportunity of buying the last Harold Budd double CD set too from Sylvian's label. Very nice blend of electronic samples and acoustic sound from Sylvian and his new project Nine Horses.
 

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