Sorry to back track a bit but just making connections...
Penman review as posted earlier:
The bad news is: the back-seat absence of David from the film is unfortunately balanced out by his looming centre-stage presence on the CD. This is music that sounds as if it was made in two very discrete spaces: one for David, and one for everyone else. Which kinda begs the question: why bother with group improvisation as a new way to go for your Song, if you’re going to end up saying ‘Include me out!’, record your songs separately, and then just slap them over everyone else’s subtle breath-trace work?
Sylvian's comment from the Wall Street Journal interview:
I’ve tried to create a modern chamber piece, in the sense of chamber music as well as theater, where there is a central narrator, but every slight nuance around them adds or changes the meaning of the work. So, I wanted a dramatic intimacy, but sense of a profound isolation of the main character. There is an economy of means and I tried to strip the work back to the bare essentials—this has been an ongoing process for me. I think I have found the right context with this group of improvisers, with enough silence in the music, so that the voice could make its presence felt.
Hello Herve! Interesting thoughts.