continue with David Sylvian .. ...
Alex sends us two of his articles on David to help us understand and read the wonderful annotated discography Renzo Pietrolungo published today.
An invitation to listen ......
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"The First Day" - David Sylvian and Robert Fripp live on tour 1992
Alessandro Staines
published in the monthly "Music" While
hall of the Teatro Olimpico is filled almost to bursting, the speakers are still spread the notes of a memorable concert of the Crimson King (Pittsburgh, 1974). It 'a unique opportunity to hear a beautiful version of "Doctor Diamond" (an original band) and amazing improvisations that despite the age of eighteen still sound relevant today. But here comes the stage the "California Guitar Trio: Paul Richards, Bert Lams and Hideyo Moriya, three of the best students of the" Guitar Craft "by Robert Fripp, with their glittering Ovation Cutaway Shallowbody literally astound the audience: compositions and fresh innovative solutions not only in the harmonic composition, but above all in the spirit that animates them. In addition to its repertoire, the trio performs with unexpected transcripts for the New Standard Tuning (the new tuning for guitar by Robert Fripp in 1985) of classical compositions such as "Search", from "The Musical Offering, BWV 1079" and "Chaconne" ("Second Partita for Violin, BWV 1004 ") by Johann Sebastian Bach. Then the scenery changes abruptly, in the darkness creeps in a steady tone, the soothing sound of "Soundscape" soon to appear Sylvian, the imposing Trey Gunn and Robert Fripp. The light blue cosmic slide notes, until the atmosphere is literally torn apart by an attack of hard Les Paul Fripp who sings agreements burning of "Fire Power": the energy that is released to paste the public seats, while Sylvian sang bass and insert a dissonant sound in that magma. It 's a friction piercing and old fans of King Crimson are not slow to recognize the quality that has always distinguished King Crimson. The rarefied tones and lunar return with "Ascension"; Frippertronics Fripp makes extensive use of the new electronic edition that replaced the bulky modified Revox borrowed from Brian Eno. The concert continued with moments of intense lyricism of the total explosion sound to others: follow one another "Song # 1", "Subterranean Burn," "The First Day", "Jean The Bird Man", "Splatology", "In Which The House We Live, "" protopunk "," The Blinding Light Of Heaven. " Trey Gunn with his stick is capable of creating unusual and complicated polyrhythms that create an ideal structure for the actions of Fripp and Sylvian. David, who is accompanied by keyboards, from time to time Strap on a small Steinberger electric. The last piece of the ladder, "Urban Landscape" is a revisitation of an improvisation frippertronica already appeared in the first solo album by guitarist crimson "Exposure". They leave the stage while still flowing notes of the song, the style of the old performances "Fripp-Eno". Before greeting the public Fripp finally back on stage to perform with the California Guitar Trio, if they contribute to a piece of footage of the League Of Crafty Guitarists, along with Trey Gunn. Then it's time for surprises and charms that Sylvian fans (even noticed by England not to miss this unique opportunity!) proposing a memorable version of "Ghosts" from the repertoire of Japan. Then Fripp, Sylvian and Gunn conclude the concert repeating the title track "The First Day". King Crimson have not yet returned to life, but is only a matter of time. Fripp had promised that by the spring of 1992 would begin testing with the new line-up of the band. Sylvian was initially being the singer, but for various reasons the project was transformed into the collaboration. The new King Crimson, however, will stick with Trey Gunn, Tony Levin on bass (and it is because of the commitment to live with Peter Gabriel Levin that King Crimson will have to wait) Jerry Marotta on drums (with great disappointment that Bill Bruford, Fripp accused of "not to go on time"), the same Fripp on guitar duet with Adrian Belew, singer as in the previous edition. Yet, beyond the various characters that are from time to time to give them a voice, King Crimson were, at least in spirit, there on stage that night, to offer a small sample of what would have happened if it was David Sylvian Alex became the lead singer ...
Staines
hall of the Teatro Olimpico is filled almost to bursting, the speakers are still spread the notes of a memorable concert of the Crimson King (Pittsburgh, 1974). It 'a unique opportunity to hear a beautiful version of "Doctor Diamond" (an original band) and amazing improvisations that despite the age of eighteen still sound relevant today. But here comes the stage the "California Guitar Trio: Paul Richards, Bert Lams and Hideyo Moriya, three of the best students of the" Guitar Craft "by Robert Fripp, with their glittering Ovation Cutaway Shallowbody literally astound the audience: compositions and fresh innovative solutions not only in the harmonic composition, but above all in the spirit that animates them. In addition to its repertoire, the trio performs with unexpected transcripts for the New Standard Tuning (the new tuning for guitar by Robert Fripp in 1985) of classical compositions such as "Search", from "The Musical Offering, BWV 1079" and "Chaconne" ("Second Partita for Violin, BWV 1004 ") by Johann Sebastian Bach. Then the scenery changes abruptly, in the darkness creeps in a steady tone, the soothing sound of "Soundscape" soon to appear Sylvian, the imposing Trey Gunn and Robert Fripp. The light blue cosmic slide notes, until the atmosphere is literally torn apart by an attack of hard Les Paul Fripp who sings agreements burning of "Fire Power": the energy that is released to paste the public seats, while Sylvian sang bass and insert a dissonant sound in that magma. It 's a friction piercing and old fans of King Crimson are not slow to recognize the quality that has always distinguished King Crimson. The rarefied tones and lunar return with "Ascension"; Frippertronics Fripp makes extensive use of the new electronic edition that replaced the bulky modified Revox borrowed from Brian Eno. The concert continued with moments of intense lyricism of the total explosion sound to others: follow one another "Song # 1", "Subterranean Burn," "The First Day", "Jean The Bird Man", "Splatology", "In Which The House We Live, "" protopunk "," The Blinding Light Of Heaven. " Trey Gunn with his stick is capable of creating unusual and complicated polyrhythms that create an ideal structure for the actions of Fripp and Sylvian. David, who is accompanied by keyboards, from time to time Strap on a small Steinberger electric. The last piece of the ladder, "Urban Landscape" is a revisitation of an improvisation frippertronica already appeared in the first solo album by guitarist crimson "Exposure". They leave the stage while still flowing notes of the song, the style of the old performances "Fripp-Eno". Before greeting the public Fripp finally back on stage to perform with the California Guitar Trio, if they contribute to a piece of footage of the League Of Crafty Guitarists, along with Trey Gunn. Then it's time for surprises and charms that Sylvian fans (even noticed by England not to miss this unique opportunity!) proposing a memorable version of "Ghosts" from the repertoire of Japan. Then Fripp, Sylvian and Gunn conclude the concert repeating the title track "The First Day". King Crimson have not yet returned to life, but is only a matter of time. Fripp had promised that by the spring of 1992 would begin testing with the new line-up of the band. Sylvian was initially being the singer, but for various reasons the project was transformed into the collaboration. The new King Crimson, however, will stick with Trey Gunn, Tony Levin on bass (and it is because of the commitment to live with Peter Gabriel Levin that King Crimson will have to wait) Jerry Marotta on drums (with great disappointment that Bill Bruford, Fripp accused of "not to go on time"), the same Fripp on guitar duet with Adrian Belew, singer as in the previous edition. Yet, beyond the various characters that are from time to time to give them a voice, King Crimson were, at least in spirit, there on stage that night, to offer a small sample of what would have happened if it was David Sylvian Alex became the lead singer ...
Staines
---------------------------------
MUSIC BOX
INTERVIEW
With David Sylvian "Brilliant Trees” David Sylvian rompe il silenzio dopo lo scioglimento dei Japan. Poco prima era tornato a collaborare con Ryuichi Sakamoto, l’amico con cui aveva già lavorato in “Gentlemen Take Polaroids” e nel mix “Bamboo Music/Bamboo Houses”, per dare alla luce “Forbidden Colours”, colonna sonora di “Merry Christmas Mr. Lawrence”, noto al pubblico italiano come “Furyo”.
Giù la maschera
La seconda metà degli Ottanta ha visto Mr. Batt (il vero cognome di David) protagonista: i suoi album solisti dopo lo scioglimento della band hanno catturato il cuore degli ascoltatori. David è un artista nel senso più completo del termine: la raccolta di snapshots "Perspectives-Polaroids" video "Steel Cathedrals", the book of poems "Trophies", the installation of sculptures, lights and sounds created along with Russell Mills, who has seen the publication in an elegant case with the book "Ember Glance: The Permanence Of Memory ", are indicative of a subtle sensibility, a taste for experimentation always tense and prone to the gradient, all subtended by the dark atmosphere, glowing with a dim light, romantic. Discs such as "Brilliant Trees", "Gone To Earth," "Secrets Of The Beehive", have left an indelible mark as the beginning of a new musical style that just nei Novanta sta trovando il suo naturale svolgimento. L’ultimo tour di David “In Praise Of The Shaman”, che ha toccato nel 1988 anche l’Italia, ha presentato concerti che per la loro intensità e sacralità potevano essere paragonati ad una sorta di liturgia, un’offerta musicale dei tempi moderni. Poi la decisione di riformare i Japan: ma una volta in studio, David si è reso conto che il gruppo era ormai oltre, e ha scelto il nome di Rain Tree Crow. David torna in scena, e questa volta con Robert Fripp, altro “sacerdote della musica”. Il nuovo disco di David Sylvian e Robert Fripp si intitola come il tour che lo scorso anno ha toccato Giappone e Italia: “The First Day”, interamente registrato in the studio with a line up more comprehensive than the live performances that included the only characters, more Trey Gunn (a student of the school of Robert) to stick, the disc introduces crucial elements to understand in what direction will move the two artists over the nineties. The interview
Meet David Sylvian in one of the finest hotels in the capital. Her hair is shorter than the last time we met, nothing more than a hint of a beard and glasses that promises to become more dense in some time. The look is bright and the atmosphere that radiates is even warmer and more joyful. He is accompanied on this tour of promotional interviews Ingrid Chavez (formerly Prince's band), the twenty-eight and lovely wife of Mexican origin, which in a few months to give birth to an heir to David.
- How did "The First Day"?
"The latest performance with Robert, collaboration that began with" Gone To Earth "in 1986. The first record I heard Robert was 'No Pussyfooting', recorded together with Eno, and then I came to 'Discipline' which I very much loved. We kept in contact and Robert, in 1989, he asked me if I was interested in joining the new King Crimson. I was very interested in the project, but I realized that I had to work with Robert in a different context. We composed i nuovi brani specificamente per le live performances che sono iniziate nel febbraio 1992 in Giappone e che sono terminate a giugno in Italia. Il lavoro è andato man mano cambiando, evolvendosi, e quando ci siamo trovati in studio non sapevamo ancora che tipo di album avremmo inciso. Abbiamo iniziato con i brani più aggressivi del concerto, ma con l’aggiunta delle percussioni: i nuovi arrangiamenti li hanno trasformati e drammaticamente estesi in altre direzioni. L’album è piuttosto aggressivo, molto potente.”
- Ci sarà un altro tour in Italia?
“Sì, verremo in Italia nella seconda settimana di novembre, con la line-up al completo che per ora prevede, oltre me, Robert e Trey, Michael Brook alla chitarra. Brook suonerà anche l’opening act e poi si unirà al gruppo. Per il batterista sono in corso delle audizioni in questi giorni. Saremo in cinque. Probabilmente suoneremo anche qualche vecchia canzone di Robert e mia.”
- C’è un brano in particolare, “20th Century Dreaming (A Shaman’s Song)”, che mi sembra si ricolleghi concettualmente ai tuoi “Words With A Shaman”. Come mai ti interessa tanto al figura dello sciamano?
“Lo sciamano è una figura interessante con cui lavorare. C’è ormai un cliché dell’artista come sciamano nella società moderna, c’è anche il cliché dell’artista come medium. Sì sono cliché, ma are true. When an artist gives his best is as a medium: the energy that comes in the work goes beyond the mind and ego of the artist involved. And if the job is an achievement in itself when it reaches the listener puts him in touch with the energy and create a circle, a connection. And if the work has a cathartic effect, healing is a substantial work. This is the shamanic role of art in society: it has healing properties associated with a spiritual reality. If each of us is an artist in the sense that we all have our own creative potential, which is the most important element of our being, then it is true that each of us is also a shaman: we all have the opportunity to come into contact with these spiritual properties. This is very interesting for me, this can make a connection, we no longer need the shaman outside of us, the priest: the contact is made directly. If we recognize what we all agissimo and consequently, we could transform our nature and the world around us and could be held an evolutionary change. "
" I'm working, after the last one was with Russell Mills, a new installation audio / video with Robert for 1994 promises to be very interesting: I organized the 'concept' idea right now and I'm very excited, I think it will work fine, I've already talked to Robert. I'll just leave Rome to Zurich to meet Kaito, a Japanese sculptor of light. Work with us on this project which will be installed in a gallery housed in a temple in Tokyo. The temple itself is located where once there was a cemetery there is a very intense energy in that place, very powerful and tangible. The title was given by Robert Installation and 'Redemption'.
-Dall 'album listening takes you a feeling of joy: there is some relation to your personal situation?
"I came from a very difficult, very intense and destructive, the darkest of my life. As these crises are resolved and are now spent, I feel I can write like a natural resolution of my work on myself. So I can tell the frustrations I felt, watching the darkness and see absolutely nothing. It 'was very difficult, but experience very strong. I found myself in front of my life, realizing that much had been spent and that I should move in another direction. I saw myself in very different lights and it was not easy to recognize me, I was falling, I wanted to understand why. Yes, now my life has changed: I have a wife, I'm having a baby, e questo è splendido, e molte esperienze spirituali potenti e profonde: The First Day può essere considerato un documento di tutto questo.”
Alessandro Staiti
INTERVIEW
With David Sylvian "Brilliant Trees” David Sylvian rompe il silenzio dopo lo scioglimento dei Japan. Poco prima era tornato a collaborare con Ryuichi Sakamoto, l’amico con cui aveva già lavorato in “Gentlemen Take Polaroids” e nel mix “Bamboo Music/Bamboo Houses”, per dare alla luce “Forbidden Colours”, colonna sonora di “Merry Christmas Mr. Lawrence”, noto al pubblico italiano come “Furyo”.
Giù la maschera
La seconda metà degli Ottanta ha visto Mr. Batt (il vero cognome di David) protagonista: i suoi album solisti dopo lo scioglimento della band hanno catturato il cuore degli ascoltatori. David è un artista nel senso più completo del termine: la raccolta di snapshots "Perspectives-Polaroids" video "Steel Cathedrals", the book of poems "Trophies", the installation of sculptures, lights and sounds created along with Russell Mills, who has seen the publication in an elegant case with the book "Ember Glance: The Permanence Of Memory ", are indicative of a subtle sensibility, a taste for experimentation always tense and prone to the gradient, all subtended by the dark atmosphere, glowing with a dim light, romantic. Discs such as "Brilliant Trees", "Gone To Earth," "Secrets Of The Beehive", have left an indelible mark as the beginning of a new musical style that just nei Novanta sta trovando il suo naturale svolgimento. L’ultimo tour di David “In Praise Of The Shaman”, che ha toccato nel 1988 anche l’Italia, ha presentato concerti che per la loro intensità e sacralità potevano essere paragonati ad una sorta di liturgia, un’offerta musicale dei tempi moderni. Poi la decisione di riformare i Japan: ma una volta in studio, David si è reso conto che il gruppo era ormai oltre, e ha scelto il nome di Rain Tree Crow. David torna in scena, e questa volta con Robert Fripp, altro “sacerdote della musica”. Il nuovo disco di David Sylvian e Robert Fripp si intitola come il tour che lo scorso anno ha toccato Giappone e Italia: “The First Day”, interamente registrato in the studio with a line up more comprehensive than the live performances that included the only characters, more Trey Gunn (a student of the school of Robert) to stick, the disc introduces crucial elements to understand in what direction will move the two artists over the nineties. The interview
Meet David Sylvian in one of the finest hotels in the capital. Her hair is shorter than the last time we met, nothing more than a hint of a beard and glasses that promises to become more dense in some time. The look is bright and the atmosphere that radiates is even warmer and more joyful. He is accompanied on this tour of promotional interviews Ingrid Chavez (formerly Prince's band), the twenty-eight and lovely wife of Mexican origin, which in a few months to give birth to an heir to David.
- How did "The First Day"?
"The latest performance with Robert, collaboration that began with" Gone To Earth "in 1986. The first record I heard Robert was 'No Pussyfooting', recorded together with Eno, and then I came to 'Discipline' which I very much loved. We kept in contact and Robert, in 1989, he asked me if I was interested in joining the new King Crimson. I was very interested in the project, but I realized that I had to work with Robert in a different context. We composed i nuovi brani specificamente per le live performances che sono iniziate nel febbraio 1992 in Giappone e che sono terminate a giugno in Italia. Il lavoro è andato man mano cambiando, evolvendosi, e quando ci siamo trovati in studio non sapevamo ancora che tipo di album avremmo inciso. Abbiamo iniziato con i brani più aggressivi del concerto, ma con l’aggiunta delle percussioni: i nuovi arrangiamenti li hanno trasformati e drammaticamente estesi in altre direzioni. L’album è piuttosto aggressivo, molto potente.”
- Ci sarà un altro tour in Italia?
“Sì, verremo in Italia nella seconda settimana di novembre, con la line-up al completo che per ora prevede, oltre me, Robert e Trey, Michael Brook alla chitarra. Brook suonerà anche l’opening act e poi si unirà al gruppo. Per il batterista sono in corso delle audizioni in questi giorni. Saremo in cinque. Probabilmente suoneremo anche qualche vecchia canzone di Robert e mia.”
- C’è un brano in particolare, “20th Century Dreaming (A Shaman’s Song)”, che mi sembra si ricolleghi concettualmente ai tuoi “Words With A Shaman”. Come mai ti interessa tanto al figura dello sciamano?
“Lo sciamano è una figura interessante con cui lavorare. C’è ormai un cliché dell’artista come sciamano nella società moderna, c’è anche il cliché dell’artista come medium. Sì sono cliché, ma are true. When an artist gives his best is as a medium: the energy that comes in the work goes beyond the mind and ego of the artist involved. And if the job is an achievement in itself when it reaches the listener puts him in touch with the energy and create a circle, a connection. And if the work has a cathartic effect, healing is a substantial work. This is the shamanic role of art in society: it has healing properties associated with a spiritual reality. If each of us is an artist in the sense that we all have our own creative potential, which is the most important element of our being, then it is true that each of us is also a shaman: we all have the opportunity to come into contact with these spiritual properties. This is very interesting for me, this can make a connection, we no longer need the shaman outside of us, the priest: the contact is made directly. If we recognize what we all agissimo and consequently, we could transform our nature and the world around us and could be held an evolutionary change. "
" I'm working, after the last one was with Russell Mills, a new installation audio / video with Robert for 1994 promises to be very interesting: I organized the 'concept' idea right now and I'm very excited, I think it will work fine, I've already talked to Robert. I'll just leave Rome to Zurich to meet Kaito, a Japanese sculptor of light. Work with us on this project which will be installed in a gallery housed in a temple in Tokyo. The temple itself is located where once there was a cemetery there is a very intense energy in that place, very powerful and tangible. The title was given by Robert Installation and 'Redemption'.
-Dall 'album listening takes you a feeling of joy: there is some relation to your personal situation?
"I came from a very difficult, very intense and destructive, the darkest of my life. As these crises are resolved and are now spent, I feel I can write like a natural resolution of my work on myself. So I can tell the frustrations I felt, watching the darkness and see absolutely nothing. It 'was very difficult, but experience very strong. I found myself in front of my life, realizing that much had been spent and that I should move in another direction. I saw myself in very different lights and it was not easy to recognize me, I was falling, I wanted to understand why. Yes, now my life has changed: I have a wife, I'm having a baby, e questo è splendido, e molte esperienze spirituali potenti e profonde: The First Day può essere considerato un documento di tutto questo.”
Alessandro Staiti
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