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A glammer, art-schoolish collection of pretty
boys take it upon themselves to become pop stars,
take aim at a country that they think might fall
for the two prettiest, and call themselves after
it. What began as a joke soon took another path
as the group of non-musicians discovered their
respective instruments and developed a voice that
attracted label attention. All in the space of
a year and some. No small achievement.
Mick Karn and David Sylvian formed the nucleus
of Japan, writing most of its songs. After four
albums that demonstrated an evolving sound, Virgin
UK signed them and provided the group with global
exposure heretofore unavailable. The group availed
themselves and gained a dedicated audience that
has followed Karn and Sylvian after Japan's demise
in 1984.
Apart, Karn and Sylvian chose opposite poles
of expression: Sylvian expressed mood and , by
1987, what can only be described as a quiet despair
offset by Robert Fripp and Steve Jansen. Karn
developed a cerebral, dispassionate style that
showcased his proficiency with numerous stringed
instruments, the clarinet, all three saxophones,
and the organ.
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Sylvian's first solo album, titled Brilliant
Trees, was released in the summer of 1984,
and featured the Japan alumnus minus Karn.
Brilliant Trees was stylistically different
from Japan but it offered an optimistic Sylvian.
Although he was less energetic than he had
been on Japan's last record, Tin Drum, he
clearly was in the same positive emotional
space with a subtler bent.
Released in 1986, Gone to Earth showcased a
confident, strong Sylvian. A double LP, it was
half songs, half ambient, and it was the first
Fripp-Sylvian collaboration. Sylvian abandoned
the gentle approach of Red Guitar for a more
forward presentation with less sentiment.
Mick Karn commission lyrics for two of his
songs: Buoy and When Love Walks In, for his
album Dreams of Reason Produces Monsters. The
two songs are the last loving and positive words
that Sylvian would sing from serenity:
You'll
be the moth, I'm the flame I'll bless you and
keep you safe and sound
Until sunrise comes around again
I'm like a mountain made of stone I'm like a
new day dawning
I'll be here every morning, close to you
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Sylvian's 1987 release, Secrets of the Beehive
paints a somber picture, and it set the tone for
much of the music that would follow in its stead.
Secrets is an aching expression of the despair
that can follow the loss of someone close to one's
heart. He speaks of longing, loss and the weariness
that plagues those who cannot let go of the memory
of a love. The love remains, occupied by the spirit
of the other.
And the
world whispers, let the devil in. If a river ran
dry, he'd deny it's happening
The record begins with a tranquil motif, and
a seasonal cue: end of summer.
They say
that we're in love, somehow just wishing for rain.
Sipping coke and playing games. September's here
again.
By the album's close, Sylvian is pleading with
his spirit:
I'm waiting
for the agonies to stop. Let the happiness in.
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| In Secrets of the Beehive, Sylvian
describes a great sorrow. If Brilliant
Trees is an expression of his joy,
and Gone to Earth a consolidation
of his feelings of success that takes
the listener through a cooler euthymic
state, Secrets is a declaration of
the third state that is opposite to
joy, deep depression. |
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Following Secrets, Sylvian shelved a documentary
that was ready for distribution.
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With the exception of collaborative
efforts, Sylvian has retained a sense
of the somber. Rain Tree Crow offers
an example of Sylvian at his most positive
since Gone to Earth. There is, however,
a darkness to the sweetly sung lyrics,
and the music is predominantly oblique,
often suggesting a tenuous balance.
This is reinforced by chordal assemblies
that create a sense of distance and
distractedness, enisling the artist
and listener.
I
see the world with a heart that knows.
In shadow play Rain Tree Crow
Feel like crying,
the joke's gone too far.
You can be anything you want
every colour you are
My roads uncrossed
White lined and tarred
By believing in you -every colour you
are
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Sylvian's second collaboration with Fripp
presents a colder, rough hewn Sylvian,
one that is less inclined to share his
private thoughts. The First Day is sung
in the third person, or in the third person
quoted as first. Sylvian adds edge through
Fripp,
Stay
with me, breathe deeply
take three paces back
turn and make a full attack.
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Sylvian has thematic elements that are consistently
present in his lyrics, and they are found on The
First Day: Light, fire, angels, and stars.
Building on emptiness and all you broken hearted
people. The hurt heals slow.
And who can believe in tomorrow when darkness
falls who'll come running?
There's nothing left to write about and time's
no longer the greatest injustice of all
Causing casualties by the hour waylaid by stars
and firepower
Cold morning start of another
day. Sleeping through the epilogue.
Waking to the sound of rain.
Driven to the crossroads where value's meaningless.
What did you do my faith in justice, hope and
happiness.
Social, economical, spiritual.
I'm moving to the house of love.
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David Sylvian's music and art continue to evolve and
emerge. His transition through despair to distance and
what is at best an interrogative style is punctuated
by moments of light. Most of his recent music continues
to draw upon old wounds, and his expression only extends
to the fringes of joy when he speaks to angels, or describes
his experience of angels that occupy his mind and coalesce
with his spirit.
Can I meet you
there? God knows the place
And I'll touch your hand Kiss your face
We only want to be loved and I want to be love and I
hurt
The damage is done. You gave me songs to sing
Shadow and sun Earthbound, starblind, tied to someone
He told me of the grace I lack
He clipped my wings but now my strength is coming back
I lay my case before the open heart of heaven.
She's giving me everything she owns
I don't see a thing except this gentle glow of haloes.
In the coldest hour something's
going down
Whatever pierced the heart it didn't make a sound
I am terrified but I'm not losing sleep
If I'm falling then I'm falling at her feet
The David Sylvian who composed bright, fun music in the
early 1980's may have walked out on his pop audience forever,
but most have followed him into the next phase of his
musical life. Sylvian has chosen to take his audience
along a bleak path, one that has moments of peace, but
little hope. He shares the object of his despair from
a singular perspective. He talks about his experiece with
angels and his spirit, but never gives them a voice. This
is the key to understanding that he is writing from experience,
because angels rarely talk. They hover at your side, occasionally
touching. An artist engaged in a creative fabrication
might give angels a voice, not understanding that the
voices of angels come through music, rather than speech.
Sylvian's angels are present, and always have been.
Not fallen. Living dark hours that pass into a cold dawn.
So different from the dreamer moved to joy by the beauty
of trees. A lover of beauty thrust into Chernobyl.
xena starwoman
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