Simonp wrote:While Manafon features some of The Wire's favourite musicicans, they are barely audible on Manafon.
The EAI artists are virtually redundant on the release. It kind of makes you wonder why he bothered working with them if his intention was to use them as distant background noise for his guitar and voice. Surely he could've made similar noises with his laptop?
I am somewhat surprised by this appraisal of the contributions from these musicians. Granted, Sylvian sought out a situation where their performances would be viable enough to provide as much space as possible for his vocal, but I would hardly consider their contributions to be inaudible or redundant (perhaps you even are suggesting them to be irrelevant?). For example, one can clearly hear the numerous passages where John Tilbury's piano is at the forefront. Also, Evan Parker's saxophone is given the spotlight on a few occasions. Those are the easiest examples to focus on - two instruments that would be clearly defined in any context since they are played rather conventionally. Tilbury also utilizes the interior strings on the piano and uses the sounds produced in a percussive manner, so one should listen for that as well. The acoustic guitar parts provided by Burkhard Stangl, Otomo Yoshihide and Tetuzi Akiyama are easily heard on their respective tracks...By the way, Sylvian only added acoustic guitar on merely two out of the nine songs on the release - so we may conclude that his intention was actually not to use these musicians as "distant background noise for his guitar and voice". Cellist Marcio Mattos bows his instrument in the usual manner and there should be no reason not to pick out his contributions, for he is fairly prominent in the mix during the two songs he appears on. In digging deeper, one should be able to hear the contributions from bassist Werner Dafeldecker and cellist Michael Moser...both musicians opt to pluck, scrape and strike their instruments, sometimes hitting wood rather than touching strings. On a few tracks, Trumpeter Franz Hautzinger is heard blowing through his trumpet yet, in specific instances, he decided not to produce a tone - something he is surely capable of achieving, yet refrained from doing so for this particular recording session.
It may take some more time in order to decipher the electronic aspects of the recording but they are indeed audible throughout. It helps to be able to block out Sylvian's voice when attempting to do this (I call it using the inner ear

). For example, the counterpoint melody line by Fennesz that plays against Sylvian's vocal part on Snow White In Appalachia is actually essential to a certain sense of forward movement which is inherent to the piece - and this electronic contribution can be even easily heard during the trailer for Amplified Gesture (where Sylvian's vocal part is excised).
Anyway, I apologize for yet another lengthy post. I just thought it was significant to pointing out what could be considered guidelines for distinguishing the musical contributions to Manafon. In my opinion, they surely are deserving of more respect than what Simonp seems willing to give to them. Their contributions formed the entire foundation for this intriguing release.