Vista blog

[silentwings]

I've just published a new article on David Sylvian's contribution to Pierre Barouh's 1982 album Le Pollen, recorded in Tokyo with a cast of Japanese musicians.

I love this story of musical inspiration across continents and cultures: Barouh drawing on Brazilian bossa nova, Yukihiro Takahashi's fascination with Barouh's music in the film A Man and a Woman, and Sylvian finding inspiration from both Japanese music and the French singer.

Sylvian said that meeting Barouh renewed his feeling for music during the period when he stopped writing in the last days of Japan, paving the way for the solo career to come.

Here's the link: https://sylvianvista.com/2022/12/23/le-pollen-demain/

[silentwings]

A new blog article is just up about David Sylvian's contribution to the installation called 2022 that was staged by the collective of artists known as Dumb Type at the Japan Pavilion for the Venice Biennale last year.

Sylvian was invited by Ryuichi Sakamoto, a new member of Dumb Type for their exhibitions in Venice and Munich in 2022. He reads words from a nineteenth century geography textbook.

Who are Dumb Type? What themes were they exploring in this exhibition?

Find out more in this article and see a 10 minute video to capture the experience, with Ryuichi's music and David's voice.

Here's the link: https://sylvianvista.com/2023/01/13/dumb-type-2022/

P.S. If you are in Japan, the installation is being re-staged at the Artizon Museum in Tokyo from Feb-April 2023

[silentwings]

The latest article recalls the appearance of Masami Tsuchiya as guest guitarist on Japan's final 'Sons of Pioneers' tour in 1982, exploring how he came to be involved with the band, why he was chosen, and what he added to the group's stage-craft.

Opinions differ on whether David Rhodes (who fulfilled the role on the previous 'Visions of China' tour) or Masami was best suited to the material, but it's good that there were two different line-ups for fans to experience and Masami's involvement is another of the collaborations that were happening with prominent Japanese musicians around this time.

Here's the link: https://sylvianvista.com/2023/02/03/the ... ance-live/

[Quiet Visitor]

Thanks. Great article to read for me, since I'm a big fan of Tsuchiya's solowork and the Ippu-Do-albums.
The article speaks of the track Silent Party, but I guess you mean Secret Party (which is followed by Silent Object); in the links at the end of the article the right track is mentioned.
I would like to mention the song Night In The Park as well, because here we hear Mick Karn and Percy Jones in one track. Mick on alto-sax and Jones of course on bass. As we all know Jones was an influence on Mick and I always found it funny Jones played the Japan-like bass-parts on some of Ippu-Do's records.
B.t.w. just noticed Tsuchiya's box-set Solo Vox Epic Years is being offered for almost € 600 ($ 649.74) on Discogs. Glad I bought it when it was released (just as the wonderful Ippu-Do box-set Magic Vox.
https://www.discogs.com/release/1284733 ... Epic-Years
https://www.discogs.com/release/1823249 ... -1979-1984

[silentwings]

Thanks Quiet Visitor - I did indeed mean 'Secret Party' and must have muddled the title in part with the track that follows. I've fixed that now - I appreciate you mentioning it.

Unfortunately I didn't get that boxed set - so it's out of reach now!

Thanks for reading.

[silentwings]

In February 2003 David Sylvian invited Derek Bailey to record a session of guitar improvisations for him to respond to as a vocalist for his album Blemish.

The session happened at The Moat studios almost exactly a year after Bailey had recorded his classic album Ballads in the same location.

'The Good Son' and 'She is Not' were two of the resulting tracks, with Sylvian later releasing much of the solo guitar session as To Play: The Blemish Sessions on his samadhisound label.

This new article explores the partnership and Bailey's work which was among his last and is highly regarded as an example of the unique musical language he created.

Here's the link: https://sylvianvista.com/2023/02/24/the ... he-is-not/

The new essay is a companion piece to this earlier piece: https://sylvianvista.com/2019/11/22/how ... -be-happy/

[silentwings]

The latest article explores the method and thinking behind the Gone to Earth instrumentals.

Gone to Earth was such an unusual double album and I've always loved the instrumental disc. Those pieces became so familiar through repeated listening, often whilst studying. David Sylvian saw them as 'environmental music' with the potential of positively impacting the listener by creating harmony with their environment.

'Sunlight Seen Through Towering Trees' features Bill Nelson on guitar and was one of the pieces Sylvian described somewhat negatively as 'static'. But perhaps its success is capturing a single moment in time.

Here's the link: https://sylvianvista.com/2023/03/17/sun ... ing-trees/

Thanks as always for reading.

[silentwings]

Listening more to the Twinkle³ album feat. David Sylvian & Kazuko Hohki, Upon This Fleeting Dream, I became fascinated with the electronic sounds that accompany Sylvian & Hohki's voices - they are unlike anything previously heard on a project with which Sylvian has been involved.

I was recently able to interview David Ross of Twinkle³ about the use of modular synths on the album and the development of his own musical approach and philosophy. David also told me a little more about the field recordings that Sylvian contributed to the album.

Modular synths are an area of music about which I previously knew very little. Talking to David Ross has given me new understanding and a deeper appreciation for what is happening on Upon This Fleeting Dream.

Read here: https://sylvianvista.com/2023/04/07/if- ... ty-handed/

[silentwings]

I've just published Part 2 of my interview with David Ross of Twinkle³ whose 2022 album, Upon This Fleeting Dream, features David Sylvian.

David R talks about how Sylvian was approached to contribute vocals to an earlier project, Sylvian's reaction and helpful input through making introductions and writing sleeve-notes. Whereas the music for the first project was practically complete when Sylvian was approached, Upon This Fleeting Dream was conceived around Sylvian's contribution from the start.

Talking to Clive Bell and David Ross of Twinkle³ has certainly enriched my enjoyment of this album - I hope the articles might do the same for you.

Here's the link: https://sylvianvista.com/2023/04/28/che ... adas-song/

[silentwings]

A new article has just been published about the wonderful Sylvian & Sakamoto collaboration 'Forbidden Colours'.

Diving into Sakamoto's involvement in the film Merry Christmas, Mr. Lawrence, his approach to writing his first movie soundtrack, and the invitation to Sylvian to create a vocal version of the theme after David Bowie declined.

Here's the link: https://sylvianvista.com/2023/05/19/forbidden-colours/

An earlier published sister article concentrates on the re-recorded version made during the Brilliant Trees sessions and how the song paved the way for Sylvian's solo career. Read that here: https://sylvianvista.com/2018/12/20/for ... s-version/

Thank you for reading.

[Quiet Visitor]

Thanks for this fine article! Brings back the memories of 1983.
I bought the soundtrack in September of that year, three months before I saw the movie. Forbidden Colours was in my mind a lot, what a beautiful song. And what a disappointment it wasn't in the film!! I didn't know!