24.11.14 / There's a light that enters...

From Brilliant Trees through Died In The Wool...

Re: 24.11.14 / There's a light that enters...

Postby Tin Bird on Wed Oct 29, 2014 12:04 pm

If you like it, enjoy it...
Last edited by Tin Bird on Wed Nov 05, 2014 7:49 am, edited 1 time in total.
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Re: 24.11.14 / There's a light that enters...

Postby svendutchmountains on Wed Oct 29, 2014 12:34 pm

Quiet Visitor wrote:
missouriman wrote:I also put my order in for the deluxe version instantly so if it's numbered I'd appreciate one of the 1000. Got an email from the distribution company today however saying they are waiting for the second batch so kind of pissed off right now.


I can't find any sign of a numbering on the deluxe version (except of course for the page-numbers, the catalogue-number and the running time (64:20)).


I had asked David (via his Facebook page) whether there was a noticeable difference between the Ltd Edition V1 and Ltd Edition V2. The answer back was "Only re:packaging".
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Re: 24.11.14 / There's a light that enters...

Postby Chad on Wed Oct 29, 2014 12:44 pm

ha ha... man I love this place. one guy calls it poetry, another guy calls it random bullshit. :)

I see that one of my favorites, Fennesz/Venice, got a nice 10th anniversary reissue with 2 bonus tracks. maybe we can agree on that one? wouldn't it great to get a decent, well thought followup from these two? if they did it right it could certainly rival the fripp collaborations. imo.
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Re: 24.11.14 / There's a light that enters...

Postby Tin Bird on Wed Oct 29, 2014 12:53 pm

One man's trash is another man's treasure, eh? :)

What's weird to me is why people would get so mad and defensive about a statement I made about someone else's work. Like they are your best friend or first cousin or something and it's your job to defend them. Aren't I entitled to my opinion? Just because I post on a Sylvian forum doesn't mean I'm going to like everything he does...right? And if I think something sounds like crap, don't I have the right to say that? I suppose that wasn't nice of me to say...so if I hurt Frank Wright's feelings I apologize. I'm sure he doesn't care. However, I'm not overly fond of being called tin ear...esp. since I have menieres disease...but of course who knew? :lol:
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Re: 24.11.14 / There's a light that enters...

Postby missouriman on Wed Oct 29, 2014 2:13 pm

I see that one of my favorites, Fennesz/Venice, got a nice 10th anniversary reissue with 2 bonus tracks. maybe we can agree on that one? wouldn't it great to get a decent, well thought followup from these two? if they did it right it could certainly rival the fripp collaborations. imo.[/quote]

I didn't know about the reissue so thanks for that. Totally agree a follow up of these two together would be wonderful. Fennesz never lets you down.

Tin Bird. Apologies.
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Re: 24.11.14 / There's a light that enters...

Postby Tin Bird on Wed Oct 29, 2014 2:25 pm

No harm no foul....I shouldn't have thrown out the health card...it's all good..I was being smarmy about it...I suppose you were right I had already said I didn't care for it. I really meant to say that I like the music and wish they would release an instrumental version. if you like the poetry...totally fine w me..not my bag, but it's all good if someone else digs it. :-)
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Re: 24.11.14 / There's a light that enters...

Postby Quiet Visitor on Wed Oct 29, 2014 2:49 pm

The reading reminds me more or less of something between some Twin Peaks-dialogues (because of the manipulations) and the old recordings used in Roger Waters' Amused To Death.
This is really a headphone-album, because the ambient composition contains a lot of subtle details and stereo-effects. There's not much melody though, so you must go with the flow of the ambience.
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Re: 24.11.14 / There's a light that enters...

Postby Foales Arishes on Sun Nov 02, 2014 2:20 pm

Quiet Visitor wrote:This is really a headphone-album, because the ambient composition contains a lot of subtle details and stereo-effects. There's not much melody though, so you must go with the flow of the ambience.


It is... though with most of his recent output I am confined to using them anyway, as no one else in my family can stand this stuff, and I know TALTE... would be met with derision, or worse :lol:

I do like all the little details that are revealed with intimate listening, though some of the component parts in this release are a little murky and hissy at times. I've tried to find a way into the spoken word sections, but I simply find a lot of it too ugly; I can't connect with it, and that is that... I have tried :?

The book... which was delivered a few days after my order here in the UK (thank you Backstreetmerch.com) is quite meagre considering the cost, and does not compare to many other book/CD's I own... though the overall quality is nice. Having said that I'm glad DS is an artist making a little more effort in producing interesting physical releases, in this age of springing MP3 releases on the public via iTunes, or Torrent for free or next to no cost :roll: ... but, for 30 GBP I did expect a little more, sorry :(

I recently bought a copy of Imogen Heap's 'Sparks' deluxe book package, which was a separate component of a much larger limited edition package... for 40 GBP you get a large format 120p book, packed full of content, along with a copy of the CD and a DVD with films on the making of each track... Now that is doing a limited release properly.

I am delighted DS seemingly has a proper UK distributer in Backstreetmerch which I hope he continues to use for future releases... The loooonnng, communication free (zero response to emails) wait for Samadhisound to deliver the one and only time I used them was a PITA and I would be happy to never deal with them again.
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Re: 24.11.14 / There's a light that enters...

Postby svendutchmountains on Mon Nov 03, 2014 1:53 pm

Here in Switzerland there is no sign yet of the arrival of either the CD or the Ltd. Edition :(
It cannot be due to the fact I ordered after the first run was sold out... so either Swisspost is crap or somewhere in the chain my orders are being held up. I know it arrived very quickly in the UK, Netherlands and Germany.

Has anyone else not yet received their orders?
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Re: 24.11.14 / There's a light that enters...

Postby javier on Tue Nov 04, 2014 7:21 am

baht habit wrote:To hear that voice treading all over the beauty of Tilbury's piano is quite disconcerting. Could we possibly petition for a purely instrumental mix? :-)


Just adding a couple of quick notes on the question of the inclusion of Wright's voice ...

I completely respect DS' creative choice. And I have to say that its presence is a critical part of the piece. It certainly adds a great dimension and holds attention.

But like Baht, I personally would prefer not to have the voice. I say that purely in the sense that it doesn't encourage repeated listenings. I feel listening to poetry is more like watching a performance, a theatre production or a film - it's an event that one might enjoy once, twice, perhaps three times or so. But after that, the voice is so specific and the "narrative" so defined that one is no longer entering the piece in the same way, but observing it.

I would only listen to the piece a few times, although I would very much enjoy doing so.

But instrumental music generally invites one to listen many more times. One can bathe in the vibe, so to speak. And similarly with song-based music, one can feel a part of it, like being with a familiar friend. There's the added pleasure that one can hum or even sing along too. But I cannot ever imagine myself speaking Wright's words along with him as I listen.

So, this work gives a different kind of pleasure, an occasional "event" pleasure.

But I hope DS might also at some future time release a new work which will bring continued ongoing "immersion" pleasure.
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Re: 24.11.14 / There's a light that enters...

Postby Blemished on Tue Nov 04, 2014 11:33 am

javier wrote:I would only listen to the piece a few times, although I would very much enjoy doing so.

But instrumental music generally invites one to listen many more times. One can bathe in the vibe, so to speak. And similarly with song-based music, one can feel a part of it, like being with a familiar friend. There's the added pleasure that one can hum or even sing along too. But I cannot ever imagine myself speaking Wright's words along with him as I listen.


Great point, well made. I can't say I've ever listened that much to David's 'voiceover' work that much, probably for the reasons you describe. I liked Uncommon Deities a lot, but it doesn't seem to draw me back now. Before and Afterlife has been the most successful 'poem' track for me - I love the atmosphere and Arve's incredible trumpet playing and, of course, it's desperately poignant in the light of David's recent life. I still haven't found time to get more than six minutes into 'There's a light' so far, so shouldn't really be commenting...although maybe that says something too.

Thinking about David's instrumental music, Alchemy and Plight had the longest shelf-life for me, then the second side of Gone to Earth. Recently, Trauma has been something I keep returning to, along with 'When we return...', which I love. Everything else largely sits forgotten.

I very much enjoy instrumental music - often more so than vocal music - but I think the compositional skill needed to make it work for repeated listens is very great, especially without drums or rhythms to give structure and dynamics. Arguably David has been using the spoken word to provide an alternate form of focus for these tracks, but - as you say, Javier - that can bring its own limits in terms of the value to the listener.
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Re: 24.11.14 / There's a light that enters...

Postby missouriman on Tue Nov 04, 2014 2:49 pm

If you can make it to around 21minutes in when Wright recites "Dead Seagull" you will be rewarded at around 24minutes with one of those blissful sound washes that you find from time to time in David's work. Not sure if he created it or it belongs to one of the other musicians, but it comes when you need it. It's a beautiful sound.

It IS hard to drop in on this record. Poems are not songs and you don't know exactly where you are, but I can safely say I have listened to this record more times in the last two weeks than Manafon in four years.
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Re: 24.11.14 / There's a light that enters...

Postby Tin Bird on Wed Nov 05, 2014 8:04 am

A bit off topic here...but was just thinking that if you put together the following tracks, you would have yourself a nice little record. Might just have to whip up a mix cd... :)

The Heart Knows Better
She is Not
A Fire in the Forest
Small Metal Gods
Snow White in Appalachia
Emily Dickinson
I Should Not Dare
Where's Your Gravity?
Do You Know Me Now?
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Re: 24.11.14 / There's a light that enters...

Postby baht habit on Wed Nov 05, 2014 11:13 am

Blemished wrote:'When we return...', which I love.

I recommend giving a bit more time to '...with no other house in sight' and I think you'll get a lot out of it - just as you have with 'When We Return....'
Once I had meticulously edited out those sections of recitation during '...with no other house in sight', I'm finding greater appreciation for the focused detail Sylvian had worked in to the piece, using samples to create the illusion of interplay between himself and John Tilbury. Fennesz's contributions seem to come to the forefront from time to time, but it is mostly the piano that carries the weight of the piece. And that is why I am surprised to read the numerous comments regarding a lack of any melody. Melody exists throughout the piece. They may seem random, and often unpleasant, but melodies are surely there to be heard.
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Re: 24.11.14 / There's a light that enters...

Postby Blemished on Wed Nov 05, 2014 2:59 pm

baht habit wrote:I recommend giving a bit more time to '...with no other house in sight' and I think you'll get a lot out of it - just as you have with 'When We Return....'


Well the stars aligned today and I was able to listen to it on repeat through headphones...yes, so much better than my initial impressions. Actually that opening few minutes - until Fennesz starts playing - seem the weakest part to me right now.

missouriman wrote:If you can make it to around 21minutes in when Wright recites "Dead Seagull" you will be rewarded at around 24minutes with one of those blissful sound washes that you find from time to time in David's work.


The Dead Seagull section is probably my favourite. It is absolutely stunning - deeply moving. It almost underplays its own power. When I look at the words alone and compare them with happens with Franz Wright's reading and the music...incredible. In fact I found myself listening from about 16 minutes to 40 repeatedly - from Peyote journal (with that menacing piano) to the Chrysanthemum section. The latter reminds me of Radiohead with the granular vocal processing. Transfusion too is very powerful. Things drop off a little to the end, but then a great finale.

Sorry for the ramble, but glad I managed to get to grips with it. I really don't think it would have the same power without the readings.
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